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18 Things You Might Not Know About SCTV

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In their latest project, Eugene Levy and Catherine O’Hara play a riches-to-rags couple forced to live in an unfortunately named small town in the new comedy series Schitt’s Creek, which will make its American debut on Wednesday. If you know who Levy and O’Hara are, then you definitely know the names John Candy, Harold Ramis, Martin Short, Dave Thomas, Rick Moranis, Joe Flaherty, and Andrea Martin, their co-stars on the legendary and influential sketch comedy show SCTV.

But even the biggest comedy fans might not know everything there is to know about the show Conan O’Brien once said was “perfect out of whole cloth.”

1. SCTV HAD FIVE DIFFERENT OFFICIAL TITLES, NONE OF WHICH WERE SCTV

For the first two seasons, the half hour show was Second City Television. For season three it became SCTV Television Network. To acknowledge the now 90-minute runtime for seasons four and five, it was rechristened SCTV Network 90, then later SCTV 90. For its sixth and final season, and now with 45-minute episodes (with commercials), it was SCTV Channel. No matter the title, the premise of each episode was that the audience was being shown programming from the fictitious channel SCTV, airing out of the equally fictional Melonville. So, just calling it SCTV is fine.

2. THE TOTAL BUDGET FOR THE FIRST SEVEN EPISODES WAS $35,000

Working with the then-regional Canadian network Global, the show only had $5,000 to produce each of the first 30-minute episodes, which were aired one month at a time.

3. NOT EVERYBODY ON THE SHOW WAS CANADIAN

Even though all but one member of the original cast came from the Second City improvisational group in Toronto, there were some comedians from the States. Harold Ramis, season one’s head writer, was born and raised in Chicago, where he performed in that city’s theater. Joe Flaherty was born in Pittsburgh and performed at the Chicago Second City before working with the Toronto group. Andrea Martin was born in Portland, Maine. Season three cast member Tony Rosato was raised in Ottawa, but born in Naples, Italy.

4. ONE SEASON WAS TAPED IN EDMONTON, AND EUGENE LEVY WASN’T HAPPY ABOUT IT

After two seasons of shooting in Toronto, SCTV was off the air for one year and struggled to find funding or a willing network to keep it going. The city of Edmonton was willing to fund 26 episodes if they taped them at the CBC studios in Alberta. As the Hamilton, Ontario born Eugene Levy explained, “People didn’t want to move to Edmonton because it was Edmonton.” Fortunately for him, production would move back to Toronto after a year.

5. BILL MURRAY GUEST STARRED IN AN EPISODE

Murray appeared in three sketches on the season four episode “The Days of the Week/Street Beef,” including the fake commercial “DiMaggio’s on the Wharf,” as Joe DiMaggio himself.

6. THE CIGARETTE SMOKING MAN FROM 'THE X FILES' MADE HIS TV DEBUT ON SCTV

Toronto-born William B. Davis was an artistic director and acting teacher before making it as a television and movie thespian himself when he was in his mid-forties. Naturally, he appears in the sketch wearing a suit.

7. ABC THOUGHT THAT THE SHOW WAS TOO SMART FOR THEM

SCTV was almost on ABC. The network's late night decision maker “loved” what he saw of the pilot, but ABC President Fred Silverman overruled him, saying the show was “too intelligent.” Around the time that Silverman made that decision, Time proclaimed in a cover story that he was a man with a “golden gut” for knowing what American TV audiences wanted to see.

8. THREE (OR FOUR) SCTV CAST MEMBERS ENDED UP ON THE CAST OF SATURDAY NIGHT LIVE

It’s four if you count Catherine O’Hara. O’Hara left SNL after one week in 1981 to go back to SCTV without appearing in an episode of the American show. Robin Duke, who replaced O’Hara for the Edmonton season of SCTV, then replaced O’Hara on SNL. Tony Rosato, who, like Duke, joined SCTV for season 3, followed Duke to New York. Martin Short joined SNL for the 1984-85 season and brought his SCTV characters Jackie Rogers Jr. and Ed Grimley down south with him. SCTV and SNL’s worlds would collide often.

