He relishes in obsessing over something small.” You could never do that in a movie today, but Tim does. My favorite moments are when they take a second to just revel in a joke they just told. They would stop a plot - however loose that plot was - to be madmen. He finds something 99% of humanity would let go and that’s what his characters give their attention to. “I think of Harpo pulling things out of a coat that wouldn’t have existed in a coat, and Tim does that same thing by utilizing minutiae. The latter, in particular, “strikes me as a descendant of the Marx Brothers,” Keegan said. I asked what the best sketch shows of the moment are and he said, without pause: HBO’s “Black Lady Sketch Show” - whose breakout Robin Thede went through Northwestern University then Second City - and Netflix’s “I Think You Should Leave,” co-created by Detroit native and Chicago Second City star Tim Robinson. Not that physical chaos is any less fine-tuned. In Chicago, you could get away with experimenting.” In Detroit, there was not yet an educated improv or sketch audience, so when we did big physical humor or marriage humor, that was most successful. They had been trained to watch this kind of sketch. Someone in Chicago told me the majority of people in the audience there, for a long time, came from the 60614 ZIP code. That was my experience when I came over from Detroit. “Detroit was extremely physical and very raw, and there was something much headier about the Chicago stage. “There was definitely a difference of styles,” he said. He came up through the Second City ecosystem, first in its satellite Detroit troupe, then through Second City’s e.t.c. He knows instinctively where a sketch needs to veer out of control, and where it needs a beat of silence. Keegan - whose own contribution to sketch comedy, as half of the duo Key & Peele, would need inclusion in any serious discussion of the funniest sketches ever - keeps a kind of proper, formal bearing in everyday life that serves his sketch characters well. But as Cross’ monologue grows increasingly furious - “Someone answer me! Don’t look at each other! Look at me!” - Odenkirk and Stamatopoulos squirm, unsure if they should respond to this actor who is auditioning by pretending - maybe? - to be in an audition. Show.” The setup: Cross auditions for Odenkirk (Second City vet, Naperville native) and Dino Stamatopoulos (Columbia College alum, Norridge native) and asks to perform a monologue ironically titled “The Audition.” The problem: every time he seems to address Odenkirk and Stamatopoulos, they politely reply and Cross must stop - no, no, that’s a part of his monologue. Key and Key’s pick? Bob Odenkirk and David Cross’s “The Audition,” from HBO’s influential ‘90s series “Mr. ![]() But there is a smart married comedy couple, Elle Key and Keegan-Michael Key, actor (him), producer (her), now co-authors of a slender, conversational book, “The History of Sketch Comedy.” And by the end of that history, they try to answer this question, and thus, must go through Chicago. From any source - Abbott & Costello, Monty Python, “Saturday Night Live,” “Portlandia,” “Chapelle’s Show.” There’s no ruling body on the question, not even a Rolling Stone-esque comedy magazine to claim that authority.
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