The SCTV office moves into the tallest, thinnest building in Melonville, which turns into a spoof of 'The Towering Inferno' as Guy, Edith, and others are trapped in the 200-story tall building just ...
Battered and abused stuntman Super Dave Osborne gets his own nighttime talk show. In between interviews Osborne, with the help of his partner and promoter, Fuji, performs his classic stunts that never quite seem to go as planned.
To differentiate the show from Saturday Night Live (1975), the writer/performers decided to integrate musical guests into the plots of the episodes. The Fishin' Musician sketch was created as a way to highlight the musical guests if no other sketch was available. While some of the musical acts were chosen by the network, cast members asked for their own guests. For example, Eugene Levy and Dave Thomas requested Roy Orbison and Tony Bennett respectively - both of whom were at a relative low point in their career. See more »
The NBC syndication version of SCTV was edited and repackaged to fit in with the original half-hour shows in syndication. The original opening sequences do not air in the syndicated reruns, but rather a new composite using the cast photos from cycle 3 with the "malfunctioning equipment" from cycle one, as well as various clips from throughout the syndication, NBC and Cinemax shows for each actor. New syndication package: The version currently running on TV features quite a few music substitutions. See more »
When NBC hired the producers and cast members of "Second City Television" for "SCTV Network 90," they provided them with a larger budget and longer programming time than the original show had. As a result, the performers/writers elaborated on the show's original premise of a cheap TV station. Established characters like Joe Flaherty's Guy Caballero and Andrea Martin's Edith Prickley were deepened with more quirks that often thematically unified the sketches, such as an episode when Guy's job as station owner is threatened when he forges a check. The sketches became lengthier and more layered, exploring further possibilities in television satire, such as a "Godfather" parody likening TV executives to mob bosses. And SCTV still maintained its comic bite, thanks to both the writing and the performers. The humor remained intelligent and insightful and unlike SATURDAY NIGHT LIVE never became self-consciously hip or stale. SCTV 90 provided some of the greatest TV comedy ever, the like which we may never see again.
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