5 Things Worth Knowing About What Lorne Michaels Did Before SNL
The pre-SNL career of Lorne Michaels reads like a comedy manual—equal parts genius and near-disaster. His trajectory wasn’t a straight line to success; it was a series of gambles, each teaching him something critical about the business. What emerges is a portrait of a producer who understood comedy’s rules well enough to break them. Here’s what his pre-SNL years reveal:1. He Was a Staff Writer on The Smothers Brothers Comedy Hour—And Learned How Far He Could Push
Michaels joined The Smothers Brothers Comedy Hour in 1967 as a staff writer, a show that blended music, satire, and political commentary in a way no network sketch comedy had before. It was a training ground for him—not just in writing, but in navigating the tension between artistic ambition and network censorship. The Smothers brothers, Tom and Dick, were willing to tackle subjects like the Vietnam War and civil rights, but CBS drew the line at certain jokes (like a sketch mocking the National Guard). Michaels saw firsthand how far a show could go before it became a target. When the network canceled The Smothers Brothers Comedy Hour in 1969—after a heated dispute over a Who’s Afraid of Virginia Woolf? parody—Michaels took note. The lesson? Comedy could be dangerous, but the right audience would reward the risk. The show’s cancellation also taught him something about power dynamics. Michaels later said he admired how the Smothers brothers fought for creative control, but he also saw how quickly networks could turn on a project. This would shape his approach to SNL: he’d need a show that could pivot quickly, mock its own network, and still keep NBC from pulling the plug. The Smothers experience was his first masterclass in how to push boundaries without getting blacklisted.2. He Co-Founded The National Lampoon—And Turned It Into a Comedy Powerhouse
If The Smothers Brothers Comedy Hour was Michaels’ introduction to TV satire, The National Lampoon was his apprenticeship in how to weaponize humor. He joined the magazine in 1969 as an editor and writer, helping to refine its brand of absurdist, anti-establishment comedy. Under his guidance, Lampoon became a launchpad for future SNL stars like Chevy Chase, Gilda Radner, and John Belushi, though they weren’t yet household names. Michaels’ role wasn’t just editorial; he was a hype man for the counterculture, pushing the magazine to mock everything from fraternity hazing to corporate America. The humor was crude, but it was also sharp, irreverent, and unapologetic—qualities that would define SNL. The magazine’s success led to The National Lampoon Show, a short-lived but influential TV series that aired in 1970. Michaels served as executive producer, and while the show lasted only nine episodes, it was a proving ground for SNL’s DNA. Chevy Chase’s "Fonzie" character debuted here (as Arthur "Fonzie" Jefferson), and the show’s format—mixing sketches with musical numbers—previewed SNL’s eclecticism. The failure of The National Lampoon Show (due to low ratings and network interference) didn’t deter Michaels. Instead, it confirmed his belief that comedy needed a home where the rules were flexible, the jokes were edgy, and the performers were given room to experiment.3. He Worked as a Stand-Up Comic—And Flopped (But Learned Valuable Lessons)
Before he became a producer, Michaels tried his hand at stand-up comedy in the late 1960s, performing in clubs like Chicago’s Second City and New York’s Comedy Store. His material was self-deprecating, observational, and laced with dry wit, but he wasn’t a headliner. In fact, he reportedly quit stand-up after a particularly brutal heckler told him he was "boring." The experience stung, but it also taught him something crucial: not every performer is built for the spotlight. Michaels realized his strengths lay in shaping others’ talents, not performing himself. This self-awareness would later help him cast SNL—he’d surround himself with stars while staying in the background, pulling the strings. His stand-up days also gave him insight into what made audiences laugh. He noticed that the best comedians—like Richard Pryor and George Carlin—weren’t just funny; they were storytellers who connected with the frustration of the moment. This understanding would inform SNL’s early seasons, where sketches about watergate, disco, and suburban alienation resonated because they felt urgent and real. Michaels’ brief flop as a comic wasn’t a failure; it was a detour that clarified his path.4. He Produced The Kentucky Fried Movie—And Proved He Could Handle Big Budgets
In 1977, between The National Lampoon Show and SNL, Michaels produced The Kentucky Fried Movie, a parody of The Kentucky Fried Chicken franchise. The film was a financial disaster, losing millions at the box office, but it was a critical success and a cult favorite. For Michaels, it was a high-stakes experiment in blending satire with mainstream appeal. The movie’s failure didn’t deter him; instead, it reinforced his belief that comedy could be risky, but it had to be smart. The experience also gave him credibility with studios and networks, proving he could handle big-budget projects while keeping the humor sharp. More importantly, The Kentucky Fried Movie was a test run for SNL’s tone. The film’s mix of absurdity and social commentary mirrored what Michaels wanted for SNL: a show that could mock everything from fast food to political hypocrisy without losing its edge. The flop taught him that even the best ideas needed the right audience, a lesson he’d apply to SNL by ensuring the show’s humor was timely, relevant, and just edgy enough to keep viewers talking.5. He Was NBC’s Go-To Fix-It Man—And Took Over SNL When No One Else Would
By 1975, NBC was desperate to save SNL, which had been renamed NBC’s Saturday Night and was struggling in the ratings. The network had tried multiple producers, but none could crack the formula. Lorne Michaels was the fifth choice—and the only one who saw the show’s potential. He took over in September 1975, just weeks before the first episode aired. His pre-SNL experience—especially his work on The National Lampoon Show—gave him the confidence to bet on unknowns like Dan Aykroyd, John Belushi, and Gilda Radner, even when NBC executives urged him to hire bigger names. Michaels’ decision to give the cast creative freedom was a direct result of his earlier failures. He’d seen how network interference could kill a show (The National Lampoon Show) and how censorship could stifle comedy (The Smothers Brothers Comedy Hour). With SNL, he created a safe space for chaos, where performers could improvise, fail, and still land the big joke. His pre-SNL career had taught him that comedy thrives on constraints, but only if those constraints are self-imposed. By the time SNL premiered, Michaels wasn’t just a producer; he was a strategist who knew how to turn a failing concept into a cultural phenomenon.
