Entertainment
The Raunchy, Out-Of-Control 90s Comedy Series Cancelled After One Gloriously Offensive Season
By Robert Scucci
| Published

The Dana Carvey Show is a fascinating watch because it was fearlessly ahead of its time, but it’s also so topical that it can really only function as a relic of the past. When it debuted in 1996, it was considered so unhinged and unwholesome that it couldn’t even finish its one-season run before getting pulled from ABC, airing only eight of its planned 10 episodes. Looking back at it today, it plays like pretty standard fare. It’s offensive and edgy, but in that “I can’t believe they got away with this in the 90s” kind of way.
Let me explain. The Dana Carvey Show aired on Thursday nights at 9:30 pm, right after one of the greatest family sitcoms of all time, Home Improvement. Sponsors weren’t comfortable kicking things off with a Mature Audiences disclaimer because they worried it would alienate viewers.

What they didn’t anticipate was that the first sketch of the premiere episode, depicting Bill Clinton breastfeeding a baby doll and several barnyard animals with a chest full of prosthetic nipples, would do all the heavy lifting in scaring away potential audiences and sponsors. Mission accomplished.
Edgy 90s Liberal Boomer Funny, Not Haha Funny
Like most sketch shows that lean hard into topical humor, The Dana Carvey Show lives and dies by the news cycle. Carvey delivers his takes on Bill Clinton, Newt Gingrich, Jay Leno, H. Ross Perot, and a long list of political and celebrity figures. It’s funny in the moment if you’re actively living through the news cycle it’s roasting, but it’s also the kind of humor that doesn’t have much staying power. Tuning into The Dana Carvey Show in 2026 specifically for those sketches can feel underwhelming because topical humor rarely transcends generations the way more evergreen material does.

South Park’s most recent seasons fell into this trap as well, pulling in huge viewership numbers for headline-driven episodes that are met with mixed reviews later. It’s not that the jokes aren’t funny, they just don’t always age gracefully because the context of its humor evaporates over time.
The Dana Carvey Show truly shines when it leans into its more absurd and surreal instincts. Sketches like “Grandma the Clown,” “Waiters Who Are Nauseated by Food,” “Skinheads from Maine,” and “11 O’Clock News That’s Easy to Take” still work because they stand on their own. There’s no need to lampoon whatever dominated the headlines that week in these bits, which is why the comedy still lands decades later. There’s material coming out today with similar sensibilities, and these sketches feel right at home alongside it.

My personal favorite recurring sketch involves two painfully stupid pranksters, portrayed by Dana Carvey and Steve Carell. The pranksters roll up to a drive-thru or a movie ticket counter, pay for a good or service while trying not to laugh, then sprint away giggling like lunatics as if they just pulled off the heist of the century.
As the episodes progress, the bits escalate, culminating in the duo paying a prostitute $300 for a threesome, only to bolt from the room cackling and congratulating themselves for being comedy geniuses. It’s juvenile and ridiculous, but that’s what makes it so funny. It’s two grown men playing a modified version of ding dong ditch and having the time of their lives, and that’s all it ever needs to be.
Sponsors And Time Slot Were The Show’s Undoing
Had The Dana Carvey Show aired at 11:00 pm on a Friday night instead of closing out ABC’s Thursday primetime lineup, its fate might have been very different. Each episode blatantly named its corporate sponsor, as in The Mountain Dew Dana Carvey Show, which made advertisers understandably nervous given the show’s willingness to push buttons. PepsiCo, Inc. sponsored the first five episodes, but its restaurant affiliates, Taco Bell and Pizza Hut, were immediately turned off by the series premiere’s opening sketch, reportedly pulling out of a deal that would have brought in roughly $600,000 per episode.

The Dana Carvey Show felt doomed from day one, but I’m glad it still exists on streaming. It helped put Steve Carell and Stephen Colbert on the map, and it introduced Robert Smigel’s Ambiguously Gay Duo, which would later find a permanent home on SNL as a recurring animated segment. For a show that barely survived eight episodes, its comedy tree has surprisingly deep roots.
While I’m usually turned off by hyper-topical humor, I’d still recommend The Dana Carvey Show to any sketch comedy fan with the patience to wait for the truly timeless bits sprinkled throughout its run. And if you’re curious about the chaos behind the scenes, 2017’s Too Funny to Fail is essential viewing. Everybody involved with The Dana Carvey Show speaks fondly about what went into its production, how the sponsors reacted, and how ABC ended up airing The Diet Mug Root Beer Dana Carvey Show immediately after a heartwarming Home Improvement episode in which Randy faces a cancer scare. It’s one of those rare instances where the humor surrounding a series’ controversies is more memorable than the show itself.


