When “Saturday Night Live” debuted on Oct. 11, 1975, it was entering a comedy/variety television universe featuring prime-time fare such as “The Rich Little Show,” “The John Davidson Show” and “The Carol Burnett Show,” and late-night programming led by the perennial juggernaut, “The Tonight Show with Johnny Carson.” Lorne Michaels and The Not Ready for Prime Time Players dropped a pop-culture bomb that forever changed the TV landscape.
In celebration of 50 legendary years — OK, maybe 35 great years, 10 good ones and a handful of dicey seasons — Peacock is dropping the four-episode series “SNL50: Beyond Saturday Night.” This is an invaluable behind-the-curtains chronicle. We often talk about how so many streaming documentary and dramatic series wear out their welcome and are stretched too thin; in this case, I would have loved another four episodes. (Admittedly, this is a sunny exercise in hagiography; Peacock is owned by NBCUniversal, so we don’t see even a hint of any of the darker moments in “SNL” lore.)
With a different director every time out, each episode of “Beyond Saturday Night” has the feeling of a self-contained documentary. Episode One focuses on the five-minute audition for “SNL” that can change your life. In present day, all-star performers including Tracy Morgan, Fred Armisen, Bill Hader, Molly Shannon and Kenan Thompson watch their audition videos — in some cases for the first time.
Amy Poehler expresses misgivings about seeing video of her audition, saying, “I have a nice feeling about it, and I don’t think I’m going to have that feeling after I watch it. What if I watch one minute of it?” (As the video plays, Poehler critiques the bit, asking her young self, “What is the joke?”) Andy Samberg said he did an impersonation of Jimmy Fallon at a funeral (it’s hilarious), in part because Fallon’s audition was an impersonation of Adam Sandler. We also hear from former “SNL” talent producers and bookers, as well as Stephen Colbert, who had a brilliant audition tape but somehow didn’t make the cut. (Spoiler alert: things have worked out for Colbert.)
The second episode takes us inside the writers’ room, as we follow talented young writers such as Alex English, Ceara O’Sullivan and Asha Ward as they grind through the pressure-packed process of creating, pitching and (if your sketch makes the cut) essentially producing the piece, all within the span of less than a week.
We’re taken inside the office of Lorne Michaels, where the writers and cast meet with guest host Ayo Edebiri and make their pitches, which always start with “Maybe you’re,” e.g., “Maybe you’re a Boston duck boat driver,” “Maybe you’re a character called the Cocky Dyslexic,” “Maybe you play a new superhero, but your superpower is just that you had three espresso martinis.” Storied “SNL” alums including Seth Meyers, Alan Zweibel, Al Franken and Sarah Silverman share their recollections as well.
Episode 3 is titled, “More Cowbell,” and the fact you probably get that reference is a testimony to the staying power of the sketch that was written by Will Ferrell and aired on “Saturday Night Live” nearly 25 years ago, on April 8, 2000. It might seem a bit nuts to devote an entire episode to one sketch, but this is a fascinating chronicle of its genesis, with Ferrell explaining how the idea had been germinating within him for decades.
The sketch was originally called “Recording Session,” with a wood block instead of a cowbell, with Ferrell first pitching it for a show guest-hosted by Norm Macdonald. Fortunately, the sketch didn’t make the cut, and Ferrell refashioned it for Christopher Walken, who immortalized the character of Bruce Dickinson, who encouraged Ferrell’s Gene Frenkle to “really explore the studio space this time.”
We even hear from the real Bruce Dickinson, a Sony compilation producer who had nothing to with the recording of “(Don’t Fear) the Reaper,” a couple of founding members of Blue Oyster Cult, and some old-time producers who disagree about who played the cowbell on the original recording. It’s as ridiculous as the sketch itself, which is what makes it so entertaining.
The final chapter of the series concentrates on Season 11, aka “The Weird Year,” aka the season that almost killed “Saturday Night Live.” Cast members including Robert Downey Jr., Randy Quaid, Anthony Michael Hall and Nora Dunn struggled to find a cohesive team identity. Damon Wayans was so frustrated with his lack of a voice that he blew up a sketch and got himself fired. There was even an entire episode directed and produced by Francis Ford Coppola.
While this final chapter is interesting enough, it’s also a bit frustrating. Legends including Tom Hanks and Billy Crystal sit for interviews (shot in a gorgeous monochromatic tone), but their appearances are far too brief. As a TV program, “Saturday Night Live” must come in at exactly 90 minutes. As a documentary, “SNL50: Beyond Saturday Night” is so strong and vibrant, it deserved even more room to breathe.