How These Facts Connect
Lorne Michaels’ pre-SNL career wasn’t a series of unrelated jobs—it was a methodical education in what comedy could be. His time at The Smothers Brothers Comedy Hour taught him the limits of network TV; The National Lampoon showed him how to build a brand around countercultural humor; his stand-up flop clarified where his strengths lay; The Kentucky Fried Movie proved he could handle big risks; and his role as NBC’s fix-it man confirmed that he was the only one willing to bet on the unknown. Each experience was a piece of a puzzle that, when assembled, became SNL. What connects these dots is Michaels’ instinct for timing. He didn’t just recognize talent; he understood when the cultural moment was right for a certain kind of humor. The late 1960s and early 1970s were a time of political upheaval, social change, and media saturation—perfect conditions for a show that could mock everything from disco to Nixon. His pre-SNL work gave him the flexibility to adapt, whether it was pivoting from a failing TV show to a magazine, or from stand-up to producing. The question what did Lorne Michaels do before *SNL isn’t just about his resume; it’s about how he turned every setback into a lesson.| Experience | Key Lesson | Impact on SNL |
|---|---|---|
| The Smothers Brothers Comedy Hour | Networks fear bold humor. | Created a show that could mock NBC without getting canceled. |
| The National Lampoon | Absurdity sells if it’s sharp. | Built SNL’s brand around irreverence and social commentary. |
| Stand-Up Comedy | His strength was shaping others. | Surrounded himself with stars while staying behind the scenes. |
Conclusion
Lorne Michaels’ pre-SNL career was a masterclass in controlled chaos. He didn’t follow a traditional path to success; he stumbled, adapted, and bet on the right risks. His early failures—The National Lampoon Show, his stand-up career, even The Kentucky Fried Movie—weren’t detours; they were necessary detours that taught him what worked and what didn’t. By the time he took over SNL, he wasn’t just a producer; he was a strategist who understood comedy’s rules well enough to rewrite them. The question what did Lorne Michaels do before *SNL isn’t just about his past—it’s about how that past shaped the future of comedy. His pre-SNL years weren’t a warm-up act; they were the blueprint for a revolution. Without them, SNL might have been just another failed sketch show. With them, it became the template for modern comedy.Comprehensive FAQs
Q: Did Lorne Michaels ever work as a comedian before SNL?
A: Yes, Michaels tried stand-up comedy in the late 1960s, performing in clubs like Chicago’s Second City and New York’s Comedy Store. His material was self-deprecating and observational, but he reportedly quit after struggling to connect with audiences. The experience taught him that his strengths lay in producing and shaping others’ talents rather than performing himself.
Q: How did The National Lampoon Show influence SNL?
A: The National Lampoon Show (1970) was a direct precursor to SNL, introducing many of its key elements: absurdist humor, musical numbers, and a mix of sketches that mocked everything from fraternity culture to corporate America. Michaels’ role as executive producer gave him hands-on experience in balancing comedy with network demands, a skill he’d later refine for SNL. The show’s failure also taught him that comedy needed a home where the rules were flexible—a lesson he applied to SNL by giving performers creative freedom.
Q: Why was The Kentucky Fried Movie important to Michaels’ career?
A: The Kentucky Fried Movie (1977) was a financial flop but a critical success, proving Michaels could handle big-budget satire. The film’s mix of absurdity and social commentary mirrored the tone he wanted for SNL. Its failure also reinforced his belief that comedy had to be smart and timely—a philosophy he’d use to keep SNL relevant through decades of cultural shifts.
Q: How did Michaels’ time at The Smothers Brothers Comedy Hour shape SNL?
A: Working on The Smothers Brothers Comedy Hour taught Michaels how networks could stifle bold humor. The show’s cancellation after clashing with CBS over political content showed him the importance of navigating censorship while pushing boundaries. This experience directly influenced SNL’s structure: Michaels created a show that could mock NBC without getting canceled, giving performers the freedom to improvise and take risks.
Q: Was Michaels always the top choice to produce SNL?
A: No, Michaels was NBC’s fifth choice to take over SNL in 1975. The network had tried multiple producers before him, but none could crack the formula. His pre-SNL experience—especially his work on The National Lampoon Show—gave him the confidence to bet on unknowns like Dan Aykroyd and John Belushi, even when executives urged him to hire bigger names. His willingness to take risks was the key to SNL’s success.
