In his memoir, Tracy Morgan wrote, 'I could remember those two, especially those two people, treating me like the invisible guy.'
working environment is notoriously intense — long, late hours, competition for airtime, and the immense intimidation of millions of eyes on you. I imagine it would feel like working in a pressure cooker, where every little disagreement with or dislike for someone reaches a boiling point.
, John went into Chevy's office, pointed at a picture of his girlfriend on the desk, and said,"'Oh, you have one of those, too? You've got the regular one. I've got the one with the donkey dick.'", Chevy stole the spotlight. In the book, producer Dick Ebersol said,"John is radically pissed off, because he sees Chevy running away with the show. Now it's going to be all about Chevy. Onstage, John had to be the star, not Chevy.","I discovered later it was with the instigation of John Belushi, who apparently was a little bit jealous that I had become the standout guy the first year, when John deserved to. And he did; John was our ringer. But television doesn't care too much about ringers who are short and have a beard. Somehow they took to the tall, thin, handsome guy."magazine that Jimmy Fallon irritated him and the rest of the cast with"laughing and all that dumb he used to do." He added,"He wouldn't mess with me because I didn't ing play that shit. That's taking all the attention off of everybody else and putting it on you, like, 'Oh, look at me, I'm the cute one.' I told him not to do that shit in my sketches, so he never did.", Tracy Morgan called out castmates Chris Kattan and Cheri Oteri for allegedly disrespecting him. He wrote,"I could remember those two, especially those two people, treating me like the invisible guy. Now look where they at. Cheri Oteri, she can't even get arrested."Saturday Night Live . And I don't mean — that's not even me, but that's what happened to me over there. They never treated me well. There were people that treated me beautifully, like Will Ferrell and Colin Quinn and Molly Shannon — I love them. But Cheri Oteri and Chris Kattan — I never cared for them either. Fuck 'em."Live from New York: The Complete Uncensored History of Saturday Night Liveseveral anti-gay and anti-Muslim comments. Jan said,"Victoria Jackson? I thought she had a pretty good gig. I just have a particular repulsion to grown women who talk like little girls. It's like, 'You're a grown woman! Use your lower register!',"Nora told us the first day I was there that she had a close relationship with Lorne . I'm not spreading gossip, since she actually told everyone herself — probably to intimidate us. I don't respect people who do that. I just went, 'Oooh.' We had this meeting, and one of the producers asked us what was wrong with the show. And everyone was supposed to say something, but no one was saying anything. And it was all of us sitting on the floor like high school or kindergarten or whatever. And finally I go, 'O.K., I'll say it in one sentence. You really want to know?' So then I was shaking, and I stood up and told everyone that what was wrong with the show was those two women — I pointed to Nora and Jan — and all the things they did bad.""They didn't cooperate in sketches, and they slammed doors in people's faces and backbite and backstab and all that, you know. And then there was, like, silence, and no one said anything. And so they both got up, really slowly, and walked out of the room. And then I said to the others, 'Thanks a lot for standing up for me.' And Dana goes, 'You didn't hear anyone disagreeing, did you?' And everyone burst out laughing," she said.that, when Victoria Jackson presented each cast member with a Bible audiobook for Christmas,"It didn't surprise me... I don't understand anyone who plays a character in real life unless they're having an intellectual discussion, which I never had with Victoria. When I met her, I was surprised that there was not much difference between what she did in front of the camera and what happened off camera. For me, it tried my patience.","I am not interested in what Victoria Jackson has to say. She has said Obama is a Muslim who has imposed Sharia Law on us — crazy stuff like that... I felt for Victoria because I don't think she fit in on. And I couldn't work with her because we weren't on the same page — ever. We weren't even in the same book. We happened to be on the same show."that, when she once walked in on them in the middle of an argument,"They're sitting there steaming a little bit, and all of the sudden, Al leans forward and says, 'Victoria, surely as a Christian you care about people's health care, surely you would believe in that.' And Victoria says, 'Well, if people died sooner, people will go to Heaven sooner.' And I start laughing because I thought she was being funny, and she says, 'No. They will meet Jesus sooner.'"that Al once told her that he and several other castmates didn't buy her"ditzy act," so she told him that her voice was a result of her congenital palatal deficiency. She added,"I told him maybe I am overcompensating because everybody here is going to hell and I'm supposed to tell them about Jesus." At that point, he allegedly walked away from the conversation.,"We sort of had a little friction. We got hired together; we were best buddies. But some things happened. I think he