Saturday Night Live, Hollywood Comedy, and American Culture sheds new light on the ways in which Saturday Night Live s confrontational, boundary-pushing approach spilled over into film production, contributing to some of the biggest hits in Hollywood history, such as National Lampoon s Animal House, Ghostbusters, and Beverly Hills Cop. Jim Whalley also considers how SNL has adapted to meet the needs of subsequent generations, launching the film careers of Mike Myers, Adam Sandler, Will Ferrell and others in the process. Supported by extensive archival research, some of Hollywood s most popular comedians are placed into the contexts of film and television comic traditions and social and cultural trends in American life.

Thought-provoking and “undeniably interesting” essays on this cultural institution of comedy and what it says about our society (Booklist). Since 1975, “Live from New York, it’s Saturday Night!” has greeted late night–TV viewers looking for the best in sketch comedy and popular music. SNL is the variety show that launched the careers of countless comedians, including Dan Aykroyd, Chevy Chase, Chris Farley, Will Ferrell, Tina Fey, Amy Poehler, and Adam Sandler. Week after week, SNL has produced everything from unforgettable parodies to provocative political satire—adapting to changing times decade after decade while staying true to its original vision of performing timely topical humor. With essays that address issues ranging from race and gender to authorship and comedic performance, Saturday Night Live and American TV follows the history of this iconic show, and its place in the shifting social and media landscape of American television.

In Sketch Comedy: Identity, Reflexivity, and American Television, Nick Marx examines some of the genre's most memorable—and controversial—moments from the early days of television to the contemporary line-up. Through explorations of sketches from well-known shows such as Saturday Night Live, The State, Inside Amy Schumer, Key & Peele, and more, Marx argues that the genre has served as a battleground for the struggle between comedians who are pushing the limits of what is possible on television and network executives who are more mindful of the financial bottom line. Whether creating new catchphrases or transgressing cultural taboos, sketch comedies give voice to marginalized performers and audiences, providing comedians and viewers opportunities to test their own ideas about their place in society, while simultaneously echoing mainstream cultural trends. The result, Marx suggests, is a hilarious and flexible form of identity play unlike anything else in American popular culture and media.

This two-volume set surveys the profound impact of political humor and satire on American culture and politics over the years, paying special attention to the explosion of political humor in today's wide-ranging and turbulent media environment. Historically, there has been a tendency to regard political satire and humor as a sideshow to the wider world of American politics—entertaining and sometimes insightful, but ultimately only of modest interest to students and others surveying the trajectory of American politics and culture. This set documents just how mistaken that assumption is. By examining political humor and satire throughout US history, these volumes not only illustrate how expressions of political satire and humor reflect changes in American attitudes about presidents, parties, and issues but also how satirists, comedians, cartoonists, and filmmakers have helped to shape popular attitudes about landmark historical events, major American institutions and movements, and the nation's political leaders and cultural giants. Finally, this work examines how today's brand of political humor may be more influential than ever before in shaping American attitudes about the nation in which we live.

Television history was made on Saturday, October 11, 1975, at 11:30pm (ET), when Chevy Chase welcomed America to the first episode of a new late-night comedy series. With its cutting edge satire and cast of young, talented performers, Saturday Night Live set a new standard for television comedy while launching the careers of such comedy greats as John Belushi, Chevy Chase, Dan Aykroyd, Eddie Murphy, Mike Myers, Dana Carvey, Will Ferrell, Amy Poehler, and Tina Fey. Saturday Night Live FAQ is the first book to offer the show's generations of fans everything they ever wanted to know (and may have forgotten) about SNL. Beginning with the show's creation in the mid-1970s by Lorne Michaels and the Not Ready for Prime Time Players, SNL FAQ takes you through the show's history with an in-depth look at all thirty-eight seasons. It's all here – the comedic highlights and low points, memorable hosts and musical guests, controversial moments, and, of course, the recurring characters and sketches, catch phrases, and film shorts that have made SNL the epicenter of American comedy for nearly four decades. SNL FAQ also examines the show's influence on American culture and includes profiles of over 100 SNL cast members, along with a comprehensive guide detailing every episode.

This book reveals the hitherto critically disregarded ludic elements in popular American comedy films, building on and expanding the theories developed by Johan Huizinga in his classic study Homo Ludens (1938) and Roger Caillois in Les jeux et les hommes (1958). To address the lack of attention paid to the play principle in film comedy studies, this book focuses exclusively on the elements typical of play that can be found in movies. It introduces two new categories describing play: óneiros and pragma, which allow analysis of how play in comedies is influenced by the relations between the player and non-players. The text is supplemented by the use of the author’s drawings, which, because of their analytical and selective nature, are used as a tool for visual study. The play principle has a long tradition in American humor and the films examined here were chosen for their popularity and wide appeal, often acting as vehicles for Hollywood stars (e.g. Chevy Chase, Dan Aykroyd, Bill Murray, Steve Martin, Eddie Murphy, Goldie Hawn, Mike Myers, Jackie Chan or Chris Tucker). The actors’ status allowed the filmmakers to construct situations in which the protagonists distanced themselves from the fictional situation. It is argued that the playful detachment from reality, typifying many of the fictional characters portrayed by actors with star status, is characteristic of the play principle in film. Another major consideration is the hotly debated notion of the accomplishment of goals in playful activities, and the book strongly supports the position that in narratives, play can (but does not have to) yield important results. The introduction of the categories of óneiros and pragma in play serves to highlight the complex relation between playfulness and practicality in the films discussed. Building on a comprehensive analysis of the ludic elements in selected popular American comedies, the book makes an important contribution to film studies, providing a unique perspective through its focus on the concept of homo ludens as a comic hero.

