Michael J. Arlen’s 1975 review of “an appealing new comedy program called ‘Saturday Night.’ ”
Much of the appeal of “Saturday Night” lies in its contrast with this ubiquitous show-business language. Its format, like that of most comedy programs, consists of a familiar assembly of skits, songs, and monologues, but the spirit of the material is in opposition to conventional show business—especially to the rituals of mass-entertainment television. To begin with, the physical presentation of the program is deliberately untidy and informal.
That was a period when middle-class America was beginning a nearly mass communion with psychiatry, or, certainly, with the forms or language of the psychiatric experience, and it was the personal gropings of the psychiatric patient—the stumbling, sensibility-prone, identity-obsessed assertions—that formed both the underpinning of the new humor and the material to play off on. Many Americans were attempting to find their “real selves.
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