Ben McCann, Adelaide University

Funny, tender, goofy – Catherine O’Hara lit up the screen every time she showed up

Catherine O’Hara, the beloved actor and comedian who has died aged 71, occupied that rare position in contemporary screen culture: a comic actor, a cult figure and a mainstream star.

Her work spanned more than 50 years, from improv sketch comedy to Hollywood features and off-beat TV classics.

She was celebrated for her unmatched comic timing and chameleon-like character work. Her roles were often absurdist and quirky, but they hid a razor-sharp humour.

Born and raised in Toronto in a close-knit Irish Catholic family, O’Hara was one of seven siblings. She once remarked humour was part of her everyday life; storytelling, impressions and lively conversation helped hone her comedic instincts.

After high school, she worked at Toronto’s Second City Theatre, a famed breeding ground for comedy talent, and sharpened her deadpan improvisational skills.

Big break

O’Hara’s break came with Second City Television (SCTV), a sketch comedy series that rivalled Saturday Night Live in creativity and influence. Alongside contemporaries Eugene Levy, John Candy, Rick Moranis and Martin Short, she defined her distinctly smart, absurdist comedic voice.

O’Hara was not merely a performer on SCTV; she was also a writer, winning an Emmy Award for her contributions. This dual role shaped her career-long sensitivity to rhythm, language and character construction.

Unlike sketch performers who rely on repetition or catchphrases, O’Hara’s humour emerged with a different comedic logic. Audiences laughed not because the character was “funny”, but because the character took herself so seriously.

Advertisement

Though briefly cast on Saturday Night Live in the early 1980s, O’Hara chose to stay with SCTV when it was renewed, a decision she later described as key in letting her creative career flourish where it belonged.

The transition to film

By the mid-1980s, O’Hara was establishing herself as a screen presence. She appeared in Martin Scorsese’s offbeat black comedy After Hours (1985), and showcased her comic range in Heartburn (1986).

In 1988, she landed what would become one of her most beloved film roles: Delia Deetz in Tim Burton’s left-field Beetlejuice (1988).

Delia – a pretentious, New York art-scene social climber – allowed O’Hara to combine physical comedy and imbecilic dialogue (“A little gasoline … blowtorch … no problem”).

Burton once noted

Catherine’s so good, maybe too good. She works on levels that people don’t even know. I think she scares people because she operates at such high levels.

She went on to play Kate McCallister, the beleaguered mother in the holiday blockbusters Home Alone (1990) and Home Alone 2: Lost in New York (1992). Audiences loved the fact that this rather thinly written role became the films’ beating heart.

Working with Christopher Guest

Another distinctive phase of O’Hara’s career was her work with writer-director Christopher Guest on a series of largely improvised mockumentaries that have become cult classics.

Three standouts were Waiting for Guffman (1996), where she plays a desperate local performer in a small-town theatre troupe, and A Mighty Wind (2003), where she teamed up with old pal Levy as an ageing folk duo.

Her best turn came in Best in Show (2000), in which she and Levy played a couple competing in a national dog show. Her character Cookie Fleck remains one of the finest examples of improvised comedy on film. https://www.youtube.com/embed/Ay1cJ1QMOms?wmode=transparent&start=0

Her relentless monologues about former lovers are objectively inappropriate, yet O’Hara delivers them with such earnest enthusiasm that they become strangely compelling.

Advertisement

Her gift for improvisation glittered in these films: these eccentric characters were often laugh-out-loud funny – but O’Hara never mocked them.

Late success

She returned to TV in Six Feet Under (2001–05) and guest appearances on The Larry Sanders Show (1992–98) and Curb Your Enthusiasm (1999–2024). More recently, she appeared in prestige shows such as The Last of Us (2023–) and The Studio (2025–).

But it was the role of Moira Rose, the eccentric, ex-soap opera star in the Canadian sitcom Schitt’s Creek (2015–20), created by Eugene Levy and his son Dan, that would become O’Hara’s most significant late career move. And what a role it was!

Written for O’Hara’s unique talents, Moira was a larger-than-life character with a bizarre, unforgettable vocabulary, dramatic mood swings and a wardrobe that became nearly as famous as the character herself.

Feminist media scholars have noted the rarity of such complex roles for older women, particularly in comedy, making O’Hara’s performance culturally significant.

The show became a global streaming blockbuster during COVID lockdowns and O’Hara’s multi-award-winning performance became a social media phenomenon, spawning memes and viral clips.

