Ludacris (11.18.2006)

The following blog post is a companion piece to the newest episode of the We Heart Hader Podcast. Give us a listen, won't you?

Presidential Address

President George W. Bush (Sudeikis) has just returned from an economic summit in Southeast Asia to announce that while he has made progress on many global trade, security and environmental issues…he has inadvertently gotten the United States into ANOTHER war in Vietnam (for which he has no strategy for).

• This is mainly notable for being Jason Sudeikis’ first appearance as George W. Bush (an impression he auditioned to join the cast with in 2004) after Will Forte…apparently asked to be let go from the role? 

• Jason's is more of a “traditional” G.W. Bush impression than Fortes’ and it's far from the worst or most awkward we've seen on the show (it is probably the least remembered simply by virtue of not being Ferrells’ or Fortes’) but its’ serviceable and still works just fine.

• This got literal “clapter” from the audience when Sudeikis/Bush mentioned that this may lead to the withdrawal of troops from Iraq. He also mentioned wanting to cut taxes while fighting this war just to try it. Other than that, it felt like a string of typical Bush-isms from the time, so…not a lot stood out here.

• I wouldn't say it's TOO “lost to the time fog” because while an economic summit is very specific to the exact week it happened, comparing Vietnam to Iraq will always seem like an evergreen premise for political satire of its time given how heavily the Iraq war dominated the news around this time (especially in 2006 when the press had officially declared it the unwinnable quagmire it became). C-

Monologue 

Chris “Ludacris” Bridges explains which situations he uses his stage name (in the studio, in the club meeting girls and getting pulled over by BLACK cops) and his given name (applying for bank loans and meeting girls’ parents…as well as getting pulled over by WHITE cops). Suddenly, he gets confronted by his old friend Rick “Rickdiculous” Barnes (Thompson)

• I got a slight kick out of Don Pardo calling out host “Lou-DAY-Cris” twice.

• Luda handled the “Ludacris/Chris Bridges" stuff well. 

• It was clear he was leaning bit on presence and swagger a bit to get through the show (especially since director Don Roy King had to help reassure him to get through some nerves about doing the live show after a shaky, stumbly dress rehearsal). I wouldn't say he was truly poking fun at himself here, but he was able to handle some light comedy mined from his own image without seeming too full of himself early on. 

• This is the type of thing that gives the viewer confidence that THEY'RE going to enjoy this episode.

• Kenan's character was the true highlight of this (even if most of that was visual gags). I liked him basically being dressed as “temu Flava Flav” while beat boxing very badly and brandishing the biggest cellphone 1985 had to offer with the longest antenna 

• I also liked the “N.W.A./Northwest Airlines baggage handler” joke. That might have been the true highlight of this for me. (who calls someone at 11:40pm on a Saturday to tell them they've just got a new job anyway? I mean, I've seen a job interview take place at a table at Starbucks but THAT’S ridic..uh, nevermind. Let's move on). B-

Young Douglas: Hypin The Classics

Legendary rap “hype man” Young Douglas (Ludacris) releases a new album of himself backing up/shouting over the adult contemporary hits of such established artists as Harry Connick Jr (Sudeikis), Barbara Streisand (Rudolph), James Blunt (Samberg), Dolly Parton (Poehler) and Louis Armstrong (Thompson).

• This doesn't quite hold up as well as I remembered (well, it may hold up the BEST out of the sketches that don't hold up well from this episode) but Luda did his damndest to put it over by sheer energy. He played up the ridi…uh, the absurdity of this premise expertly.

• Out of all the impressions in this sketch, I'd say Jason's Harry Connick, Jr and Mayas’ Streisand worked the best for me and they're the ones that Luda played the best off of, too.

• Sambergs’ Blunt and Poehlers’ Dolly…left quite a bit to be desired, honestly (but I did like Andy's doe-eyed sad expression as James Blunt). Kenans’ Louis Armstrong was…somewhere in the middle for me.

• I see they used the Blunt/Parton segment to satirize the low-key misogyny and high-key body objectification of women in 2000s rap & hip hop. The way they went about it didn't quite work for me, but I'll admit to getting a shameful chuckle out of the Beyoncé joke here. 

• I did get a kick out of new song titles such as “It Had To Be You (Hell Yeah)”, “The Way We Were (Get Ya Damn Hands Up)” and “Let's Call The Whole Thing Off (Gangsta Anthem)

• Hearing Luda suddenly chant “take that, take that, take that” hits a lot different given what we now know about Diddy. B-

The Bitchslap Method

Samantha Hawkins (Rudolph) and Dr. Archibald Bitchslap (Ludacris) both plug their booklet and video series in this infomercial. They detail their, uh…unique communication method for saving your marriage or relationship with testimonials from real couples Pete & Donna Longhorn (Sudeikis & Wiig) and Jody & Debra Preston (Hader & Poehler)

• I don't even think this sketch held up that well the moment it aired, but it has inspired me to do something a bit different with this review and add on a section where I rank each sketch by how well it holds up in 2025. Stay tuned.

• Anyway, this sketch does seem to make light of spousal abuse and domestic violence. I'd almost say it trivializes those subjects if it weren't for how lightly the writing and execution of this sketch dances around those topics.

• Maya did a great job anchoring this sketch. I say this because she provided a warmth and a charm to this premise that was DESPERATELY needed to counteract the insidious, lingering menace exuded by Luda, Jason and Amy. She especially shines through in the pretaped montage of her and Luda applying “the method” to their mannequins.

• Of course, Kristen and (especially) Bill effortlessly sell the “now living in constant, perpetual fear” vibe of their characters. I liked Bill's flawlessly timed response of “Why? I mean, yes. I love you” to Amy's line about how “the method” should be used daily in their marriage.