9. THE SEASON TWO WRITING SESSIONS WERE VERY ROWDY

In the summer of 1977, Second City CEO and SCTV executive producer Andrew Alexander rented a five-bedroom house near Bel-Air where Candy, O’Hara, and Levy took up residence. The cast and writing staff wrote season two of the show during the day and partied at night. At one shindig, John Candy kept Chevy Chase in a headlock for 90 minutes, or the length of an SNL episode. Coincidence?

10. SCTV AND SNL ALMOST ALTERNATED TIME SLOTS

While unthinkable now, Saturday Night Live was consistently on the cancellation bubble in the early to mid 1980s, with middling ratings and little support from critics. Meanwhile, NBC picked up critical darling SCTV as a 90 minute show (as SCTV Network 90) in 1981, airing it on Fridays from 12:30-2 in the morning. An NBC Vice President went as far as to publicly say that SCTV was the “best comedy show on television” and deserved a better time slot, and floated the idea of it sharing the Saturday night 11:30 p.m.-1 a.m. block. That network executive soon lost his job, and the idea was never brought up again.

11. JOHN CANDY WAS UPSET AT NBC’S TREATMENT OF THE SHOW

Because SCTV couldn’t make new, 90-minute episodes (with commercials, like SNL) fast enough, NBC would occasionally put together “Best Of” installments from the first three years without input from the cast and producers. This annoyed Candy, because every episode had a well-considered theme, but the compilations were put together out of order without any consideration for even the thinnest of narrative threads. When NBC’s final offer to change time slots was the Sunday hour opposite the popular 60 Minutes, the show and the network mutually agreed to part ways, and the sixth and final season aired in the U.S. on Cinemax.

12. RICK MORANIS WAS THE ONLY CAST MEMBER TO NOT COME FROM THE SECOND CITY IMPROV GROUP

Moranis didn’t go to McMaster University with Dave Thomas like Martin Short and Eugene Levy did, but he earned his job as a stand-up, a DJ, and a writer for the CBC who hit it off with Thomas at a party. Thomas brought him on beginning in the third season.

13. THE MCKENZIE BROTHERS WERE CREATED TO ANNOY THE CANADIAN BROADCASTING COMPANY

Bob (Moranis) and Doug McKenzie (Thomas), the knit cap-wearing, beer-loving Canadian stereotypes that hosted the extremely popular The Great White North segments, were borne from CBC executives’ insistence that two minutes of each episode be dedicated exclusively to its Canadian audience. Thomas claimed in 2000 that it was “a mean-spirited joke to mock the incessant demands for Canadian content programming.

14. THERE WAS A MCKENZIE BROTHERS ALBUM, A MOVIE BASED ON HAMLET, AND A PARADE

The 1981 comedy album Bob & Doug McKenzie: The Great White North was #1 on the Canadian music charts for five weeks and was nominated for a Best Comedy Album Grammy. That album’s success led to the 1983 movie Strange Brew. It only made $8.5 million, but that was a little more than double its budget. Bob and Doug were meant to be the Rosencrantz and Guildenstern, with the character Pam, the daughter of the owner of the brewery factory who died under mysterious circumstances, as Hamlet. Bob and Doug were so popular that Toronto’s Yonge Street hosted a parade in their honor.

15. TONY BENNETT’S CAREER COMEBACK WAS PARTIALLY THANKS TO HIS ‘THE GREAT WHITE NORTH’ APPEARANCE

After his son Danny took over as his manager in 1979, Tony was booked on SCTV, Late Night with David Letterman, The Simpsons, and on Howard Stern’s radio show to successfully introduce himself to a new generation.

16. BEN STILLER HAS BEEN A FAN FOR HIS WHOLE LIFE

Stiller recalled to Dave Thomas that he had attended a McKenzie Brothers record signing as a kid at Rockefeller Center. As an adult almost two decades later from that cold day, he admitted that his short-lived but Emmy-winning sketch comedy show The Ben Stiller Show was an attempt to “rip off” SCTV.