There are so many standout moments – her drunken meltdown after losing her wigs, her audition for The Crows Have Eyes 3 and the show’s moving finale where she performs Danny Boy at Alexis’s graduation.

An enduring legacy

O’Hara had a remarkable ability to play flamboyant, self-absorbed characters who were often uproariously funny.

Many comedians and actors have cited O’Hara as an influence for her fearlessness, her ability to blend absurdity with emotional truth, and her steadfast commitment to character integrity. She influenced performers like Tina Fey, Maya Rudolph, Kate McKinnon and Phoebe Waller-Bridge.

O’Hara also refused to chase conventional stardom. Rather than choosing projects designed to flatten her eccentricities, O’Hara favoured collaborative environments that valued creativity over control.

Advertisement

For her, comedy was always an art of intelligence, empathy and generosity.

Ben McCann, Associate Professor of French Studies, Adelaide University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

and let your entertainment journey begin!

Catherine O’Hara and the Late-Night TV That Shaped a Generation of Comedy Fans

From a personal point of view, one of my earliest memories of Catherine O’Hara doesn’t come from a movie theater or a prime-time sitcom. It comes from the quiet glow of late-night television, long after most of the house had gone to sleep.

As a youngster, I remember staying up late enough to catch Second City Television (SCTV), which aired after Saturday Night Live and Don Kirshner’s Rock Concert. That meant it didn’t come on until around 1:30 a.m. Pacific Time, deep into Saturday night and early Sunday morning. Even at that young age, I knew I was watching something different. The humor felt sharper, stranger, and somehow smarter — and Catherine O’Hara stood out immediately.

Even before I understood why it was funny, I understood that it mattered.

Late-Night Television as a Classroom

Looking back now, it’s clear that late-night television quietly shaped my taste in comedy. SCTV didn’t feel like it was aiming for the widest possible audience. It felt like it trusted the viewer to catch up. Catherine O’Hara’s performances weren’t just about delivering punchlines — they were about inhabiting characters completely, no matter how absurd, subtle, or offbeat they were.

That kind of comedy asks you to pay attention. And for a kid watching far past his bedtime, it was oddly captivating. I didn’t have the vocabulary for “character work” or “commitment to the bit,” but I recognized authenticity when I saw it. O’Hara had it in abundance.

Seeing the Through-Line Years Later

As the years went on, Catherine O’Hara kept showing up in new places — and each time, something clicked. In Beetlejuice, there was that same fearless weirdness. In Home Alone, she brought warmth and panic and humanity to what could have easily been a one-note role. She grounded the chaos without ever dulling it.

Then came Schitt’s Creek. By the time Moira Rose entered our cultural vocabulary, it felt less like a reinvention and more like a full-circle moment. The bold choices, the musicality of her voice, the unapologetic commitment — it all traced back to those SCTV performances from decades earlier.

Moira Rose didn’t come out of nowhere — she came from years of late nights, sharp instincts, and fearless comedy.

Why Those Early Moments Matter

What I didn’t realize at the time was that those 1:30 a.m. viewings were teaching me how to appreciate comedy that lingered. Not everything had to land immediately. Not every joke needed a laugh track. Some performances simply stayed with you.

Catherine O’Hara’s work did exactly that. It stayed. Through different decades, formats, and genres, her performances carried a consistency of intelligence and heart. For many of us who grew up sneaking glances at late-night television, she became a familiar presence — someone who trusted the audience enough to go all in.

A Personal Goodbye

With news of her passing, those memories feel closer than ever. Not just of Catherine O’Hara the icon, but of Catherine O’Hara the performer who helped shape how many of us learned to watch comedy. She wasn’t just funny — she was formative.

Late-night television doesn’t always get credit for the role it plays in shaping taste, curiosity, and imagination. But for those of us who were there, watching quietly while the rest of the world slept, it mattered. And Catherine O’Hara was a big part of why.

— STM Daily News

For more on her early career in comedy, see Forbes retrospective on Catherine O’Hara’s career history and influence. [oai_citation:3‡Forbes](https://www.forbes.com/sites/hannahabraham/2026/01/30/how-catherine-ohara-became-beloved-across-three-generations-from-sctv-to-home-alone-to-schitts-creek/?utm_source=chatgpt.com)

Learn about the cultural impact and awards for Schitt’s Creek Schitt’s Creek Wikipedia overview. [oai_citation:4‡Wikipedia](https://en.wikipedia.org/wiki/Schitt%27s_Creek?utm_source=chatgpt.com)

Advertisement

See a broad overview of her life and legacy from PBS NewsHour PBS retrospective. [oai_citation:5‡pbs.org](https://www.pbs.org/newshour/arts/catherine-ohara-emmy-winning-actor-and-comedian-of-schitts-creek-fame-dies-at-71?utm_source=chatgpt.com)

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

and let your entertainment journey begin!