didn't put my name on a sketch the first time, he didn't tell me about a writers' meeting. So I thought he was trying to get me fired, which was very easy at that point."that Mike"barely included" Dana's character in his initial script and that they disagreed over Mike's desire to direct the movie. However, reps from Paramount and both actors' management denied this., no one I knew was doing him, and I first saw him on Wednesday night picking the show. It would get kinda tense, and they put the cards on the board. And my first hook into Lorne — 'cause usually it's one phrase — was Lorne saying, 'Um, I still have no fucking first act.' Now, he would bite his nails. I just . Then, when I saw Mike do it, I did kinda go, 'Hmmm,' but, you know, it's a long time ago. Look, it's a really funny affectation because it's so specific."When Howard asked if he'd ever confronted Mike about it, Dana answered,"I'm in therapy now... When you look back at it, you get a better perspective. So we were like siblings a little bit, and we were never meant to be a comedy team. Mike just invited me into the sketch, but I'm really grateful that he did. He's brilliant at creating these constructs... Later on in your career, you realize how great it is to have someone who cares that much, so when I had Mike next to me, I was always comfortable, 'cause someone was really, really working his ass off."a few years later, Dana said,"We've come full circle since I talked to you last. We've become very, very close friends, and we just have too much history. We have an unbelievable amount of stuff in common... I'm just mature now. The only good thing about getting old is you get a little more wisdom, you get a little more perspective, and you practice forgiveness for others and for yourself.","I think we were a dysfunctional family. He and I had a love/hate relationship. I found it very hard to work with Jon because I came from theater when I first started, and you don't fuck with somebody before they go on. You actually take your rehearsal seriously. Jon was the guy banging on the piano while you're trying to rehearse. He was like that disruptive brother that you say, 'Please just get out of here!' When John Malkovich did the show, he obviously comes out of theater, and he and I were trying to rehearse an 'Attitudes' sketch, which he had written with me, and Lovitz was banging on the piano, and Malkovich asked me, 'Is that what goes on here?'""So I would get very irritated with Jon, and we'd have arguments. But I loved him, and I realized that going back to the reunion. I've always found Jon Lovitz very funny. His humor is this kind of crazy throwback, the way he uses his body, it's like he's a puppet, you pull the strings and his arms go flying... He's like a vaudevillian comedian," she said.that Paula Abdul's scheduled cameo appearance"was awful" and a"disaster." She said,"In the ways she generally appears to be. It was an 'American Idol' sketch, and she wanted to change parts. So Amy Poehler had to play her... A year later, I saw her on a flight. We both looked at each other like, 'Do I know that girl?' And then we both had the same moment of recognition, and she was like 'uuuggh.' I saw it register on her face that she had had a terrible time with us... I was pregnant at the time and probably a little moody, but I remember thinking, 'She's a disaster! I gotta prop this lady up and get her on TV.'","I will say to the end of my days: Lorne's writers had a lot of racism going on. Lorne himself? Zero racism. Because, remember, when I was hired, I was the only Black writer. Lorne wanted to have somebody Black on TV at nighttime. People didn't want that. They were clamoring to make it all white. He didn't."Garrett also had to push back against efforts to box him into stereotypical characters. He said,"It really threw me when we were going through the first show. I didn't have a skit, but I was watching another one. I said to Lorne, 'There's a doctor in this skit. Why don't I play the doctor?' And he says, 'Garrett, people might be thrown by a Black doctor.' Now, mind you, I had come from New Orleans, where you're surrounded by Black medical doctors and Black PhDs. In all big cities down south, for that matter.", Leslie Jones called the director who shot her digital shorts about being in a relationship with Kyle Mooney"a fucking asshole." She added,"And I don't give a fuck if you see this... You still are probably a fucking dickhead. A fucking narcissistic dickhead. He's just, like, one of the white boys who thought that he's doing fucking Shakespeare. No, this is a fucking sketch, and you're not funny, and you're not creating nothing beautiful. You're just being an asshole with this tedious fuck shit.""It's, like, the way a person can look at you that you just, like, 'Yeah, I know you're calling me a . I know you're calling me a .' Because he was a Mormon, too," she said. She added,"Me and Tiffany almost fucked him up one night." She said that the shoot was running late because the director was making everyone wait for Lorne Michaels to arrive and film his part. Having already cut her hand on her wedding dress costume, Leslie decided to leave, which allegedly upset the director. She said,"This motherfucker was like, 'What makes you so fucking special?' And I was like, 'Who the fuck you talking to?' 