The Dana Carvey Show is currently streaming for free on Tubi.
Entertainment
How I scored ad-free Paramount+ Premium for only 99 cents
SAVE $26: As of April 22, returning subscribers can score two months of ad-free Paramount+ Premium for only 99 cents per month with the code N8C27L. Usually $13.99 per month, that’s $26 in savings. Just note that your mileage may vary.
$0.99/month for 2 months (save $13/month) with code N8C27L
If you’re looking to save some money on your streaming lineup, my number one recommendation is to cancel your subscriptions. While it doesn’t work for every streamer, many will offer you a special discount to come back. Not to mention, you’ll be eligible for any new deals that may appear that are marketed to “new and returning customers.” Case in point: as of April 22, returning subscribers can get two months of ad-free Paramount+ Premium for just 99 cents per month.
I’ve tested this out myself, so I can vouch for it. When you navigate to Paramount+ and sign in to your existing account, you’ll be prompted to pick a plan. Select the Paramount+ Premium monthly plan for $13.99 per month. On the “Welcome back!” page, scroll down to the box that says “Have a promo code?” and enter N8C27L. Once you hit “apply” the price should drop to just 99 cents per month.

Credit: Paramount+
That’s all, folks. You can take advantage of two full months of ad-free Paramount+, Showtime, BET, CBS, Comedy Central, MTV, Nickelodeon, CBS live TV, UFC fights, and more for less than two bucks. That’s $26 total in savings.
Mashable Deals
Paramount+ has a surprisingly hefty library. Subscribers can enjoy Paramount+ Originals like Landman and RuPaul Drag Race All Stars, Showtime series like Dexter Resurrection and Yellowjackets, CBS hits like Survivor and NCIS, and nostalgic shows from Nickelodeon and MTV. Not to mention, there’s a lineup of movies that’ll keep you fully entertained for your two-month promotional period. Just be sure to cancel again before the second month is over if you want to avoid paying full cost. You can always sign up again when another deal arises. I know I will.
Entertainment
How Stargate SG-1 Used A Classic Trope To Emotionally Wreck Its Fans
By Jonathan Klotz
| Published

Garfield and Friends said it best: “Oh no, we’ve resorted to an evil twin storyline.” Star Trek: The Original Series did it the best with Mirror Universe Spock, and ever since, it’s been a lazy excuse for every series to use when they run out of ideas. The exception is Stargate SG-1’s sixth episode, “Cold Lazarus,” which plays with the trope by making the twin less evil and more confused.
When fans say they skip this episode when rewatching, it’s not because it’s a lazy, poorly written episode. In fact, it’s the opposite. The ending of “Cold Lazarus” is a pivotal character moment for Jack O’Neill (Richard Dean Anderson) and a gut punch to the audience.
Stargate SG-1’s First Evil Twin

“Cold Lazarus” opens with the SG-1 team on a planet that doesn’t look like Vancouver (it was a giant pile of sulfur at the port of Vancouver). The desert landscape is dotted with shattered blue crystals that look like the remnants of a civilization until we see a crystal eye-view of O’Neill, a mysterious light knocks him out, and all of a sudden, a second O’Neill is looking down at the first. Turns out, the crystals are the civilization.
Fake O’Neill is trying to figure out who O’Neill is and what SGC is all about. When he pulls out photos of his family, it takes Samantha Carter (Amanda Tapping) by surprise. O’Neill’s never mentioned his wife, Sara, or his son, Charlie. Confused, the Fake O’Neill goes to the home, where Sara is disgusted he’d come by and thinks it’s a sick joke that he’s asking about Charlie. If you’re wondering if you missed a key part of O’Neill’s backstory, don’t worry, this is the first time that either Sara or Charlie is mentioned, and tragically, we soon learn why.
No One Ever Dies

Charlie shot himself with O’Neill’s gun. Fake O’Neill starts to piece this together when he goes into Charlie’s old room and breaks down, prompting Sara and him to finally have the conversation about their shared grief. Back in SGC, the crystal’s nature is revealed to be an energy alien calling itself Unity, which accidentally killed a Jaffa, and the Goa’uld shattered them in retribution. That’s when O’Neill stumbles back through the Stargate, and the team realizes the mistake they made.
The Fake O’Neill is soon captured at a local hospital, suffering from Earth’s radiation, where he explains that he sensed O’Neill’s pain after he took his form and wanted to help ease the suffering, as nothing ever truly dies to Unity. To prove its point, Unity transforms into Charlie, giving O’Neill and Sara one last chance to see their child. Fans who haven’t lost a child can understand the emotion, but for fans who have, this scene is emotional torture, in the best way possible.