• I guess one thing that this sketch has going for it is how it encourages both partners in a relationship (man AND women, husbands AND wives) to apply “the method” to each other. That's not necessarily a great thing, but it makes this sketch feel a bit more playful and less mean and nasty, so…because of that, at least you can't make TOO strong a case against this for “punching down” (pun definitely not intended, but phrasing sadly unavoidable). 

• Thankfully, this was executed in a way that didn't make it seem so harsh it would've played better on Chappelles’ Show or say…season 7 of MADtv or God forbid Season 19 of SNL.

• I did get a slight kick out of this sketch ending with a still, doctored image of the fake booklet and DVD set that plays over just muzak and nothing else because whatever voiceover that was supposed to play over it clearly wasn't working. C+

The O'Reilly Factor

In his “no spin zone” Bill O'Reilly (Hammond) grills Def Jam Records VP Michael Dantley (Thompson) and FOX News Legal Analyst Anthony Brooks (Ludacris). Dantley isn't phased by the threat of a boycott led by O'Reilly and his audience after a similar boycott got Luda fired as Pepsis’ spokesperson. Brooks agrees to join Bills’ Ludacris boycott despite not knowing his work.

• I wasn't exactly excited to see this sketch in this episode's rundown because parodies of Bill O'Reilly & FOX News in general felt a little played out by this point. 

• I don't say this just because Stephen Colbert had just entered the “truthiness” phase of his career and found a fresh new way to satirize right wing cable news punditry in general at this time. I say this because SNL (and MADtv to a lesser extent) had been parodying The O'Reilly Factor for about five years at this point. 

• While MADtvs’ Michael McDonald was just portraying O'Reilly as an extremely arrogant egomaniac, SNL had Darrell Hammond (and Jeff Richards several seasons earlier) doing more technical and speech focused O'Reilly impressions portraying him as a man who shouts down his guests with made up assertions as they calmly insist that their easily proven facts are the truth.

• This sketch, however, began a bit differently by addressing a real life O'Reilly boycott of Pepsi over Ludacris being named their spokesman over his less than family friendly lyrics and image. So, unlike other O'Reilly Factor sketches produced after 2002, this one actually made sense as an inclusion in the episode it was in.

• I liked the reveal that Hammonds’ O'Reilly character doesn't get that a boycott is ONLY supposed to hurt the sales of the organization being boycotted and that the goal shouldn't be for them to just affect sales either way (positive, negative or neutral) and Kenan's underplayed bewilderment at the situation worked perfectly.

• This sketch seemed to have serious pacing problems, though. It felt like it was taking forever to set up an actual Ludacris cameo that the audience was no longer expecting by the time it finally happened. Darrell Hammond is a talented impressionist but by this point his impressions have always been very dry because he mostly aims for technical vocal accuracy over finding any hooks to a character he can expand on. 

• Yes, he's made notable and memorable “characters” out of impressions like Clinton, Connery, Koppel and, uh…that guy that used to host “The Apprentice” but that just goes to show how of the time he needs the right material and writing behind some impressions to not make them feel so dry as to test the audience's patience.

• Anyway, at this point Ludas’ character debates Hammonds’ O'Reilly on his support for a judge for naming a local businessman “man of the year”. Hammonds’ O'Reilly insists that this man murdered an eight year old girl when in actuality he awarded a veterinary scholarship to a 25 year old service woman returning from Iraq. Then, O'Reilly reads letters from viewers who alternately praise and challenge him on statistics regarding the largest rivers in the U.S.

• So, the last two thirds of this sketch are essentially identical to SNLs’ other previous O'Reilly Factor sketches.

• I admire this sketch for starting out doing something a little bit different but it must've been written by someone who thought that the mere concept would get a much bigger reaction than it ended up getting. It's a dry political piece, so naturally it has “late period Jim Downey” finger prints all over it.

• Part of me thinks this sketch would've worked better as one of the Nancy Grace parodies that Amy Poehler used to this season, but whoever wrote this probably just chose O'Reilly for the real life boycott and the fact that O'Reilly also used to frequently criticize rappers on his show (because…y'know, reasons) in ways that would certainly come back to bite him in the ass after FOX News fired him for sexual harassment, so…yeah. C+

Booty Bidness Workwear

Ludacris hawks his new line of women's business casual wear with all the trendy, hypersexualized slogans of women's club wear for today's working women (Poehler, Rudolph, Wiig) to get the “right” kind of attention.

• See, it's funny because if you wore something like this to an office job in real life, you would probably get sent home for the day and/or fired. Get it?

• Well, Ludacris was known for some pretty hypersexual lyrics himself around this time. If nothing else, this was as good a way as any for Luda to actually poke fun at his own image (whether he was actually in on the joke or not) and the show to effectively satirize the general “Girls Gone Wild” culture of oversexualizing women in these years that he no doubt helped contribute to. 

• Y'know, I think I may have Mandella Effected myself into thinking that this was a parody of an actual women's clothing line that Ludacris released (because yeah, that makes sense) when it was probably just based on the trend of girls everywhere wearing pink sweat pants with the word “Juicy” on the ass so, yeah…this was probably just a wild exaggeration of that. 

• Actually, I had just reread Stooges’ One SNL A Day review of this episode and he says he heard this was “repurposed” from a different pretape that got cut from a bunch of different dress rehearsals earlier in the season. So, yeah…it makes even more sense that this was originally something slightly different that they pretaped new footage with Luda for since it might play into his image better. C+

Blizzard Man

In the studio, Ludacris struggles to convince his agents (Sudeikis, Rudolph) and engineer (Thompson) to include freestyles from his good friend The Blizzard Man (Samberg) on his new album.

• I've always loved these sketches for the most part. I may not laugh as hard at these as I did in high school but they still give me a chuckle today.

• I remember Blizzard Man being a pretty divisive character in this era and feeling like I was his lone defender, but I always liked Samberg in general for his sheer goofiness and this works well as a purposely goofy deconstruction of ‘90s/’00s party & Gangsta rap.