'You, I'm talking to you. What makes you so fucking special? Lorne is this, this, and this.' And I said, 'Motherfucker, I know you're not fucking talking to me. What makes me special is that the fucking sketch is about me and Kyle, not you. So what the fuck?'"She continued,"I was like, 'Yo, you need to step off because I'm about to fuck you up.' And, like, I fucked up dudes before. My dad was an Army man. He has taught me too much, because all I was thinking was what I was going to hit first. And he got this big-ass Adam's apple... That will not be able to fucking stand up. So I'm squaring off. I'm ready to bring my head up to his chin. I'm ready, right? I'm yelling, like going off, like, 'Get the fuck out my face.' And he kept stepping to me. Tiffany comes out the dressing room because that was her week . She was like, 'What's up, cuz?' Like, that's my girl! 'What's up, cuz? Who the fuck talkin' shit? Who talkin' shit?' I said…'We about to fuck him up.' Do you know we had to still go and shoot after that? So this motherfucker would come over and try to give a direction...I was like, 'Don't you put your motherfucking hand on me.' And then the camera would come on. That night was crazy."John Belushi allegedly wouldn't do sketches penned by the show's women writers, including Lorne's wife at the time, Rosie Shuster. In, Lorne Michaels said,"He didn't do pieces that Anne or Rosie wrote. So somebody would have to say that a guy had written it or something. Yet he was very attached to Gilda and very attached to Laraine .", Jane Curtin said,"Their battles were constant. were working against John, who said women are just fundamentally not funny. So you'd go to a table read, and if a woman writer had written a piece for John, he would not read it in his full voice. He felt as though it was his duty to sabotage pieces written by women."that John thought"women should not be there." She said,"He thought Gilda was funny, but he didn't classify her as a woman. She was Gilda."Jane Curtin stopped talking to Lorne Michaels over his alleged refusal to address John Belushi's behavior . In, she said,"Lorne and I stopped speaking. It was during the second year. He wouldn't answer my questions. I would say, 'Why aren't you doing something about John? I found him going through my purse. He set your loft on fire. His behavior is reprehensible. Do something!' And he didn't. He would just sort of throw his hands in the air. Lorne cannot confront an issue. So I thought, Well, this is pointless. I'm not going to talk to him anymore."She continued,"Gilda became our go-between. When Lorne wanted me to do something, he would call Gilda and say, 'Would you ask Jane if she would do this?' And Gilda would come up to me and say, 'Lorne was wondering if you would mind doing this.' And I'd say, 'No, that would be fine.' This made life so much easier. We would say hello, but beyond that, there was nothing I needed from Lorne. I didn't need a father. I had a husband who loved me, and a great little dog.","I grew to quite loathe the producer of the show . The first words he said to me were, 'I never hired a male Jew for the show before.' And knowing that he was Jewish gave it an extra tang...was basically an unending fight to get on the air. is really an expert at manipulating people and playing psychological games with people."was"just not a real pleasant place to work" and described the work environment as"living hell." He said,"The way it was organized... The way people were treated... The approach to the material... management."He said it was"meaner" than a cattle approach, adding,"It was smarter and subtler and meaner than the way they treat cattle. I've talked about it way too much in public anyway — I'm trying to be discreet about it at this point, but it was about as far from pleasant as you can possibly get. It was extremely challenging... I was there for a year, left, and came back five years later when I thought things had changed — and found to my dismay that they hadn't."Ad finally, writer Larry David and executive producer Dick Ebersol allegedly butted heads over their different senses of humor. Julia Louis-Dreyfus told,"Miserable! Larry was just miserable there. And he almost came to blows with Dick Ebersol. I think Dick told him that something he'd written wasn't funny, and Larry went berserk. There was a lot of tension on that floor, and people were always sort of threatening each other. That's one of the reasons I liked Larry so much — because he lost his temper." Ron Galella / Ron Galella Collection via Getty Images, Ron Galella, Ltd. / Ron Galella Collection via Getty Images Larry David himself added,"One Saturday night, five minutes before air, after getting probably six or seven sketches cut from the show, I went up to Dick right before we were going to go on and I said, 'That's it. I'm done. I've had it. I quit. It's over.' And I walked out and started walking home, and it was freezing out, and I was in the middle of walking home, going, 'Oh my God, what did I just do? I just cost myself, like, $60,000!' I'm adding up the money from the reruns and all this. At that time, I needed every penny I could get my hands on. So, yes, I went back the next week and pretended I hadn't quit — which I also used later in aBoggo’s house needs a makeover. 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