17. ALICE COOPER THANKED COUNT FLOYD ON ONE OF HIS ALBUMS

Joe Flaherty’s Count Floyd character was an over-the-top horror film host dressed like a vampire that was himself an alter-ego of Floyd Robertson, an anchor for the fictional SCTV Network’s news division. Alice Cooper gave him a “special thanks” on his 1981 album Special Forces.

18. MILTON BERLE AND SCTV HAD A FEUD (SCTV WON)

When Flaherty accepted SCTV’s 1982 Emmy for Outstanding Writing in a Variety, Music, or Comedy Program, the famed comedian kept interrupting him. After Berle said that a joke of Flaherty’s wasn’t funny, Flaherty jerked his head sideways and told the then 74-year-old Berle to “go to sleep,” which put an end to the heckling. Not fully satisfied, a future SCTV sketch had Eugene Levy as Berle getting a punch in the face from Joe Flaherty, as Kris Kristofferson.

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Mister Rogers Is Now a Funko Pop! and It’s Such a Good Feeling, a Very Good Feeling
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Amazon

It’s a beautiful day in this neighborhood for fans of Mister Rogers, as Funko has announced that, just in time for the 50th anniversary of Mister Rogers’ Neighborhood, the kindest soul to ever grace a television screen will be honored with a series of Funko toys, some of them limited-edition versions.

The news broke at the New York Toy Fair, where the pop culture-loving toy company revealed a new Pop Funko! in Fred Rogers’s likeness—he’ll be holding onto the Neighborhood Trolley—plus a Mister Rogers Pop! keychain and a SuperCute Plush.

In addition to the standard Pop! figurine, there will also be a Funko Shop exclusive version, in which everyone’s favorite neighbor will be wearing a special blue sweater. Barnes & Noble will also carry its own special edition, which will see Fred wearing a red cardigan and holding a King Friday puppet instead of the Neighborhood Trolley.

 

Barnes & Noble's special edition Mister Rogers Funko Pop!
Funko

Mister Rogers’s seemingly endless supply of colored cardigans was an integral part of the show, and a sweet tribute to his mom (who knitted all of them). But don’t go running out to snatch up the whole collection just yet; Funko won’t release these sure-to-sell-out items until June 1, but you can pre-order your Pop! on Amazon right now.

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14 Behind-the-Scenes Secrets of Hollywood Food Stylists
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Hollywood food stylists are little short of magicians—only instead of pulling rabbits out of hats, they’re turning piles of mashed potatoes into ice cream sundaes. Indeed, making food (or food-like products) appear photogenic and appetizing onscreen is a job for a true illusionist. Mental Floss spoke to a few food stylists working in TV, film, and commercials—from Game of Thrones to Taco Bell—to bring you the tricks of their magical trade.

1. MOST OF THE FOOD BEING FILMED IS REAL.

While food stylists are well-versed in the old-school swap tricks—using a pint of white glue to impersonate a glass of milk, for example—those are being phased out. Now, directors want actors to interact with their food, and high-definition camera lenses have made the fake stuff much more obvious. Plastic food props only appear in the background of scenes today, where they're less visible and susceptible to scrutiny.

“I only deal with real food,” says Chris Oliver, who has styled food for movies including Gone Girl (2014) and TV shows such as Seinfeld and Big Little Lies. “You also have to think about how a character would cook something or put a plate together. Realistic food is not all beautiful and perfect. I make ugly food and burnt food, too.”

There’s a trend in commercial food styling to present dishes that are less-than-perfect, too. Shellie Anderson, who styles food ads for clients including Burger King and Ragù, says it’s the consumers who are demanding food look more realistic and therefore more approachable.

“People are tired of seeing something in a TV commercial and then ordering it in a restaurant and it doesn't look the same,” she says. “You don’t want it to look staged anymore. You want a burger to look like the cheese naturally dripped off and landed on the plate.”

2. THEY GO THROUGH A LOT OF FOOD ...

Bowl of strawberry ice cream
iStock

If a food stylist needs one sprig of parsley for a shoot, they’ll often order 10 bunches. They never know what the condition of the parsley is going to be when it arrives from the produce vendor, or if the shoot is going to require more than they originally planned for. Carving a turkey in a scene? That may require two dozen birds if an actor keeps flubbing his line.