Spatial filmmaking is having a moment—but at CES 2026, the more interesting story wasn’t a glossy trailer or a perfectly controlled demo. It was the workflow.

According to a recent GIGABYTE press release, VR filmmaker and educator Hugh Hou ran a live spatial computing demonstration inside the GIGABYTE suite, walking attendees through how immersive video is actually produced in real-world conditions—capture to post to playback—without leaning on pre-rendered “best case scenario” content. In other words: not theory, not a lab. A production pipeline, running live, on a show floor.

A full spatial pipeline—executed live

The demo gave attendees a front-row view of a complete spatial filmmaking pipeline:

• Capture
• Post-production
• Final playback across multiple devices

And the key detail here is that the workflow was executed live at CES—mirroring the same processes used in commercial XR projects. That matters because spatial video isn’t forgiving. Once you’re working in 360-degree environments (and pushing into 8K), you’re no longer just chasing “fast.” You’re chasing:

• System stability
• Performance consistency
• Thermal reliability

Those are the unsexy requirements that make or break actual production days.

Playback across Meta Quest, Apple Vision Pro, and Galaxy XR

The session culminated with attendees watching a two-minute spatial film trailer across:

• Meta Quest
• Apple Vision Pro
• Newly launched Galaxy XR headsets
• Plus a 3D tablet display offering an additional 180-degree viewing option

That multi-device playback is a quiet flex. Spatial content doesn’t live in one ecosystem anymore—creators are being pulled toward cross-platform deliverables, which adds even more pressure on the pipeline to stay clean and consistent.

Where AI fits (when it’s not the headline)

One of the better notes in the release: AI wasn’t positioned as a shiny feature. It was framed as what it’s becoming for a lot of editors—an embedded toolset that speeds up the grind without hijacking the creative process.

In the demo, AI-assisted processes supported tasks like:

• Enhancement
• Tracking
• Preview workflows

The footage moved through industry-standard software—Adobe Premiere Pro and DaVinci Resolve—with AI-based:

• Upscaling
• Noise reduction
• Detail refinement

And in immersive VR, those steps aren’t optional polish. Any artifact, softness, or weird noise pattern becomes painfully obvious when the viewer can look anywhere.

Why the hardware platform matters for spatial workloads

Underneath the demo was a custom-built GIGABYTE AI PC designed for sustained spatial video workloads. Per the release, the system included:

• AMD Ryzen 7 9800X3D processor
• Radeon AI PRO R9700 AI TOP GPU
• X870E AORUS MASTER X3D ICE motherboard

The point GIGABYTE is making is less “look at these parts” and more: spatial computing workloads demand a platform that can run hard continuously—real-time 8K playback and rendering—without throttling, crashing, or drifting into inconsistent performance.

That’s the difference between “cool demo” and “reliable production machine.”

The bigger takeaway: spatial filmmaking is moving from experiment to repeatable process

By running a demanding spatial filmmaking workflow live—and repeatedly—at CES 2026, GIGABYTE is positioning spatial production as something creators can depend on, not just test-drive.

And that’s the shift worth watching in 2026: spatial filmmaking isn’t just about headsets getting better. It’s about the behind-the-scenes pipeline becoming stable enough that creators can treat immersive production like a real, repeatable craft—because the tools finally hold up under pressure.

Source:PRNewswire – GIGABYTE press release

Advertisement

Welcome to the Consumer Corner section of STM Daily News, your ultimate destination for savvy shopping and informed decision-making! Dive into a treasure trove of insights and reviews covering everything from the hottest toys that spark joy in your little ones to the latest electronic gadgets that simplify your life. Explore our comprehensive guides on stylish home furnishings, discover smart tips for buying a home or enhancing your living space with creative improvement ideas, and get the lowdown on the best cars through our detailed auto reviews. Whether you’re making a major purchase or simply seeking inspiration, the Consumer Corner is here to empower you every step of the way—unlock the keys to becoming a smarter consumer today!

https://stmdailynews.com/category/consumer-corner