Despite Saturday Night Live's long history of producing comedy superstars, it has an equally long history of not being funny. With each passing year, critics like to sound the bell that Saturday Night Live has lost its way. It relies to heavily on catch-phrase spewing stereotypes. Skits are based on a single joke stretched out for 5 minutes. The skits meander with no real ending. Blah. Blah. Blah. The complaints don't change. Just the date on the columns. The problem is the complaints could justifiably apply to any year of the show's existence. It has always been the way it is currently described. Our collective memory is just clouded because of the post-SNL success of the actors. Because they are funny now, they must have been hilarious on the show. And then when they cherry pick the best parts of the few good comedy bits for those retrospectives, our distorted memory is confirmed. From the Eddie Murphy era to the Will Ferrell era to the glorious current rein of the Fred Armisten era, the show was and is 95% awful on a weekly basis. The current version of the show only has two parts that work. The Weekend Update is always worthwhile although it was at its best when it paired Amy Poehler and Tina Fey. Secondly, SNL does musical comedy well, particularly as part of their internet-driven Digital Shorts. Surprisingly, one of my favorite resent musical jokes came outside of this format in a normal skit. I have to say, I continue to laugh when I see. In fact it was so good that is accomplished the primary goal of all SNL shows, to advertise and sell its host and musical guest. I was so taken with the tune that I went looking for a Micheal Buble song that sported the same melody and what I found wasn't half bad.
This blog post is sponsored by MacMillian Toys.
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