• The Vanilla Ice/Parker Lewis “stuck in the early 90s” vibes from this character are icing on the cake here (although we would get a sketch from Samberg that puts his love of early 90s r&b to much better use a month later…and it seems to be a real crowd pleaser, but I think I'll have more to say on it later…) 

• You might get a kick out of the Lonely Island deep cut easter eggs on the Billboard “least bought albums” charts if you pause the sketch at the end long enough to read them. B+
  

Ludacris Performs “Money Maker” & “Runaway Love” (w/Mary J. Blige)

• The women of the cast introduce “Money Maker” dressed in turkey costumes. Kenan introduces “Runaway Love” in a turkey costume of his own. These may have been for an early version of the turkey chase sketch that got cut from this episode and was done in Tim McGraws’ episode two years later (which Ludacris would ALSO be a co-musical guest of).

• I don't have much to say about “Money Maker” other than it sounded pretty typical of Luda and of party/club rap in general from this time period.

• I will say that “Runaway Love” is…heartbreakingly catchy. I do appreciate that Ludacris at least tried to turn a “sincere message” song into a hit at this point in his career.

Weekend Update w/Poehler & Meyers

John Mark Karr (Hader) condemns OJ Simpson for his “If I Did It” book and falsely confesses to additional crimes.

Coach Bobby Knight (Sudeikis) berates Seth Meyers for a bad joke

Editor of “Sixteen & ½” Magazine Anoosa Rosenfeld (Rudolph) angrily pressures teen girls to donate ALL of their food to those less fortunate while eating lip gloss and commenting on the “generosity” of Hollywood's most dangerously thin actresses

• Joke-wise, Seth's “Trent Lott/Minority Whip” joke stood out because I remember it being a news story that was jumped on by political comedians at the time for the “low hanging fruit” of it all. Even Jon Stewart did a whole segment on it called “Ebony & Irony” where he actually interviewed Rev. Al Sharpton for it (not as his main guest that night, just for that one segment).

• Bills’ John Mark Karr commentary is funny enough. He puts over the creepiness of it well enough, but it probably requires a bit of background information.

• You see, John Mark Karr (now a Trans woman known as Alexis Reich) had falsely confessed to killing JonBenet Ramsey that summer, but police saw right through his claims and eliminated him as a suspect at this time.

• Being a Coloradan and being from Boulder County myself, this was a pretty big story in my own neck of the woods but the above paragraph is all one needs to know why it's funny that he would also claim to have killed 50 Cent, Nicole Brown Simpson, Bambis’ mom and thrown a cell phone at the head of Naiomi Campbell's maid.

• Anyway, moving on to a lighter subject…Amy and Seth breakdown the seating chart at the Tom Cruise/Katie Holmes wedding. A bunch of Scientology/alien/nutjob jokes here. Feels like something Tina would've done four years earlier. Meh. On the plus side, Amy really sold that priest/celibacy joke.

• Sudeikis as Bobby Knight was probably my biggest laugh of the whole show so far. They probably lingered on that last beat a bit too long, though. Seth sold that Google sex site joke for me.

• Speaking of Weekend Update commentaries where someone just yells angrily, Mayas’ thing also worked just fine for me. She put it over on sheer deranged energy alone. It was an effective satire on the extreme weight shaming of young women and general “anorexia chic” trends of this time.

• I was at the exact right age to understand most of the teen buzzwords Maya was shouting throughout this so I did actually get what she meant when she uttered the phrase “wasn't Degrassi on The N super Crunk last night?” In fact, I'm pretty sure this was the first mention of Degrassi anywhere outside of “The N” or Canadian media before Drake's rap career took off.

• Oh, and by the way, apparently Mayas’ character is a parody of a real woman named Atoosa Rubinstein who was the actual editor of “Seventeen” magazine at this time. Why they found it necessary to change the names completely…I dunno. It's not like they're protecting the innocent here. They're not exactly Mr. Show, are they? C+

Pool Watch

A lifeguard (Ludacris) is too preoccupied with removing his expensive jewelry, clothes, Timbalands and gear to save a drowning victim in time much to the chagrin of his co-lifeguard Malik (Thompson) the elderly pool goer (Rudolph) who alerted him to the drowning. Also, he can't swim and he and Malik refuse to give another male drowning victim (Armisen) mouth to mouth.

• Ok, wow. This was just one long buildup to a slightly hackier racial stereotype than the one that preceded it.

• Also, this is framed as a new show on the new CW network. Now, this was The CW's first year in existence after UPN merged with The WB…and this sketch seemed to be written under the assumption that the CW would be more like UPN than The WB of the 2000s when this wouldn't be the case.

• I did get a kick out of Kenan's angry thousand yard death stare into the camera in his intro shot, though (and out of Fred's appearance as an unconscious drowning victim being his only appearance of the night). D+

Hair Transplant

Mr. Plotner (Forte) is eager to see the results of his hair transplant surgery. Dr. Schultz (Ludacris) is eager to put on his running shoes so he can get to “the opera” on time…with his passport and briefcase before undoing the bandages. Nurse Hamilton (Sudeikis) brings him some tinfoil (suspiciously the only reflective surface in the entire medical trailer) to reveal that the doctor merely switched his own natural black hair for Mr. Plotners’ Elton John-like hair top he desires so much as a black Elton John fan. Mr. Plottner confronts the doctor on the ruse when he comes back to retrieve his passport, so to make amends he gasses Mr. Plotter for one more free and honest session.

• This episode needed some good, absurd Forte inspired absurdity at this point (especially since this would turn out to be Wills’ only appearance of the night leading to much speculation on his future with the show because no one knew yet that he voluntarily gave up the Bush role to Sudeikis at the time). Ludacris played along quite well.

