Kathryn VanArendonk is a critic who writes about TV and comedy. She gets mad when people say TV is a 10 hour movie. Photo: Amazon Studios. What ...
In the best moment of self-referentiality, Foley and Kevin McDonald start into an M.C. Escher-esque sketch premise in episode three, with Foley playing a collector who’s arrived at a store, trying to get a good price for a VHS of a classic Kids in the Hall sketch (it’s McDonald playing a guy in a gorilla sketch). “Oh yeah, this sketch,” the McDonald store-clerk character says. The most egregious is a running bit through each episode that features a celebrity cameo pretending to be an oddball KITH fan, a joke notably at odds with the sensibility of the rest of the series. Maybe it’s about our misapprehensions about geniuses of the Western canon, and maybe it’s about nothing except the image of Shakespeare, reanimated as only a head and partial torso. After the treacherously high expectations of reviving a beloved comedy series plus a swooning documentary, the cumulative experience of the new Kids in the Hall feels nearly miraculous. Amazon Prime Video does not set this one up for success, either: The revival series is accompanied by a hagiographic two-part documentary on the group (The Kids in the Hall: Comedy Punks), which is the source of that Foley quote about the hilarity of death. The idea of a revived Kids in the Hall series, like so many other revivals of the past decade, comes packaged with intense trepidation.
Twenty-seven years after their groundbreaking CBC sketch-comedy show last aired, the Canadian troupe is back on the small screen.
All the Kids appear in a sketch about senior-citizen male strippers. They resist the “reunion” tag that the media inevitably attaches to their projects. “We’ve never broken up, and we never will break up,” McCulloch says. If we ever get to the point of thinking something is too weird, please shoot us.” “I want to be on stage when I’m her age, saying there are CDs in the lobby,” he says. The revival is happening at a time when all things 1990s are back in fashion.
Mark McKinney and Scott Thompson talk the sixth season of the sketch series starring the freewheeling Canadian comedy geniuses.
Why did it take more than a quarter-century to get a sixth season of The Kids in the Hall? “We love each other as comedians and artists, but also as friends. But as Thompson, Dave Foley, Bruce McCulloch, Kevin McDonald and Mark McKinney took their classic material on the road, they began writing new sketches.
Amazon's The Kids in the Hall (2022) season 1 will be released on the streaming service on May 13, 2022. Friday the 13th sees the release of the comedy.
There is a lot to learn and be inspired by from this series. Friday the 13th sees the release of the comedy show The Kids in the Hall (2022) on Amazon Prime. For those of you who are new to this and weren’t lucky enough to grow up with it, The Kids in the Hall was a sketch comedy show that ran from 1989 to 1994. The subtle and not so subtle hints and digs at society are playfully imaginative and make you think whilst making you laugh. The chemistry between the characters is flawless and with their fearless wit, it takes skill to pull off this type of comedy as an actor. There are some sketches that are cringey and might miss the mark, but all comedy is subjective, and it will probably make someone out there laugh. Technically, this season could be classed as the 6th season of the show, just with an over twenty-year gap, which makes it even more impressive.
After 27 years, the sketch troupe returns with the original cast intact, accompanied by the poignant documentary history “Comedy Punks.”
Buddy Cole (Thompson) gives a young friend a tour of old and closed gay bars and bath houses, which spins off in a direction there is really no way to describe in a family newspaper, though as is generally the case with the series’ sexual material, it is not crude or gratuitous or there for an easy laugh, but essential to the concept or the characters. As they have since their Toronto stage days, the men sometimes play women, which is not the point or meant to be funny in itself, but merely a way to introduce female characters into their comedy. There is nothing the aging comic can do, of course, but continue to try to be smart and good; it helps to be a little outside the norm to begin with, to be willing to leave people a little disturbed, to privilege satisfaction over success. Rhythms change; what was once surprising can become stock; you won’t get anywhere in that business reminding people of Bob Newhart, or Steve or Demetri Martin. Young fans who signed on for “Schitt’s Creek” might not all respond to what Eugene Levy and Catherine O’Hara (who makes a cameo as a “friend of Kids in the Hall” in the new series) did on “SCTV,” if they even bother to look. (It’s “ Spinal Tap,” among other things.) There are scruffy beginnings, playing to audiences that number in the low dozens; the overnight success that takes years to build; the ecstasy of fame; the sputtering of the old spark as individual ambitions and opportunities arise; dissension, alienation; and revived interest leading to reunion. Sometimes it’s a matter of personal history and creative connection and knowing how it all works — or, like muscle memory, not having to know how it works — and because there is a special joy in getting the band together.
There are very few rules to Kids in the Hall, but one of them is a hostility to over self-analysis”
If we ran into a beat in a sketch that wasn’t working—we were all there and we could literally rearrange the furniture if we needed to make something work. There are very few rules to Kids in the Hall, but one of them is a hostility to over self-analysis. The new intro is one of my favorite pieces that shows how we connect ourselves back to the original. But I do know that I still have ideas and the Amazon show is an experiment of what happens when you bring back comedians. A lot of the strongest comedy voices are in narrative animation. We’ve done a number of tours that were a lot of fun, but we got bored and decided we wanted to write new material. One of the reasons we went for a revival was the combination of flavours from a Bruce sketch, Scott sketch, David sketch, Kevin sketch and a me sketch that gets packed into a half hour, and gives it its essential brio. I was lucky enough to be the first person to peel off my clothes in the troupe. Well, you’d have to ask one of the other guys. Now, the Kids are at it again with a fresh Prime Video season of twisted absurdist situations, self-deprecating jokes and deranged characters that will renew your faith in reboots. Their antics caught the attention of Saturday Night Live creator Lorne Michaels who went on to produce the beloved TV show The Kids in the Hall—running on cable and network TV until 1995. In the mid-eighties, five comics banded together on the stages of Toronto’s clubs to deliver some of the most unhinged sketches the public had seen at the time.
