Television series

All That

Name: All That
Genre: Comedy
Released: 1994
Cast: Josh Server, Kel Mitchell, Kenan Thompson, Lori Beth Denberg, Amanda Bynes

Comedy
Light-hearted
Dip in and out

All That is Nickelodeon's anarchic sketch-comedy variety show where a rotating ensemble cast tears through quick, silly skits with the energy of kids who've been given the keys to a TV studio. It's chaotic, often juvenile, sometimes genius—the kind of thing that made you feel like you were in on something adults didn't quite understand. Perfect for anyone who loved Saturday Night Live but wanted it weirder and messier.

TVMaze rating

3.4

Should you watch it?

Watch it if you enjoy quick, scrappy sketch comedy with a rotating cast of young performers, the kind where a weak bit is over before it drags and a musical guest keeps things lively.

Skip it if you need recurring characters or a consistent voice, since this is a loose grab-bag of short bits whose hit rate swings from one to the next.

What it asks of you: Episodes run about twenty-five minutes, light and quick each sitting, but ten seasons of uneven material asks for a forgiving eye and patience for the misses.

Not sure? Find tonight's pick in a minute.

If you liked this

Saturday Night Live1975

The obvious ancestor and gold standard for live sketch comedy. You'll see where All That learned its structure, timing, and how to occasionally swing for the fences with a bit that absolutely lands.

But SNL can drag interminably. Some sketches are painful even by sketch-comedy standards, and a guest host you don't care about can derail an entire episode.

Chappelle's Show2003

Sketch comedy that actually commits to weird premises and isn't afraid to let things get dark or uncomfortable. Same anarchic spirit, better material, and the musical guests hit harder.

But Depends heavily on finding the humor in its comedy targets. It's also shorter-lived and less consistent than All That's best stretches.

The State1994

Another sketch ensemble that prioritizes pure comedic weirdness over punchlines. It's weirder and more confident than All That, with better writing that rewards repeat viewing.

But Much more cult and harder to find. It's also slower and assumes you'll meet it halfway—less immediate gratification than the Nickelodeon version.

Not sure tonight? Get a pick in a minute, starting from All That

The wildcard

Something you would not have found on your own.

Monty Python and the Holy Grail1975

Both prioritize absurdist bits and character work over narrative logic. Both let sketches breathe or die on their own terms. Both assume the audience can keep up without hand-holding.

Sketch comedy as feature film: chaotic, absurdist, constantly abandoning premise for the next bit. It's exactly All That's energy stretched to feature length by people who invented this comedic language.

But Takes a while to find its footing and some bits go nowhere deliberately. Also decidedly British in sensibility—faster cutting might feel more fun to you.

I Think You Should Leave with Tim Robinson2019

Modern sketch comedy with that same commitment to uncomfortable, oddball scenarios played completely straight. Proof that the sketch format still works when the writing is fearless.

But Intensely absurdist and often cringe-comedy focused. If you want your comedy more grounded or comfortable, this will feel exhausting.

I Think You Should Leave with Tim Robinson poster

In Living Color1990

Contemporary sketch show that found its groove faster than SNL ever did, with genuine cultural impact and sketches that still feel fresh. Kenan Thompson would have loved this.

But Occasionally dated in its humor and references. Some bits rely on you knowing specific '90s cultural moments to land.

Monty Python's Flying Circus1969

The DNA of all sketch comedy. British, fearlessly weird, and occasionally cuts itself off mid-sketch because the bit is done. It invented the language All That speaks.

But Very British, very of its era. Some sketches are funny only if you know what they're parodying, and the pacing is glacial by modern standards.

The Kids in the Hall1988

Canadian sketch ensemble that understood character-based comedy better than most. They'd do recurring characters across entire episodes, building and subverting expectations beautifully.

But Slower and more theatrical than All That. Canadian sketch comedy has a different rhythm that doesn't hit as immediately.

Frisky Dingo2006

Adult Swim's answer to sketch comedy through animation. Surreal, committed to weird premises, and genuinely unpredictable in how it structures jokes and episodes.

But Deliberately abrasive and sometimes impossible to parse. Animation might feel like a step away from the live-action energy you want.

Wet Hot American Summer2001

Same DNA of comedians playing multiple character types and an ensemble that treats comedy as play. Built on shared creative energy rather than script-focused storytelling.

Ensemble comedy made by people who loved sketch comedy but wanted to make something that could sustain characters for 90 minutes. Chaotic, joke-dense, and weirdly warmhearted about its goofballs.

But Very specific comedy that only works if you buy into the heightened tone and absurdist logic. Some people find it trying-too-hard rather than funny.

I'm Sorry2017

Both use sketch's freedom from narrative while maintaining character depth. Both feel like watching someone's creative chaos on screen. Both trust that absurdity and heart aren't opposites.

A sketch-adjacent comedy where Andrea Jin plays multiple versions of herself and her life across fragments. Chaotic, weird, deeply committed to its own bizarre logic—closer in spirit to All That's anything-goes energy.

But Very personal and occasionally self-indulgent. If you want structure or narrative throughline, you're hunting for something this doesn't want to give you.