• I particularly liked how Forte kept saying he felt safe and in trustworthy hands after he saw the doctors’ as spray painted on the side of an abandoned building. B+

Lesbian Cruise

Captain Ronald Huggins (Ludacris) is so “enthusiastic” about the lesbian lifestyle that he unsuccessfully tries to “mingle” with several lesbians (Wiig, Rudolph, a dozen female extras). Cruise director Arizona (Poehler) has to break it to him that none of these lesbians are in any way “bi-curious” and that what he has seen in lesbian pornos is not accurate to their real lifestyle. Suddenly, after offering to video tape some of their water sports, he is thrown overboard.

• Wow, some pretty hacky jokes about lesbians and horny ignorant men here.

• There's not much to say here as this sketch pretty much took too long to go absolutely nowhere.

• The only thing I got a slight kick out of was the mistiming of the pre-recorded “I love me some lesbians” voice over from Ludacris as his character is supposed to be falling overboard. D-

Two Old Men

Two Old Men (Hammond & Ludacris) ask each other questions about how life has changed over their soup in a Diner. 

• This was a nice, charming, genuinely funny sketch to end the show on.

• I liked Luda describing his love of land lines with a “long, funky, funded up cord”.

• I liked Hammond describing his love of TVs’ that are “big, chunky wooden bastards that get as hot as the stove”.

• It's especially nice of the show to give Darrell a chance to be genuinely funny in a non impression/non political role here (even if it is in the ten to one).

• I liked all of Luda & Hammond's rapid fire questions in the middle section on penis tattoos, smoking in JC Penny, picky prostitutes and chicken on pizza and no pee/stiffy medicine.

• I especially liked Luda addressing the elephant in the room on Hammonds’ loose mustache. I guess that didn't derail the sketch as much as I thought it did since it (and the episode) were pretty much over at that point anyway.

• Here's a question: why is it that each time SNL has ended an episode with a live sketch where an interracial pairing of old men complain about modern life, the sketch completely falls apart somehow? First Murphy & Piscopo in February 1984 and now this?

• Anyway, nice sketch. B+

Ranking These Sketches By How Well They Held Up In 2025 (Best To Worst)

1. Two Old Men
2. Hair Transplant
3. Monologue 
4. The O'Reilly Factor
5. Blizzard Man
6. Weekend Update
7. Presidential Address 
8. Young Douglas: Hypin’ The Classics 
9. Pool Watch
10. Lesbian Cruise
11. The Bitchslap Method
12. Booty Bidness Workwear 

Overall Thoughts

• Well, this was certainly a strange episode to review. It wasn't bad or dull, just quite uneven. 

• Ludacris was a solid host who proved to be game for pretty much anything and had the ability to elevate some of the weaker material. Most of what wasn't based around bad stereotypes to the point where it almost felt like a leftover season 30 sketch worked to some degree.

• Even cast airtime felt uneven. Maya and Kenan pretty much dominated the night (which is to be expected when a rapper hosts during this era). Jason, Andy, Darrell and Kristen got some assists in with everyone else forced to fight for scraps.

• I decided to review this episode when Deej pitched it to me for the podcast. At first, I was a little unsure about this one because Bill wasn't in all that much of it as it turns out. Once I started digging into it, I discovered there was enough here for us to review it as sort of a time capsule of the strange cultural moment that birthed it.

Closing Thoughts

• Well, at this point all I can confirm for certain is that the next “classic” episode I review for this blog will be Justin Timberlakes’ episode from this very same season of SNL.

• After that, I'm not sure. I will say you can expect a few more “classic” SNL reviews from me before season 51 starts. I just can't say which episodes those are yet because even I don't know which ones they'll be or when I will be reviewing them.

• See you then!

Shia LaBeouf/Avril Lavigne (04.14.2007)

The following blog entry is meant to be a companion piece to the newest episode of the We Heart Hader Podcast. Give it a listen, won't you?

Wings Of Hope

Rev. Jesse Jackson (Hammond) and Rev. Al Sharpton (Thompson), reveling in their renewed cultural relevance in the face of the Don Imus scandal, announce the opening of their new “Wings Of Hope” Racist Rehab Center where those who have publicly made racist remarks will be educated on the literary works of Ralph Ellison and Maya Angelou as well as the films of Oprah Winfrey. Then, they will be made to atone for their misdeeds by parking cars at Jay-Zs’ party during NBA All-Star Weekend and go on Jackson and Sharptons’ apology tour…also known as “Apolopalooza”.

• Hoo boy, this is gonna be awkward.

• This is one of a few segments throughout the night that comment directly on former radio host Don Imus’ scandal stemming from his referring to the Rutgers women's basketball team as “hard-core hoes” and “nappy headed hoes” which led to his firing from his radio shows. Hell, if you're my age…this was probably the first time you ever found out who Don Imus was or even thought about him.

• Well, at least this feels different enough from the typical cold opens of the era to be interesting in a good way.

• Darrells’ Jesse Jackson…yeah, a white man in even a light amount of blackface in a sketch satirizing a white man for real life racist comments that demeaned a specific group of black women is…not the best look for the show, but hey…2007 was a different time.

• Thankfully, Darrell himself wasn't bad enough to detract from this sketch. Unfortunately, he didn't add much to it, either. 

• Fortunately, Kenan added enough to keep this sketch afloat. In fact, this might have been the best use of his Al Sharpton impression. 

• Kenan also had the better lines in this such as “you've lost your damn job”, “nothing sends a wave of fear through the hip hop world like the firing of a 66 year old white man” and “you will apologize to the Harlem Globetrotters and both Kool AND the gang”.

• The photoshopped pictures of Don Imus going through racist rehab could've been cut as they just looked awkward and…visually off.

