The New Normal
Where I noted yesterday that the Paul Simon episode marked the new benchmark as to what I would consider an average episode as far as the entertainment value of the content, there was still a feeling that it was a Paul Simon special over being a normal show. That said, it did feel like a Saturday Night Live Special and not a concert that just seemed to be taking place in the SNL time slot.
This episode hosted by Jodie Foster felt like the standard for the new normal episode. There was no behind the scenes uncertainties, the scheduled host showed up and wasn't cut with a sword or was too big of a star to affect the structure of the show.
No, Jodie Foster was just a normal host, too young for special treatment, allowing her to be the featured member of an ensemble, providing balance to make it feel like an actual show. This episode still doesn't make the top of any of my list of favorites, but it was still pretty solid, enough so that my enthusiasm is growing for the episodes to come.
Now that I've explained my outlook on this episode, it's time to tell you what else I saw as I give you...
The Wicker Breakdown:
Gilda Radner opens the show complaining that she wasn't given much to do this episode and as she rants about it the subtitles explain that they are phasing her out of the show. She goes as far as telling her friends to turn off the show if they're there to see her, then changes her tone as she shouts, "Live from New York..."
Brian Wilson sings Back Home.
This was followed by an airport security sketch where Aykroyd played a mettle addict trying to get past the metal detector. It's interesting to see them complaining about this level of security at that time.
Back to the news where they read some of the calls to action asking for alternative ways for Morris the Cat to commit suicide.
Brian Wilson then sings Love is a Woman.
The was followed by a sketch called Little Know Talents of the Not Ready For Prime Time Player, this week was Laraine Newman's week, and she showed off her ability to imitate sounds.
Next was a sketch called Salute to Don Pardo which was a tribute to the announcer's life and career, flashing all the way through his life with him always having that magical voice.
Jodie Foster then plays a student flirting with her teacher on her last day in Jr. High. This was pretty creepy, but at least they didn't have Aykroyd even hint at giving in to any urges. The most disturbing part was the sketch didn't come across over the top enough to be funny so it felt more like a writer's perverted dream, and for some reason, I feel that writer is Michael O'Donoghue, who has a similar creepy move later in the show.
This was followed by the King Kong Dirge which was once again an excuse to let Garrett Morris show off his operatic voice.
Next was a sketch where Garrett Morris was arguing with Jane Curtin who was playing his wife. It turns out he disappointed that she's finally come out of the closet and has admitted to not being black. They discussed the telltale signs in a funny way, but it's finally revealed that it's actually Garrett Morris that thinks he is white.
Mr. Mike returned to do his Least-Loved Bedtime Tales which is where I mentioned he gets creepy. He calls Jodie Foster up onto his lap as he tells this week's calculatedly creepy tale. I was too bothered by the imagery to really listen to the story of the week.
Brian Wilson then sang Good Vibrations.
Finally Jodie Foster finished off the show by saying good night.
Once again, I wouldn't say that there was a best of in the bunch but here are my top three moments of this episode. First, I laughed several times during the Tribute to Don Pardo. Next, I loved that they had a teenager acting high as a kite when she meets the Peter Pan Bees. Finally, I was a fan of Garrett Morris and Jane Curtin's take on race relations.