Jack knows this isn’t Charlie, but he talks to him like he is, and then they walk together through the Stargate back to Unity’s planet. It’s a beautiful moment that explains so much about O’Neill’s throwing himself into work and how even his friendships remain professional. “Cold Lazarus” may have started out with the “evil twin” trope in full effect, but the ending is proof that even early during its run, Stargate SG-1 was going to be the greatest.
Entertainment
Star Trek’s Scariest Episode Secretly Answered Fans’ Oldest Complaint
By Chris Snellgrove
| Published

Star Trek is a long-running franchise filled with tropes, some of them more annoying than others. For many fans, the dumbest trope that keeps popping up is when there’s only one ship that can save Earth from one catastrophe or another. It always begs the question: why isn’t the seat of the United Federation of Planets better protected? It certainly feels like such an important planet would have its own fleet for protection rather than relying on a long-range vessel like the Enterprise to warp in and save the day.
However, it seems that Star Trek’s scariest episode might have secretly answered fans’ oldest complaint about the franchise. Over on Reddit, user u/Wallname_Liability presented a compelling theory: that in the Star Trek: The Next Generation two-parter “The Best of Both Worlds,” the collection of Starfleet vessels lost fighting the Borg at Wolf 359 was the home fleet. This theory would help explain that Earth was typically better-defended than we might imagine and why there were fewer ships to protect the planet in later movies and shows.
My Borg Friend’s Back (And There’s Gonna Be Trouble)

In Star Trek: The Next Generation, most of the adventures take place in deep space because the intrepid crew has an ongoing mission to explore strange new worlds, seek out new life and new civilizations, and (come on, you know you’re already saying it out loud) boldly go where no one has gone before. But in “The Best of Both Worlds,” a Borg Cube starts heading directly for Earth. The Enterprise crew tries to develop a weapon that can defeat this implacable foe, one who seems nearly unstoppable after they assimilate Captain Picard. Meanwhile, a fleet of Starfleet ships assembles at Wolf 359 for one last stand against the Borg.
Unfortunately, that entire fleet is wiped out. The Borg makes it to Earth, but the Enterprise manages to stop these bionic baddies after rescuing Captain Picard. Data exploits Picard’s connection to the Collective and puts the cube to “sleep,” and it explodes soon after that. Picard and his crew get a mostly happy ending, but the same can’t be said for the crew of the ships that fought at Wolf 359. All vessels were lost, and only a handful of people survived, including Benjamin Sisko and Liam Shaw.
Resistance Was Futile

According to this Redditor’s theory, the fleet that assembled at Wolf 359 was the home fleet assigned to (among other things) protect Earth. Some of the ships were likely already at Earth (possibly undergoing repairs or retrofits), and others might have been located near some of humanity’s older colonies. But everyone would have had to have been close enough to Earth to quickly warp to Wolf 359, a real star system that is only eight light-years from humanity’s home planet.
Why is the idea that this was the home fleet so important? In various Star Trek episodes and films, there has often only been one ship (usually the Enterprise) close enough to save Earth. In Star Trek: Generations, for example, the Enterprise-B is on a shakedown cruise, but it’s the only ship close enough to save the El-Aurian refugees from the threat of the Nexus. In Star Trek: The Motion Picture, only the Enterprise can intercept V’ger. In Nemesis, the Enterprise is the only Starfleet ship capable of preventing Shinzon from killing everyone on Earth, and so on.
The Best Of Trope Worlds

This trope can get frustrating when you start comparing Starfleet to, say, the United States Navy. How insane would it be if the whole country had to keep relying on a single ship to save us from major existential threats? Star Trek asks us to repeatedly believe that there’s only one ship within spitting distance of the entire solar system that can take care of the crisis du jour. It’s completely unbelievable, but this Wolf 359 home fleet theory helps make these frustrating moments make more sense.
It’s entirely possible that, in the time of Star Trek: The Original Series and its spinoff movies, there wasn’t a home fleet. Starfleet was a lot smaller back then. Remember, the original Enterprise was one of only 12 Constitution-class vessels. However, both The Motion Picture and The Voyage Home had Earth being attacked by seemingly unstoppable alien forces. In each case, the only man who could stop things was James T. Kirk, but Starfleet must have known he wouldn’t be around forever. Therefore, sometime before The Next Generation premiered, they developed a home fleet that could protect the Earth from overpowered alien attackers.
The Worst Massacre In Starfleet History

Or so they thought. The Borg wiped the floor with the fleet at Wolf 359, which helps to explain why the admiralty needed to assemble an ersatz fleet in First Contact. They were still rebuilding from earlier losses, and most spare vessels were probably being ordered to areas of interest as the Dominion War loomed near. Speaking of which, that war is the most likely reason that the Enterprise was the only ship that could help in Nemesis. The movie took place four years after the Dominion War ended, and once more, Starfleet would have needed time to fully rebuild its fleet.
Obviously, these are only theories, but they are compelling ones. It makes sense that Starfleet would have learned its lessons from V’ger and the Alien Probe and developed a home fleet, only for it to be destroyed by the Borg at Wolf 359. Afterward, the next big Borg attack and the Dominion War destroyed many vessels, all while requiring the existing fleet to stretch that much thinner. Fortunately, Earth was in good hands. No matter how bad the war with the Dominion got, Captain Sisko and Admiral Ross ensured that there was always a fleet or two close enough to protect paradise, even from those pesky Breen.