The question of why we laugh (or don't laugh) has intrigued scholars since antiquity. This book contributes to that debate by exploring how we evaluate screen comedy. What kinds of criteria do we use to judge films and TV shows that are meant to be funny? And what might that have to do with our social and cultural backgrounds, or with wider cultural ideas about film, TV, comedy, quality and entertainment? The book examines these questions through a study of audience responses posted to online facilities such as Twitter, Facebook, review sites, blogs and message boards. Bore’s analysis of these responses considers a broad range of issues, including how audiences perceive the idea of "national" comedy; what they think of female comedians; how they evaluate romcoms, sitcoms and web comedy; what they think is acceptable to joke about; what comedy fans get excited about; how fans interact with star comedians; and what comedy viewers really despise. The book demonstrates some of the ways in which we can adapt theories of humour and comedy to examine the practices of contemporary screen audiences, while offering new insights into how they negotiate the opportunities and constrictions of different online facilities to share their views and experiences.

This book attempts to grasp the recent paradigm shift in American politics through the lens of satire. It connects changes in the political and cultural landscape to corresponding shifts in the structure and organization of the media, in order to shed light on the evolution of political satire on late-night television. Satire is situated in its historical background to comprehend its movement away from the fringes of discourse to the very center of politics and the media. Beginning in the 1990s, certain trends such as technological advances, media consolidation, and the globalization of communications reinforced each other, paving the way for satire to claim a prized spot in the visual media—a tendency that only gained strength after September 11. While the Bush presidency presented itself as an apposite target for satirists, their stronghold on American television was made possible by a number of transitions in broader culture, which are encapsulated in the shrinking space available for political engagement under neoliberalism. This largely underestimated development can be understood through the framework of postmodernism, which focuses on the relationship between language, power, and the presentation of reality. These trends and transitions reached a climax in the 2016 election where President Trump was elected, embodying what can only be considered a significant turning point in American politics. The bigger narrative contains various subplots represented in the rise of the neoliberal economy, the acceptance of postmodernism as the dominant cultural code, and the role of the voyeur superseding that of the engaged citizen. It is only through understanding each of these pieces and connecting them that we can comprehend the current political transformation. The present moment may feel like a golden age of satire, and it may well be, but this book addresses the hardest questions about the realities behind such a claim: what can we conclude about when and how satire is effective, judging by the history of this genre in its various incarnations, and how can the “apolitical” postmodern media landscape be reconciled with what the best of this genre has had to offer during times of political duress?

Featured in the 2020 Association of University Presses Book, Jacket, and Journal Show In 1993, Prince infamously changed his name to a unique, unpronounceable symbol. Yet this was only one of a long string of self-reinventions orchestrated by Prince as he refused to be typecast by the music industry’s limiting definitions of masculinity and femininity, of straightness and queerness, of authenticity and artifice, or of black music and white music. Revealing how he continually subverted cultural expectations, I Wonder U examines the entirety of Prince’s diverse career as a singer, multi-instrumentalist, songwriter, producer, record label mogul, movie star, and director. It shows how, by blending elements of R&B, rock, and new wave into an extremely videogenic package, Prince was able to overcome the color barrier that kept black artists off of MTV. Yet even at his greatest crossover success, he still worked hard to retain his credibility among black music fans. In this way, Adilifu Nama suggests, Prince was able to assert a distinctly black political sensibility while still being perceived as a unique musical genius whose appeal transcended racial boundaries.

"This is a comprehensive ticket to learning more about every aspect of the late-night comedy staple and its storied history." - Library Journal Television history was made on October 11, 1975, when a new generation of young performers welcomed America to the first episode of a new late-night comedy and variety show. Combining cutting-edge humor with a satirical sensibility, Saturday Night Live would go on to become the longest-running series of its kind in television history, shining a light on pop culture as well as contemporary social and political issues. It also became a launching pad for many of the leading comedy performers of the last five decades, including John Belushi, Bill Murray, Gilda Radner, Eddie Murphy, Phil Hartman, Will Ferrell, Tina Fey, Amy Poehler, Seth Meyers, Jimmy Fallon, Maya Rudolph, and Kate McKinnon Celebrating the show’s record-breaking 50 years on the air, The SNL Companion is a fun, fact-filled tribute to a television institution. From the show’s creation by Lorne Michaels through all of the seasons leading up to its golden anniversary, it provides an in-depth look at SNL’s comedic highlights and nadirs, its memorable hosts and musical guests, and its many controversies. Along with a complete episode guide, it explores the characters, sketches, politics, catchphrases, commercial parodies, and viral shorts that have made it a leader in American comedy for over five decades. Vastly revised, updated, and expanded since its original publication in 2013 and packed with photographs and rich encyclopedic detail, The SNL Companion is a one-stop resource for all things SNL.