• After Darrell's joke about Al & Jesse still being relevant, Kenan's next line is “you hear that, Barack? How you like us now?” I genuinely have to wonder if that was an actual reference to something Obama said about the real Al & Jesse that week? C-

Monologue 

20 year old Shia LaBeouf, fresh off his success from the film “Disturbia” and preparing for “Indiana Jones 4” is disappointed to learn that none of the cast (Sudeikis, Hammond, Thompson) or crew (Wally Feresten, Phil Hymes, Tom Broecker) share in his sheer youthful excitement in doing this show after Amy Poehler sets him straight. Suddenly, Kristen Wiig gives him a Glenda the Good Witch style pep talk just before Lorne tells her that the Wizard of Oz sketch had been cut.

• Well, I had seen enough “Even Stevens” and was familiar enough with the movie “Holes” to vaguely know who Shia was at this time. I remember my own father being confused but I think he knew who Shia was by the next time he hosted and he was actually promoting “Indiana Jones And The Kingdom Of The Crystal Skull”.

• Speaking of “Indiana Jones And The Kingdom Of The Crystal Skull”, hoo boy…the sight of him being excited about that one has aged like milk.

• Anyway, there didn't seem to be much to this monologue concept-wise to grab on to, but there was fun to be had.

• I liked Sudekis’ blasé reaction to Shia and Hymes and Hammonds’ appearances drinking tumblers full of Gas-X and Metamucil.

• I especially liked Kenan's appearance trying to hide the fact that he was smoking a blunt backstage when Shia accosted him for his “Disney/Nickelodeon/we DO make it rant” and Poehler dressing down Shia.

• Normally, Wiig as Glenda the Good Witch is something that would grate on me a bit but I did suddenly like her dropping the character to react to Lorne telling her the sketch was cut. C+

Hathaway Mustache Ride Company 

In 1887, ladies hair tonic magnate Leonidas Hathaway (Alec Baldwin) proposed to his board of directors (Hader, Hammond) that his company not only branch out into mustache rides but offer them to women for free. The company continues to expand, thrive and flourish to this very day.
Seeing as Alec Baldwin appears in only this and no other segments in this episode, this must've been a dress rehearsal cut from his previous episode this season.

• Yes, it's a very cheap, raunchy, tawdry gag that borrows a bit from the previous season's mustache talk show sketch with Jason “My Name Was Earl” Lee, but I admire its strong commitment to turning what's essentially a white trash t-shirt slogan into a faux-refined big corporate puff piece commercial.

• I got a kick out of Haders’ tearful expression at the end of the meeting as well as Seth's consultation with Wiig as she meets Forte with his vibrating mustache.

• I also liked seeing Sudeikis, Armisen, Samberg and a heavily dreaded rastafarian Kenan modeling their absurdly elaborate mustaches. C+

Prince Show

Prince (Armisen) and Beyoncé (Rudolph) welcome a too allergy conscious Toby Maguire (LaBeouf) and Nancy Grace (Poehler)

• This, I believe, is the last of these Prince talk show sketches that Maya and Fred would do as cast members. It may also be the last time Maya played Beyonce as a cast member, but the same thing CAN'T be said for Fred and his Prince impression.

• This definitely has a played out feel to it, in that by this point, the audience may have forgotten why the show thought it made sense why pair Prince and Beyoncé together as co hosts of a talk show. Didn't these start right after Prince and Beyoncé performed a duet at the Grammys or something? This would've been, like, three years after that, right? 

• I know they did a couple of these when the real Prince and Beyonce/Destiny's Child were in the building as musical guests (in fact, me and Deej covered one of those on the podcast a little while ago) but…what was going on with the real Prince and Beyoncé in pop culture at this time that warranted another one of these? I think Beyoncé might have had some new music out around this time, but was this the year Prince performed at the Super Bowl Halftime Show or something?

• Anyway, the other impressions in this sketch were likely the bigger problem here. Shia didn't really look or sound anything like Tobey Maguire and while I can see why he gets criticism for not exactly being an electrifying choice to play a helm a big summer popcorn comic book Superhero franchise, Shia didn't exactly need to play him as THIS big of a Milhouse-like allergy obsessed dweeb here. Seth Meyers actually did a decent Toby Maguire impression a few years before this that worked better for what they were going for here. I did like how his hands swelled up from sitting on that cupcake.

• Normally, I run pretty hot and cold on Amys’ Nancy Grace impression and it didn't really make a ton of sense here either but I did get a kick out of her mangling the words to Sheena Eastons’ “You've Got The Look”. C-

Buying Beer

A convenience store cashier (Thompson) isn't persuaded by two obvious underage teens (LaBeouf and Samberg) to let them purchase two six packs without seeing their IDs despite their exaggerated talk of their adult ages, work histories, number of children or the other times they previously bought beer and cigarettes at other stores. He is then given a “certificate of responsibility” by an “official” ATF agent (Hader) whose wallet is taken by a “robber” (Forte) who assures everyone that the ATF agent's ID is very much real. 

• This Lonely Island written sketch was definitely my favorite live sketch of the night.

• Every purposely stilted beat of this hit perfectly for me from Sambergs’ slightly too big suit and fake obviously fake mustache to Bill entering with the phrase “good work, guy” with every other word out of his mouth being delivered as if he were narrating a 1950s’ school filmstrip.

• Fortes’ chipper, matter-of-fact entrance prompting an ever so wooden “Oh no! A robbery!” was the icing on the cake here. 

• Yeah, the ending seemed a bit cheap and forced but Kenans’ line “see you guys back at the dorm” really sold it (as long as you don't consider any darker implications that could be behind that one). A-

Dakota Fanning Show

Dakota (Poehler) continues to insult her band leader Reggie Hudson (Thompson), alienates Disney's “Suite Life” stars Dylan and Cole Sprouse (LaBeouf & Samberg) and belittles the career of her own little sister Elle Fanning (Avril Lavigne) until their mom/PA Catherine (Wiig) steps in.