“It really depends on how much of a story point the food is and how important the scene is for the director,” Oliver says.

Food stylists usually have relationships with produce vendors, who can look for products with the specific size, shape, and color that stylists need. No bruises or dents, and no frozen lettuce! But stylists can hide those things if they have to.

Ice cream is infamously hard to keep intact because it melts so quickly. Food stylists have been known to replace the scoops with dollops of meringue, which don’t melt, or butter rolled in sugar. Oliver makes her sundaes the day before and sticks them in the freezer, spoons and straws and all. If they freeze rock hard overnight, they can last a few hours on set the next day before being replaced with another sundae lined up in the deep-freeze. Anderson sprays her ice cream with cold spray, an aerosol can of super-chilled gas used for cooling electronics.

3. ... BUT THE FOOD RARELY GOES TO WASTE.

On film and TV shoots, there are rarely leftovers. In fact, good food stylists often compete with the caterers: Actors usually have to eat the food during their scenes, and the crew finishes off the scraps. While shooting a Chinese New Year scene for the show Fresh Off the Boat recently, actress Lucille Soong told Oliver, who was styling that episode, that she was going to skip lunch because she wanted to enjoy eating her food on camera. “That was pretty freaking flattering!” Oliver says.

Because Oliver works on multiple TV shows in a single day, if an item doesn’t get used on set and never comes out of her cooler, she can just take it back to her shop and recycle it for use on another show. If something can’t be used again, she’ll take it home and make salsa or jam. “When it gets really old, I'll just stick it in vodka,” she says.

Commercial shoots tend to have more unused food. Anderson says anything that’s still edible will be given to a food pantry. “I once donated an entire swordfish when we did a commercial for a fish restaurant,” she says. “We never even used it. So I kept it on ice and took it to a men's homeless shelter. They were thrilled to have it.”

4. THEY VALUE FOOD SAFETY.

Another reason food stylists swap out on-camera food so much is because of safety concerns—hot and cold foods need to be kept at certain temperatures that may not be practical on-set. Sushi-grade tuna may be replaced with watermelon, for example, because the fish spoils so easily.

Oliver requires all of her employees to have a food handler’s license. She also only works out of commercial kitchens (including the one on her fully-equipped food styling truck). But not every food styling team does; some prepare food in their homes. “The reason that I get so much work is that everybody knows I'm a chef and I have a real kitchen,” Oliver says. “People trust my food. I’ve done a bunch of movies with Reese [Witherspoon] because she knows that if I’m on set, the food is safe to eat.”

5. WOMEN DOMINATE THE FIELD.

woman styling food
iStock

While there are a few well-known male food stylists, for the most part the key food stylists in the U.S. are women. (Both of Anderson’s daughters are food stylists, too.) The reason for this dates back decades.

Before food styling became its own career in the 1990s, it was up to network employees with home economics degrees (almost always women) to cook on-camera food. Then props departments became responsible. “But props guys can’t even make spaghetti,” Oliver says, laughing. So according to her, these guys would go home and ask their girlfriends or wives to make whatever food was required for the next day’s scene. “Eventually they would just hire their girlfriends or wives to do it; keep the money in the family,” she says. “I know five food stylists who at one time were in relationships with prop masters.”

Also in the 1990s, networks began making more multi-camera TV shows. A lot more food began appearing on screen, and actors openly discussed their dietary restrictions. They were vegan, sugar-free, and low-carb all of a sudden. Oliver trained at the Culinary Institute of America and had worked in restaurants and catering jobs before stumbling into this career. “Because I was a chef, and I understood how food works, I knew how to feed people and make food last on set,” she says. “And I could charge anything I wanted to.”

To get a job as a food stylist today, it helps to know someone already in the industry and have a culinary background. Everyone starts as an intern, and then may be able to work their way up to being an assistant and then a stylist. “Not everybody can be a food stylist,” Anderson says. “You have to be able to cook, but you still have to be creative. And you have to be able to work fast and under pressure.”

