Television series
You Can't Do That on Television
- Comedy
- Light-hearted
- Dip in and out
A Canadian sketch comedy show that ran through the 1980s with child and teen performers doing rapid-fire gags, sight comedy, and parodies of pop culture. Anarchic, silly, and genuinely inventive—less interested in jokes landing cleanly than in creating moments of pure absurdist chaos. For anyone who loved Monty Python's anything-goes energy or grew up on sketch comedy that didn't condescend.
If you liked this
Monty Python's Flying Circus1969
The spiritual ancestor: sketch comedy that trusts the audience to keep up, values the bit over the punchline, and treats absurdity as a valid form of logic. Endlessly inventive.
But Studio-bound, very British in sensibility, and some sketches deliberately outstay their welcome. Occasionally feels more clever than funny.
The Kids in the Hall1988
Canadian sketch comedy with the same anarchic spirit, using the same performers across multiple roles. Sharper and darker, but with that same gleeful disregard for format or decorum.
But More aggressive and less whimsical. The absurdity can feel nihilistic rather than playful, which won't appeal to everyone.
Rowan & Martin's Laugh-In1967
Fast-paced, multi-sketch format with pop culture parodies and running gags. Proved that sketch comedy could be frantic and silly without sacrificing craft. Hugely influential.
But Aggressively of the 1960s in its references and delivery. The pacing can feel exhausting rather than exhilarating on modern viewing.
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The Muppet Show1976
Both use ensemble casts in recurring sketches, treat format as negotiable, and assume children can handle genuine oddness without it needing to be 'educational.'
Jim Henson's sketch show with guests, recurring characters, and complete tonal chaos—it can swing from pathos to slapstick to genuine weirdness in one episode. Same blueprint as YCDOT but with puppets and a live orchestra.
But The puppetry is occasionally creepy rather than charming. Guest stars are often from the 1970s and unfamiliar now. Some sketches are actively bad.
More like this (7)
The Carol Burnett Show1967
Long-form sketch comedy with recurring characters, musical numbers, and parodies. Burnett and her ensemble had real chemistry; the show trusted them to play.
But Much slower paced than YCDOT. Some sketches run far too long. Less interested in quick-hit absurdity, more in character-based comedy.
Saturday Night Live1975
The obvious reference point: live sketch comedy with music, quick cuts, and celebrity hosts. The DNA is visible. Early seasons especially capture some of YCDOT's anarchic energy.
But Uneven by design—half the sketches don't work. Post-1985 episodes often feel safer and more manufactured than YCDOT's genuine oddness.
Pee-Wee's Playhouse1986
Anarchic children's television with absurdist logic, recurring characters, and a complete disregard for conventional storytelling. Chaotic in the same joyful way.
But Extremely weird and unsettling to anyone not primed for its register. The humor is very specific; it's either your thing entirely or not at all.
The Mighty Boosh2004
British sketch and narrative hybrid that prioritizes absurdity and visual gag over coherent plot. The same 'anything can happen' spirit, married to surprisingly good music.
But Very British art-school sensibility. Later seasons lose focus. The dialogue is often deliberately terrible, which works thematically but can wear you down.
Fraggle Rock1983
Jim Henson puppet comedy with sketch elements, running gags, and genuine weirdness. Similar energy to YCDOT but filtered through creature design and practical effects.
But Much slower and more narrative-driven. Less interested in quick absurdity than in sustained storytelling. Some episodes are genuinely slow.
30 Rock2006
Fast-paced ensemble comedy with constant jokes, pop culture references, and sketch-like set pieces. Shares the rapid-fire delivery and willingness to throw out material.
But Heavily dependent on knowing 2006-era celebrity gossip. The joke-per-minute approach can feel exhausting. Increasingly self-congratulatory as it went on.
Wonderland1999
Same commitment to ensemble and format-as-meaning: the fractured, sketch-like structure mirrors the chaos and disconnection of the story. Both say 'traditional narrative doesn't fit this.'
Michael Lehmann's film about the Wonderland murders shot as interconnected sketches and monologues, with an ensemble cast. It has YCDOT's anarchic structure—no single narrative, just scenes and characters and tone.
But Not a comedy. Graphic violence, drug use, and moral ugliness. Based on a true crime story. Extremely dark and almost aggressively unsentimental.