• This is the second one of these they did. They would only do three. Honestly, the first one of these was the only one that worked and hit the right beats for me.

• I'm not even sure where this slightly off putting portrayal of Dakota Fanning as this impossibly cultured and well read child actress came from. I just remember reading that she agreed to stop doing it after learning that the real Dakota and her family were apparently deeply offended by a reference to one of her real life movies from the third one.

• Basically, Amy portrays Dakota as a real life Lisa Simpson with a very low, Sheldon Cooper level of self awareness. That last part really makes this something you can only take so much of so really it IS amazing that they ended up making three of these sketches.

• Amy playfully insulting Kenan's character can be a little much but thankfully Kenan's good natured reactions are funny enough to balance this out (up to and including his line “yeah, I'll put a cap somewhere all right”)

• Andy and Shia tried their damndest to put this over with their energy but what worked more for me was when Amy led them into an existential crisis asking them why they were “just playing” with their orange blimps culminating in Andy's quietly delivered “you're scaring us”.

• Having Avril play Elle Fanning was a good way to sneak her into this sketch. I don't know if having Dakotas’ sister being almost as absurdly intelligent and cultured as her worked but her performance sold it for me as did Wiigs’ underplayed delivery of her line “you can just call me ‘mom'”. C-

Digital Short: Dear Sister

As Keith (Hader) writes a letter to his sister (Wiig) he is shot by Dave (Samberg) and shoots back. They then both shoot Eric (LaBeouf) and Keith's sister as they walk into the room. Then, two cops (Armisen and Sudeikis) walk in, read the letter detailing the order of each of these shootings and then shoot each other.

• Ah, here it is, ladies and gentlemen. Peak millennial meme comedy. The perfect balance of silly 2000s “randomness” with even sillier 2000s “melodrama” that doesn't come across as too dark or tasteless. Doesn't get much better than this, folks.

• Anyone with a working knowledge of Lonely Island history knows that this short stemmed from the boys’ love of 2000s FOX teen soap opera “The O.C.” which led them to creating their own parody series called “The ‘Bu” which they made for Dan Harmons’ Channel 101. In fact, this sketch itself is a parody of the infamous shooting scene at the end of The O.Cs’ second season finale. 

• This is a sketch that Andy brought to the show pre-written from that time and used when the show was asking them for more short films.

• Like Lazy Sunday before it, this one was being put on and taken off of YouTube constantly. This was partially due to music rights and other copyright related reasons and particularly due to the fact that this episode aired right around the same time as the Virginia Tech shooting, which…yikes. Yeah, this short was just a victim of unfortunate timing which now we can look back and say THAT’S the worst thing about this one.

• This was at least The Lonely Island's third “viral” Digital Short from their time on the show and inspired a whole YouTube trend. In fact, on the Seth Meyers & Lonely Island Podcast Seth said he could see this blowing up on TikTok today. I'm not sure I can see that. See, this got me thinking…

• I think you can trace a devolution of viral video meme trends from the early YouTube era when The Lonely Islands’ stuff went viral to the current TikTok era when the newest SNL sketch to blow up and inspire new viral trends THERE is, well…Domingo.

• See, if you look at the Lazy Sunday and Dick In A Box YouTube “parodies” from when that went viral you'll see people actually taking the time to get an actual camera and film themselves “recreating” those videos (in some cases, even changing the words to the song itself and in a few cases with Lazy Sunday some people even wrote and produced an entirely new “diss track” of their own as a west coast/Midwest “response” to Lazy Sunday.

• When Dear Sister went viral, people still recreated the sketch word for word adding very little “twists” or variance of their own but you also got people just editing famous scenes of violence from popular movies and TV shows in slow motion to Imogen Heaps’ “Hide and Seek” (the song from the original short, you see) and calling it a “parody” (which is still valid, but…requires less effort).

• Nowadays, “Domingo” gets an absurd amount of views on TikTok and pretty much all the “memes” in response to it are either people filming themselves on their phones dancing and lip syncing to it or just placing a green screen template of Marcellos’ singing from the first sketch over an background image with a caption about different situations where something delicate has to be explained.

• See where I'm going with this? 

• Look, all I'm saying is that as we condensed more and more of our online media consumption to our smartphones and smart TVs rather than actual computers and started looking to these phones of ours for more and more “instant gratification” and quick dopamine hits our attention spans have shortened and our work ethics has been somewhat diminished along the way. 

• We're consuming shorter and more “bite size” content on our phones and now the most effort it takes to follow a meme trend seems to be just placing two images on top of each other and pairing a song or a soundbite over that before posting.

• I don't even want to think about the effect this is having on the next generations coming up after mine.

• I'm not saying this as an old boomer or anything who's completely against smartphones or the internet or anything, I'm just saying we would do well to recognize this as the most immediate everyday danger of TikTok and smartphones in relation to the other wide reaching societal problems with them and adjust our viewing and consumption habits accordingly for our own mental health and wellbeing. That's all.

• …and of course, I say this as a guy who wrote and researched most of this blog post ON a smartphone ON TikTok (and no, the irony is not lost on me there, either).

• Anyway, Dear Sister is a fun Digital Short that I will fondly remember as something that has always hit for me the same way since high school. B+

Sofa King 

Local furniture sales couple Katir (Armisen) and Hasar Mutar (Rudolph) along with their sons Nasir (LaBeouf), Onan (Samberg) and Nasir II (Hader) sell us on their own unique deals that are “Sofa King” great!

• This may be the shortest “naughty word play” sketch SNL has done in history. Compared to the likes of “Schweddy Balls” and “Cork Soakers” this feels like a real blackout.

• The main thing that drags this down just a bit for me is the “been there, done that” feeling I get because I believe the “sofa king/so fucking” joke may have already been passed around as an early online meme mere months before this sketch even aired.

