The temporary deformation of 2017 continues: While it may seem that this season of Saturday Night Live began a long time ago, this is only the seventh episode. As presenter, Saoirse Ronan performed well, although this is a show in which she served as a set instead of real lead in most of the sketches. Nothing suggested that the program was hiding her in any way, but the nature of the material meant that there were few opportunities for her to remain alone in the spotlight.
Regarding the material, SNL is moving to what feels like consciously foolish material to counteract the nation's stressful mood at this time. A few months ago, I would have suggested it was an unfortunate approach. Now? I appreciate the fact that there are opportunities to see something that has nothing to do with what fills the news on Twitter and newsletters full of comments. There is a lot of time for that. A little time for something else is a welcome respite.
As such, most of this week's selections are completely devoid of the current cultural context, with one important exception. This is what people will be talking about until James Franco receives next week.
Welcome To Hell
In 2013, this generation of SNL started a tradition with the brief "double bed" (Do It On My). After the great success of that piece, the incredibly attractive and catchy music videos with the majority of the female cast of the series became basic. Although he often has festive themes, he focused his attention on the current landscape of badual harbadment, demonstrating how anything but a recent phenomenon is.
It's a complementary piece to Cecily Strong's recent piece of "Weekend Update" in the Tiffany Haddish episode a few weeks ago as Claire's human resources representative. In both cases, the point of view is one of relief mixed with disbelief: there is appreciation for recognizing that there is a problem, and anger with those who think that this has just started recently. While not part of the central singing group, Melissa Villaseñor does a key job here playing several women throughout history who suffered in silence.
The most effective part comes near the end, where the group replies to the complainants that House Of Cards is now ruined. Comparing a Netflix program with the uncomfortable, often dangerous interactions that women experience on a daily basis (hopefully) turns off at least some who look at this sketch. As for the others? Well, we are likely to see more sketches on this subject in the coming weeks. SNL consistently serves as a voice on issues like this, and this season will undoubtedly have more to say.
I think we all have certain premises that make us tickle without end Even if the premise is not pioneering, and the execution is nothing extraordinary, it still makes us laugh. For me, the sub-genre of the "everyone in the cast brings their best joke to the premise table" is always a winner, because it emphasizes the overall nature of the show and creates a healthy form of competition on the screen where they all try to be the strongest link. These usually take the form of movie audition sketches (ie, what would happen if Prince tried Star Wars ), but here, they are ordinary citizens that we all probably recognize from our personal shopping experiences.
Now, there's literally no way in this sketch other than "absolute badaults badaulting the perpetually employed employee of Mikey Day." And yet, there is a lot of background history crammed into this set of witty phrases. There is no dramatic construction towards a particular moment: instead, the accumulation of characters creates a snapshot of a day in the life of someone whose day is always the same. Even if Day's character has not seen a particular individual before, he has seen THAT TYPE of person before. That makes him implacably effective in his work and also incredibly cynical with the world around him. It also makes a very fun sketch.
Full description: I love Pete Davidson, and I hate Chad. This character never worked for me … until now. Making this guy say "OK" with a monotonous voice led the others to hysteria and led me to press Fast Forward on the DVR. Like "Californians", it was something I just accepted about the program, understanding that not everything would attract me. (Neither should I!)
The "less is more" approach makes Chad meaning for me for the first time. By making him something that others react to instead of the main motivation for action, Davidson's clumsy energy becomes a catalyst for others to become absolutely scoundrels. All those who bet on a lunch with Chad get some good comments, especially in relation to the impression of Chad by Jim Carrey as The Grinch. ("Oh Jesus Christ, this place is going to explode!", Says the character of Cecily Strong, reacting as if a literal bomb was about to explode). If this is how SNL uses Chad in the future, this would be an excellent way to get Davidson's attention in the sketches, as it appears in "Update".