6. THEY LIVE OUTSIDE OF LOS ANGELES NOW.

Now that movies and TV shows are frequently filmed all over the world, instead of just on sets in Los Angeles, food stylists can be based anywhere. There is a concentration of stylists who live in Vancouver, British Columbia, for example, because that's where many shows are now filmed. Labor laws also often require production crews to hire locally, so residing outside of L.A. can be a real advantage.

Some commercial food stylists, like Anderson, are flown in for shoots. “Food stylists can make or break a commercial,” she says. “And if you have trouble and you don't know what you're doing, it can be a real problem for production.” This is especially true on out-of-the-country shoots, when stylists don't have the resources that they’re used to. So clients who know her and her skill level, such as Taco Bell, will fly her to wherever they're filming.

7. THEY TALK LIKE CHEFS AND FILMMAKERS.

hand styling pancakes
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Food stylists use a mix of back-of-the-house kitchen lingo and film jargon. Some examples: The “hero” is the food that is written into the script, is being shot, and must appear in front of the actor. “Bite and smile” is when an actor takes a bite of food and pretends to like it. “All day” is the total number of items needed; if they needed five turkeys on a set, they would say “five all day.”

8. NOT EVERYONE WANTS TO BE IN THE MOVIES.

Food stylists usually specialize in different media: film, TV, commercials, or print editorial. Stylists often prefer one over the other. Print editorial is shot in a controlled studio and tends to have more leeway for creativity. Commercials are tied to a brand’s specifications. Film and TV shoots on location are in unpredictable settings and can be physically demanding. But everyone tends to work long, 12- to 14-hour days. For commercials, it can often take three days to shoot one 30-second spot.

When working on a movie or TV show, the actors’ demands usually take precedence over the food needs. After working on one film, Anderson had had enough and dedicated herself to commercial work. “When I do commercials, the food is the star,” she says. “So [the directors] want to make sure I have everything I need. On a movie, they could care less about you.”

9. FOOD STYLISTS DON’T JUST MAKE FOOD.

Laurence Fishburne as Jack Crawford, Mads Mikkelsen as Hannibal Lecter on Hannibal
NBC

Sometimes food stylists are expected to create sci-fi props—what would a person eat in the year 3000?—or fantasy items that they have no experience with. While working on the TV show Agents of S.H.I.E.L.D., Oliver made gooey, edible slime from her imagination. “I also had to roll with the [actors’] different dietary needs,” she says. “I had to be able to make vegan slime, sugar-free slime, gluten-free slime, gelatin-free slime … Slime, any way you want it.”

Oliver also has to make items that you don’t really want to put in your mouth. While filming the TV show Big Little Lies, she made green-colored vomit for actress Reese Witherspoon of cucumbers and parsley. She says it was tasty, like green gazpacho. For a war film, she had to make 400 pounds of “dirt” for a group of prisoners of war to eat. She got Pakistani soil shipped to California so she could match it exactly. (Her recipe: ground-up Oreos and graham crackers, mixed with brown sugar and white sugar.)

Janice Poon, the food stylist behind the cannibal-centric TV show Hannibal, had a more challenging obstacle: how to make dishes that resembled human flesh. She refused to do research on cannibalism websites, she told HopesAndFears.com, but she studied a lot of anatomy books. “I’m just like Dr. Frankenstein,” Poon said. “I’m always stitching things, exchanging, putting one kind of meat on a different bone, patching stuff together. ... The key is to let the viewer’s imagination do more of your work.” She transformed veal shanks into human legs, and used prosciutto slices to mimic slivers of a human arm.

10. THEY PACK SOME SERIOUS GEAR.

When shooting, stylists need to be prepared for anything. They carry tools including tweezers, scissors, paint brushes, knives, offset spatulas, wet wipes, syringes, rulers, Q-tips, and spritz bottles.

“Think about your kitchen: all of your mixing bowls and utensils … I have that times 10 in my kit,” Anderson says. She also has a torch on hand for quick-cooking burgers and cold spray for extending the life of ice cream. Other stylists may have glycerin for adding shine or Kitchen Bouquet sauce for adding color. Poon often uses a white ceramic knife so she can see what she's doing on dark sets and work more quietly, so as not to disturb the acting process.