• I wasn't crazy about their need to have everyone in this play uniformly unibrowed middle easterners in order to make this work, but they ended up having the exact right energy to put this over.

• Maya peering out from behind the graphic placed directly over her face Mike Wazowski style felt a little cheap, but I did get a kick out of Shias’ wide eyed thousand yard stare, Hader’s goofy grin and shoulder shaking as well as Andy playing his character as just a slick slightly sleazy looking smoker. C+

Avril Lavigne Performs “Girlfriend” And “I Can Do Better”

• Eh, typical cute, fluffy 2000s girl power pop punk. Not much else to say here.

• My sister was a fan but I think I was kind of “over” Avril by this point.

• Also, isn't it more believable that the “real” Avril just got some cosmetic surgery at some point after her first album did well than her being replaced “Paul Is Dead” style by a sound-alike hanger on? Maybe that's a story for another time.

Weekend Update w/Poehler & Meyers

Maya Rudolph (Herself) interviews Attorney Howard K. Stern (Samberg) on his second place finish in the Anna Nicole Smith Paternity Case

A Gay Couple From Connecticut (Armisen & Hader) discuss same sex marriage being allowed in their state

Don Imus (Hammond) issues a sincere apology for his racist remarks, but brutally puts down any guests on his former radio show who didn't rush to his defense

• Yeah, not a lot stood out to me joke-wise from either Seth or Amy tonight. I did get a slight kick out of Amys’ “Spongebob Squarebeer” and “Herbie Goes To Paris” jokes and Seth's “house I grew up in” (but what the hell was with that Duke LaCrosse players joke, Seth?)

• I will give credit for this PGA style post game interview between Maya and Andy for being…surprisingly pleasant and a decent format break for Update, but…really, what the hell was this? A joke about a dead celebrities' paternity trial being treated like a Golf tournament? (I only say Golf because Andy and Maya were speaking in very low, whispery tones here). I'd say it must be a grim commentary on the state of America's 24 hour news cycle and overall celebrity obsession but much like the rest of this Update, it feels too lost to the time fog to make much sense out of now.

• I really wasn't crazy about Armisen and Haders “Two Gay Guys From Connecticut’. It's basically the same shtick as the “Two Gay Guys From New Jersey” bit, except changing them from Tony Soprano type mobbed thugs to rich, stuffy Thurston Howell type WASP preppies made them LESS appealing. I will say Hader’s still a better actor than Armisen when it comes to these and I got a little bit of a kick out of their lines about intentionally crashing their 40 million dollar yachts into each other.

• Hammond as Don Imus may have genuinely been the funniest part of this. I liked the slow, sincere sounding buildup and how Darrell's delivery of his blunt insults was funny enough that you didn't even have to know or remember who Don Imus was to at least get a chuckle out of it. C-

Knife Salesman

Door to Door Knife Salesman Blade P. Cutsworth (Forte) and his protégé Bernard Throttlehunt (LaBeouf) come very close to selling a knife to Melanie Ginsu (Wiig) after she sees them cut through frozen carrots, reams of paper and Blade P. Cutsworths’ own thumb. 

• Ha! Typical Forte goofiness leading into the most low key blood spurting ever employed in an SNL sketch.

• I got a kick out of Wiig specifying she wanted to see the guys cut through a thicker finger bone than a pinky and that 13.00 for two knives was too expensive for her.

• I also liked how this ended with a cutaway to a dog attacking the most obvious mannequin dummy you've ever seen. B-

An Intimate Moment Between Jessica Simpson and John Mayer

Jessica Simpson (Wiig) and John Mayer (Hader) struggle to make small talk before deciding to have sex.

• Gee, was Tina Fey a guest writer this week?

• …but seriously, I do admire this era giving us the occasional blackout sketch near the end of the show.

• While this one wasn't my favorite (I never would've picked Wiig to play Jessica Simpson but she did a fine job), it was well done enough for what it was and I was okay with it. You could tell what she was going for facially and vocally.

• I liked the brief bursts of absurd disconnected one liners such as “I love the blues” being followed by “my highlights are too shiny”.

• I liked Bill imitating John's intense guitar mugging…and the more I think about it, the more I suspect that all of John Mayers’ relationships with famous women were actually like this to some degree. C+

Shia & Maya

Maya Rudolph aggressively seduces Shia LaBeouf in her dressing room…because their first names rhyme. Shia is…somehow used to this sort of treatment from older women and…welcomes her advances.

• Maya was actually great in this. It seemed like a sketch written solely for one performer to get another performer to break (Shia came close once), but it was a fun little low-key absurd thing that didn't take itself too seriously.

• Yeah, Maya was a little over the top but this was a pretty self contained sketch and she was self aware here.

• This was really one of the most “we made an absolute meal out of a threadbare premise" sketches ever produced. C+

Overall Thoughts 

• Hmm…not AS consistently solid of a season 32 episode as the last one I reviewed (mostly since it seems to have built its reputation on one or two singular sketches, tops)

• Still, not a bad episode outside of the specific standout moments I chose it for.

• Not everything in this episode stands up to scrutiny (but hey, it's 2007, that comes with the territory, I was just impressed by what held up THAT well from this time) but still there's fun to be had.

Closing Thoughts 

• Well, I'm honestly not really sure what I'll be doing next for this blog right now or my own podcast for that matter.

• I have a feeling I may end up making myself write up a few more SNL reviews real soon for a different era of the show. 

• Of course, those won't be for my own podcast, but rather another SNL related podcast that I might (hopefully) be making a guest appearance on soon.

• Naturally, I have no idea what those episodes will be or if let alone when I may get to do them, but I hope to be able to find out and let you guys in on it real soon.

• See you then!

Hugh Laurie/Beck (10.28.2006)

The following blog entry is meant to be a companion piece to the newest episode of the We Heart Hader Podcast. Give it a listen, won't you?

