Mark McKinney, the Ottawa-born comedian, recently reflected on the intense pressure of writing for "Saturday Night Live" (SNL), a memory that still haunts him decades later. Speaking from Toronto, McKinney described moments of panic where he relives the stressful deadlines of his past, particularly the anxiety of not having a sketch’s ending figured out at 4 AM on a Wednesday. “That’s when the PTSD sets in,” he humorously noted.
This weekend, McKinney plans to attend celebrations in New York City marking the 50th anniversary of SNL. While many recognize him from the Canadian comedy troupe The Kids in the Hall or his current role on CTV’s “Mark McKinney Needs a Hobby,” he initially joined SNL as a writer in 1985. He later became a cast member from 1995 to 1997, a period he recalls as a grueling experience, with his uniquely absurd style often contrasting with the show's conventional humor.
McKinney described the surreal moment when Lorne Michaels recruited him and fellow Kids member Bruce McCulloch for SNL’s eleventh season, following Michaels' five-year hiatus. Alongside fresh writers, the season featured a new cast, including Randy Quaid, Robert Downey Jr., and Joan Cusack. Reflecting on his early days in the show, he stated, “I was working at a Second Cup, barely making rent in Toronto, and then three weeks later, I’m giving notes to Madonna on one of my sketches.” He humorously recalled how Al Franken had to remind him not to critique the pop star, who was at the height of her fame and had just married Sean Penn at that time.
His sketches often landed in SNL's final segments, typically reserved for more experimental bits. One notable sketch he and McCulloch penned for Madonna never aired. It involved the pop icon seducing a paper boy, played by then-cast member Anthony Michael Hall, who was just 17 years old at the time. “It was Anthony Michael Hall telling Madonna he couldn’t come around anymore because she had to stop dragging him into her bedroom,” McKinney recalled. However, Hall ultimately refused to perform the skit, stating, “I don’t want to play teens anymore.” This refusal marked McKinney’s first encounter with disappointment at SNL, as the set had already been constructed and then dismantled after being nixed the following morning.
Over time, McKinney grew accustomed to the rejection of his sketches. To cope, he and McCulloch frequently returned to Toronto on weekends to perform live with The Kids in the Hall. They thrived in this environment, writing prolifically and creating the kind of comedic content they preferred, contrasting the limitations they faced on SNL. He expressed that despite the threat of their comedy troupe breaking up, it was a productive and rewarding year for them.
Later, when Michaels attended one of their performances in Toronto, it led to a CBC development deal for their own series, which debuted in 1989. Reflecting on this development, McKinney stated, “We got to do our own show autonomously because when you have Lorne Michaels as your producer, you get some creative protection that you might not otherwise have.” After “Kids in the Hall” concluded, McKinney was eager for a sixth season and was eventually invited back to SNL, returning as a cast member.
Despite feeling like a “mismatch” during his second stint on SNL, McKinney reported having no regrets. He admitted, “I kept trying to do ‘Kids in the Hall’-type sketches on ‘SNL,’ which is a fundamentally different show. I didn’t really think through what I was doing,” yet he relished the experience. “How can you not? Every Saturday at 11:30 when that theme kicks in, it’s like, wow, goosebumps every time,” he conveyed, emphasizing the thrill of that iconic moment.
This reflective piece serves as a testament to McKinney's unique journey through the worlds of comedy and television, showcasing both the challenges and triumphs he has faced along the way.
