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But for Gen Z viewers and millennials who might not have ever heard of them – and many haven't – it's also their way of saying, "Hey folks, here are those Canadians whom Gen X olds used to think were edgy!"īut they're also reminding the audience of their status as television's premier sketch troupe, one of the few that has found lasting success outside of " Saturday Night Live" (which featured McKinney as a cast member from 1995 through 1997), "Monty Python's Flying Circus" and more recent hits like " Key & Peele." This too is a wink, picking up from their 1995 farewell, when they were buried together to decisively end the series.
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Kids in the Hall (Jackie Brown/Amazon Studios) But despite the eight-episode return's official reintroduction, which shows McKinney, Thompson, Foley, Bruce McCulloch, and Kevin McDonald being unearthed from their shared burial site by longtime writer Paul Bellini, they're decidedly not dead. They revel in their age, actually – the group's youngest member, Foley, is 59. "The Kids in the Hall" are old and they know it. But the producers accentuate the keenness of this loss less than his passionate sentimentalizing of the only part that remains of his favorite bathhouse: the Last Glory Hole, which has somehow gained sentience.
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Buddy, a controversial character back in the 1990s, is now a gay elder mourning the culturally eradicating effects of gentrification, transforming his former gay paradise into rows of tony cafes and restaurants. Its revival is stuffed with callbacks to their greatest creations, including Scott Thompson's popular nightclub host Buddy Cole. "The Kids in the Hall" originally aired between 19, with its original pilot episode debuting in 1988.
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And this is the essence of this Canadian troupe's subversive genius, won by shuffling critiques of first-world stupidity into a tall stack of inane. To know and love "The Kids in the Hall" means gleaning a twisted guffaw from these winks, but the comedy works even if its crumbs of topical humor slide by unnoticed. Moreover, this back-and-forth comes after sketches that lampoon, among other current subjects, Jeffrey Toobin's New Yorker incident, cultural appropriation, conspiracy-obsessed vigilantes, and post-apocalyptic boredom, all without specifically referring to any of the targets.Īnd some will recognize Don Roritor from the troupe's feature debut in 1995's "Brain Candy," whose flop status the revival embraces by describing in the very first scene as having been "dry heaved into existence because of a dark deal with the devil." (The Kids are Canadian, making that one a special laugh riot for the Brits, too.) He also speaks in a voice that mimics Lorne Michaels, who executive produces the revival and the five classic seasons coming before it.
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McKinney's executive has already made empty theater out of pretending to listen to women, dismissing a long conference table full of them with the condescending parting gift of a fanny pack. Provided you've watched all the sketches before this, you'll understand that this entire exchange is a mille-feuille layered joke. "That leaves puns, Marv," replies a nonplussed Don, shortly before bringing in another man to entertain him by repeatedly socking his loyal underling in the gut.
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Yes, Marv answers: "A funny show, but one that is free of targets, topical topics, alarming edginess, or unsettling settings."
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Six episodes into the new season of " The Kids in the Hall," corporate overlord Don Roritor (played by Mark McKinney) summons his underling Marv (Dave Foley) to ask him if he knows what Amazon wants from the revived version of the sketch show.