IOn Easter weekend, Saturday Night Live begins with the message of the Easter Bunny (Bowen Yang). Almost immediately, the “bizarre” holiday character shifts things to a random classification of public figures.
Dr. Anthony Fossie (Kate McKinnon) compares Covid patients to Jesus (“they’re resurrected!”), While Marjorie Taylor Green (Sicily Strong) worries, “Between pastels and jellybeans, this holiday has become a little more for LGBQRST. I’m New York City Mayor Eric Adams (Chris Red), who prides himself on capturing the Brooklyn subway sniper. Chloe Fineman) spins a lot and begs people not to review Jared Leto (Kyle Mooney) for his scary new movie Morpheus.
Finally, former President Donald Trump (James Austin Johnson)’s Reese’s eggs (“I like Reese, I’m very good friends with Reese …”), Cape Crunch (“He was so rude to me. Count Sokula’s 500th birthday”) and Little Caesar’s (“I said pizza! Pizza! ‘He said it once, we said we had to say it twice!”)
Austin Trump and Red Adams aside, these are the worst, most disgusting and straight lazy posts in the cast. Within a year of Kasturi’s hypocrisy of lighting (however lightly) the show gave him its entire base, until Taylor Green portrayed it as a harmless cookie and softened the writing to fit them on multiple fronts. The attempt to keep it both ways by pointing out how ineffective New York law enforcement is, while at the same time showing the point at which their “increasing crimes” speak.
In tonight’s episode Liso pulls the double dooty as the host and music guest. The singer-songwriter promises to “break the record for the number of bitches spoken on live TV” before discussing his latest Dead talk about Dwarking’s history (“I like Einstein clapping his ass”), reducing rumors about his love life to Infinity Stone They think I gather members of such a direction ”) and encourage viewers to love themselves in order to express their dreams. That last bit is really provocative – it should be a comedy show, not a definitive Instagram post – but Liso shows a good talent for comic delivery. With Pitch Count eight at the end of the monologue, she seems to be serious about her earlier promise.
Guess the Rapid Fire Trivia is a game show where contestants have to answer questions. Things would go normally until Liso’s rival raised a question and passed the show, refusing to admit that he had done something wrong, accusing the host of making her a case light and trying to throw him out as “Mayor of Cam Town”. This last gamble won the support of his fellow rival.
This is welcome in the regular game show story and promises a perfect start to the episode, but for the next sketch things will take an instant nod, the latest in irreparable awkward Tik Tok scrolls. Instead of bringing anything original, the show recreates the latest viral videos from the social media site – Read: Steals. Everyone involved should be ashamed to call themselves comedians.
Somehow, it continues to paint even worse. In the spring of 2008 we do a flashback to Interscope Records Studio, where Black Eye Piece records the songs for their latest album. They help their producers brainwash the lyrics to a number of solo songs, including the ridiculously simple Boom Boom Bow, the highly random party anthem Tonight and the more sophisticated Lets Get Retarded, which will later be renamed Lets Get It Started.
The problems with this painting are numerous: from the lack of story coordination (the producers worry for a second about the song’s confusing lines, and then the next time they’re excited about them), to Liso’s continual breakdown, to the cowardly attempt. Instead of saying really hurtful lyrics, we delay the attack (thereby fulfilling the audience’s responsibility) and focus on the jokes. Beyond any of these, this painting speaks to how utterly entangled the show has been in the past. This is not to say that SNL should avoid making fun of old pop culture – one of its biggest paintings is centered on the 24-year-old Blue Oyster cult track – but it does not bring anything original or new to the table. It just falls on the obvious observations and tired records of 14 years before the sale date.
The writer’s mind seems to be stuck in the middle, as the next painting finds the first date of a couple (lisso, day) interrupted by a community of old geezers dancing “from six flags commercials”, part of a pop cultural epimera. First appeared in 2004.
Following this is a new Please Do not delete section. Ben, Martin and John try to help Liso break a case of writer’s ban by bringing a “black woman anthem” to sing on the show. What they can bring is a sad “white boy anthem”, The Sopranos theme, one of Liso’s old songs and a song that sounds like Martin’s girlfriend Spongebob. They’re about to give up when Liso realizes he’s really making a great song – about a horned zookeeper. As it becomes increasingly clear that the more PDD segments rely on guest stars the less they work, which is still memorable.
In the weekend update, Elon Musk is teasing / kissing his ass at the same time and eating it too. “How badly do white people want to use the N-word,” Colin Jost questioned. [and] Going to Mars ”is a waste of his time on the most trivial processor. (If you dig a page about Megan Markle, you’ll definitely get a lot of angry comments on the platform where Jost is told to come tomorrow). If this is not already clear, then the promises that the show seldom had against the establishment are long gone.
Jost finally welcomes the version of his personal driver, Caesar Perez (Melissa Villasenor), who is the only guest on the update, as he wants to try out some of his stand-up stuff. Perez reveals a series of gingerbreads about his stupid, lizard and masturbation-obsessed nephew Carlito, who is instantly saddened. His tearful apology sends a slow amusement to the particular Latin brand of Catholic crime. This writing section is drawn by many of the most dated jokes – this time by a series of references to The Mind of Menzia.
Signs of renewal paying tribute to the late former best alumnus Gilbert Godfried earlier this week.
Next, in ancient Egypt two party planners do a costume rehearsal for their crazy god-king (eventually revealed to be a small child) for the orgy they throw. Hedonistic rental acts include “the passionate woman and her gentle boy”, a glowing fire eater, the “old lady adorned with smiling rotten teeth”, three good-looking swingers, a good fan winger, and a goat. wrangler (with the real goat), and a “buckish imp” older than he advertised. It feels like a half-shape to begin with, and the cast’s constant breakdown doesn’t help things. The living goat is beautiful though.
Later, Liso DeVrie plays a flotist in the first chair of the University Symphony Orchestra. Her musical skills are second to none, but she can only perform when twisted. That’s all. Considering Liso’s connection with the dance movement, it makes sense that the show would create a sketch around it, but of course they could have come up with something better than this.
In the final painting of the night, a group of friends see one of their own (Andrew Dismux) quit his job and celebrate his investment with cash. Their moral support quickly erodes as investments are revealed to be his Beanie Babies collection. The chapter ends with another weary campus centered on a cultural event behind us for years – in this case, for decades.
She continued to set aside, and Lisso made enough hostesses, but everything around her – the terribly cold, real middle ground, until the relentless stream of highly dated pop culture notes – was unbearable. This is the worst episode of the season and may be the worst since Musk hosted it almost a year ago. (It’s fitting that he’s going to feature so big throughout tonight’s show).
It’s a good thing the show has been put on hold for this month’s reminder, but it is doubtful whether the break will pay off. At this point, Saturday Night Live not only needs to edit some lessons, but also look for some real heavy soul.