Food stylists sometimes work in erratic environments. Oliver brings her own 17-foot, cab-over truck to shoots. “It has a lift gate and everything's on wheels, so I can take everything out and have a kitchen in the middle of the desert, if I want,” she says. Inside, she has a full commercial kitchen: a six-burner stove, refrigerator, microwave, grill, freezer, prep tables, storage, TV, and a generator.

11. THEY’RE SKILLED AT IMPROV.

When production starts, the prop team sends memos to actors or their reps asking about food allergies and dietary restrictions. As trained chefs, most food stylists are happy to accommodate such limitations, cooking convincing swap-outs. “I find out what they will eat and make it happen,” Oliver says.

For example, Poon once made a convincing vegan “raw meat” on Hannibal using only grains. “I made lamb tongues out of bulgur and water,” Poon told HopesAndFears.com. “It’s like making a Lebanese kibbeh. You mix cracked wheat with water and it makes a kind of mush that holds together. The texture is a little 'nubbly,' so I added a pink food coloring, made little tongues out of kibbeh dough, steamed them up, and they were my little lambs’ tongues.”

Sometimes a director changes his or her mind at the last minute, and what was supposed to be a spaghetti dinner, for example, is now a breakfast spread. So the food stylist will squish down the meatballs and turn them into sausage patties. In an interview with NPR, food stylist Melissa McSorley recalled a time when a movie director suddenly decided to cut open a birthday cake she had made. The problem: It wasn’t real.

“So we had to cut the cake that was made out of Styrofoam, and I had to use a saw in order to do it because none of my knives could get through it,” McSorley said. “And then we had to layer in cake so it did look like it was real and then we had to send people scurrying to many markets to find white layer cake so it looked like people in the background could be actually be eating the cake.”

12. THERE’S ALWAYS THE SPIT BUCKET OPTION.

Nikolaj Coster-Waldau, David Bradley in Game of Thrones
HBO

Professional actors will often pick at the food in front of them, but not eat it because they know their scenes are going to require a lot of takes; they could be eating birthday cake for eight hours straight. Others dive right in. For a scene in The Guilt Trip (2012), actress Barbra Streisand had to pretend she was in a steak-eating contest. Oliver says they went through more than 300 pounds of meat for that scene’s three-day shoot and Streisand was totally game.

“But there’s a part towards the end where she has to eat really quickly and do a line without, you know, choking and dying,” Oliver says. “So I switched out the steak with seared watermelon. She took one bite and it sort of dissolved in her mouth, so she could do her line. If you watch it, and you really listen, you can hear the crunch of the watermelon.”

Sometimes, though, the spit bucket is the only option. In season one of Game of Thrones, the character Daenerys Targaryen had to eat a whole horse heart. But the actress who plays her, Emilia Clarke, actually had to eat 28. They were made of solidified jam, which tasted like “bleach and raw pasta,” she told The Mirror. “It was very helpful to be given something so truly disgusting to eat, so there wasn’t much acting required. Fortunately, they gave me a spit bucket because I was vomiting in it quite often.”

13. SOMETIMES THEY’RE SURPRISED BY THE FINAL PRODUCT.

Food stylists who work on multiple projects at a time, like Oliver, can’t always stick around to see how their food will be used. They may later find out that a gorgeous spread was relegated to the background, or worse. For a scene in Seinfeld, Oliver was once asked to prepare a perfect, glistening turkey. “Later I was home watching the episode and they had put the turkey on Kramer!” she says. “I was literally crying I was laughing so hard. Never in a million years did I think my turkey was going to end up with a guy’s head.”

14. THEY THROW EPIC DINNER PARTIES.

Food stylist preparing vegetables
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You’d think that being around food all day would make food stylists tired of making things look nice. But most food stylists love to cook, and on the days they aren’t working, they love to throw parties. “People always expect to have beautiful food,” Anderson says. “And I don't disappoint.”

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