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Her impression of Sinead O’Connor in the classic “Sinatra Group” is a great example of what Hooks could bring to a sketch, disappearing into the role and allowing Hartman to land his jabs, and getting laughs with nothing but a slow burn.

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Hooks was also well known for The Sweeney Sisters, a pair of obnoxious pop medley crooners she created alongside Nora Dunn. Their overenthusiastic scatting and cutesy, overly rehearsed patter became a mainstay of the show, and completely ruined “The Trolley Song” for everyone, forever.

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sweeney sisters christmas! from amy susanne on Vimeo.

After leaving the show in 1991, amid another shift toward a cast dominated by Chris Farley, Adam Sandler et al., Hooks took over for Jean Smart on Designing Woman, serving on the show’s two final seasons. She would also take a recurring role on 3rd Rock From The Sun as Vicki Dubcek, embarking on a tempestuous romance with French Stewart’s alien. And she was Dixie, the alcoholic, completely out-of-it rock to Martin Short’s celebrity interviewer Jiminy Glick, appearing in several episodes of Primetime Glick and the movie Jiminy Glick in Lalawood.

Though denied the movie career enjoyed by so many of her SNL colleagues, Hooks did have a few memorable roles—most notably as Tina, the perky, gum-chewing guide in Pee-wee’s Big Adventure, where she delivers the devastating news regarding the Alamo’s lack of a basement.

Tim Burton would cast Hooks again in Batman Returns, where she played an image consultant tasked with making Danny DeVito’s Penguin look presentable (and avoiding his “French flipper trick”). Her other TV and movie appearances included roles in the films Coneheads, Simon Birch, and A Dangerous Woman. She could also be heard as the voice of Apu’s wife Manjula on six episodes of The Simpsons, and as the fembot Anglelyne who catches Bender’s eye in an episode of Futurama. Most recently, Hooks turned up on 30 Rock as Verna Maroney, the scheming mother to Jenna Maroney.

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Like her frequent partner and on-stage husband Phil Hartman, Hooks was often quietly great, a performer whose consistency may not have received all the accolades it deserved in its day, but whose death will certainly prompt a lot of belated recognition of how good she was. And suffice to say, losing her only makes watching Tom Schiller’s short “Love Is A Dream” all the more heart-wrenching.

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