What's worth your time in TV and movies this weekend? EW's critics review the latest and upcoming releases, including Rebel Wilson's Netflix comedy 'Senior ...
The extremely game presence of actors like Zoë Chao, Veep's Sam Richardson, and This Is Us's Justin Hartley (as the dimpled bohunk she left behind) help anchor the chaotic wisp of a plot that follows, as does Wilson's barrelling, blithely crass energy ("What the slut?" is her favored all-purpose expression of disbelief). Director Alex Hardcastle (The Office, Grace & Frankie) pumps the brakes one too many times to make way for a teachable moment. A melodramatic voiceover by a soldier-bystander played by Johnny Flynn (as the future real-life Bond scribe Ian Fleming) doesn't help; nor does the script's tendency to continuously underline and overexplain itself for the cheap seats in the back. Forget about medical science and the general mechanics of muscle atrophy, though; when she wakes up two decades later, all Stephanie wants to do is get back to school like Rodney Dangerfield. If she can rejoin the squad, become prom queen, and prove she still rules "the populars," justice for those two lost decades will be served. Mincemeat is directed by John Madden, who helmed Shakespeare in Love and The Best Exotic Marigold Hotel. Here, he has a true story to tell, about a covert mission in WWII whose aim was to misdirect the Nazis from a planned Sicilian invasion to the shores of Greece instead. Highlights include a pair of serial-killer cats, and a darkly funny vignette about a DJ who maintains his "Motormouth in the Morning" on-air persona despite living in a post-apocalyptic hellscape.
Over the course of 102 episodes in their original run, Dave Foley, Bruce McCulloch, Kevin McDonald, Mark McKinney, and Scott Thompson were irascible comedy ...
And in the future, mankind will know God was a “ridiculous, stupid sham” but will remember and worship Bellini. The most elaborate of the premises is “Shitty Soup,” which deftly pivots into a fourth-wall-breaking sketch that Thompson runs away with. You know how podcasts will often have an engineer or producer that eventually, casually becomes like the show’s bonus host — always there in the background and a beloved treat when they get on mic? Sometimes that meant cinematic, lyrical stuff like “My Pen” … and sometimes that just meant McKinney’s Headcrusher squeezing his finger and thumb in the foreground to crush businessmen, yuppies, and bullies like ants. A lot of creativity with the camera and filmmaking style. McCulloch and Thompson’s middle-aged suburban couple is delightfully lived-in; you get the sense that there’s a full two-act play’s worth of backstory behind the marriage of considerate and fretful Fran and blustery Gordon. I could choose from a zillion sketches where the Kids play frazzled housewives, but these are the sketches I always come back to. A lot of existential dread and paranoia going on in some of these. The worldliest Canadian to ever live, Buddy Cole is a unique character in sketch history. If you see the letters KITH and only think of shoes, here is a 22-step field guide of tropes to watch out for from the Citizen Kane of sketch comedy. No, this isn’t the name of a spinoff sketch series. And adjacent to but not an affiliate of A.T. & Love are lawyers the Geralds. Upon rewatch, this show is a nuclear Twinkie: just as fresh as the day it was made and perversely delicious.
Sketch comedy isn't immune to those pressures, but it might be less vulnerable due to its very nature. In a way sketch is more like a band reuniting than a TV ...
And it seemed to fit with, you know, with the mood of COVID. And, you know, for me, just the comic core of it was that I really liked the idea of that transition from from the autopilot of doing the job. But the idea that is the Kids in the Hall, if we’re going to do Kids, we can’t do something that somebody else could have done, because we go, well, if that’s an idea somebody else could have done them, why would we do it? So we want to try and do a narrative thing, which was, you know, harder in that you had to find—we had to try and commit to a plot. So we started, we did a couple of tours where we did, we did one that was completely new material, one that was half and a half. Paste: One of the new sketches that really stuck out to me was the post apocalyptic radio DJ, where you play Melanie’s “Brand New Key” over and over. So that’s the downside of sketch comedy, is that it’s the most sort of labor intensive form of comedy and the most wasteful. And then we had to try and find a way to weave characters that we were interested in playing into the plot. What are the pros and cons as a writer to both of those approaches? Paste: I was gonna say, you can tell by watching the new series how easy it is for you guys to sort of slip back into it because it really does capture not just the look but like the whole feel of the original series. In a way sketch is more like a band reuniting than a TV show—typically it’s a small group of creative partners who have their own process and methods that rarely reflect the nature of a TV writer’s room, all generally writing for themselves and not other performers who might not understand or agree with their ideas. So it felt very much like the old days of just getting together and throwing ideas at each other and, you know, occasionally fighting about what’s the best way to do things. It’s impossible to replicate all the internal and external elements that went into making something a success years after the fact, and over the last decade we’ve seen a number of once popular TV shows return to mixed results.