Kazakhstan Ministry Of Information 

Lorne Michaels (Himself) informs the audience (while pouring himself a glass of fine scotch and being served a fancy club sandwich) that due to the effects of drastic budget cuts at NBC, he had to sell this weeks’ cold open to a foreign government. What follows is a brief presentation from Borat (Sascha Baron Cohen) accompanied by his assistant/producer Azamat (Ken Davitian) touting the highlights of his Kazakh homeland and encouraging viewers to see his new film next weekend.

• When Lorne is handed his club sandwich, his line “these are hard times, we do what we can” is nearly drowned out by sudden applause and especially so is something that sounds like “thank you, Tina” or possibly “thank you, Jimmy”. It would make a lot more sense if it just turned out some audience members saw who our next cameo was going to be a little early and wildly applauded than if Tina Fey and/or Jimmy Fallon made brief, wordless cameos where they don't even appear onscreen (unless that somehow plays into the whole “extreme budget cuts” theme, too…which I sincerely doubt). Lorne also breaks a bit at having to pronounce the name “Kazakhstan” which I found charming, considering how little we see Lorne genuinely laugh whenever he knows cameras are on him.

• I remember Saschas’ cameo playing very well at the absolute height of Borat-mania in the fall of ‘06 and as gleefully crude and crass as a lot of this is, Sascha sells the absolute hell out of this with his sheer, goofily infectious energy.

• I even got a kick out of Kev Davitian just glowering silently in the background until the moment when Sascha translates his “wizard sleeve” joke to him, and he briefly chuckles, before going back to glowering.

• If I had to pick an absolute favorite moment of this (out if what still comes close to holding up in 2025 anyway) it would be the introduction of “Johnny The Monkey” who is Kazakhstans’ biggest movie star and Borat describes as a “children's favorite” and “star of over 300 pornos”. He likes to dress like Humphrey Bogart in Casablanca.He doesn't mind the jacket, but is NOT having the hat at all. I liked the fact that a man with a curly mustache came on whose only job was to carry the monkeys’ leash and put his hat back on his head whenever he removed it. 

• The less said about the shows’ opening line being changed to “Live from New York, home of the jew…it's Saturday Night” the better (well, at least Sascha himself is Jewish). C+

Monologue 

Hugh Laurie, addressing the audience collectively as “sweetcheeks”, convinces the audience that he himself is much sweeter and less misanthropic in real life than he is in the title role of “House” (mostly due to the effects of Lithium), fills in the audience on his background as an English actor with Shakespearean roots and explains subtle differences between British and American humor humour that you might not notice.

• This was a very fun monologue which Hugh sold with his effortless charm. It's very evocative of the very dry, wordy, writerly nature of “A Bit Of Fry And Laurie”.

• I liked Hugh describing himself as “the yelp of a small puppy just freed from the microwave”, “the click of an empty chamber when it's your turn at Russian roulette” and “you grandmother just as you reverse the tractor off her leg”

• I especially liked the bit where a map of just the U.S. is wheeled out and Hugh is forced to explain that England would be where his right nipple…used to be.

• A personal highlight of mine is the ending when Hugh outlines all the personal details of what to expect from British comedy (sketches about bad teeth, overly elaborate puns it will take you days to understand with very little payoff, rain inside the studio, sketches served with Peas, starting an electrical fire if you plug in a hair dryer).

• Boy, if only SNL could get away with sketches about or regarding bad teeth on British actors or actresses in 2025, huh? Wouldn't that be something wild? B+

Most Haunted

While searching for the ghost of a dead boy, the crew of a ghost hunting show (Armisen, Hader, Poehler) find themselves over investigating an obvious fart from the shows’ host (Laurie)

• Ugh, well…I'm not a big fan of fart jokes so this was pretty much 100% white noise to me (well, up until the “thermal camera” part anyway). 

• I will say that this was sold well by the cast members who can do the most convincing British accents. It was professionally acted for something so juvenile. C-

TV Funhouse: Political Attack Ads

President George W. Bush (Jim Morris) announces the RNC is pulling back on “scare tactics” in campaign ads (like one that recently featured quotes and images from Bin Laden) and presents some more festive Halloween themed ads.

• This was a deep cut late period Smigeltoon I've always been a lowkey fan of.

• The Bush/Cheney wraparound of this look just cheap enough to lend some truth to the claims of massive budget cuts at NBC. In fact, they look exactly like the unfinished animation from the scrapped 2003 era TV Funhouse featuring Bush, Cheney, Rumsfeld and Colin Powell that Robert Smigel himself just posted on his socials.

• Anyway, the real highlight of these for me were the ridiculous over the top South Park like visuals of Ted Kennedy as Dracula French kissing Bin Laden whole Obama (dressed as the count from Sesame Street) counts off gay marriages.

• I especially got a kick out of a screeching Alien chestburster of Hillary Clinton in a witch hat offering trick-or-treaters “condoms and abortion pills” in a cheap Marge Simpson like voice before French kissing her host mother as Bin Laden appears again just to wave at you.

• I loved a cowering child like Dubya's reaction to that as Cheney growls at him to finish.

• This may have seemed like more 2006 shock humor that may not fly today, but the sheer ridiculousness of it puts it over. It's a real time capsule of a time when Republican talking points were dumb as hell in a silly way and not an aggravating and toxic way.

• I notice Al Franken had a writing credit on this. Given what we know about Al Franken now (mostly as an SNL writer) and given how this seems to just be an updated version of his “1994 attack ads” Update commentary from the season 20 Dana Carvey episode, that definitely tracks. B-

National Anthem 

At the opening of Game 5 of the 2006 World Series, Sportscaster Joe Buck (Sudeikis) and Tim McCarver (Hader) introduce local contest winner Pamela Bell (Rudolph). Winner of local grocery chain Schnucks’ “Anthem Idol” contest, Ms. Bell is here to sing the National Anthem which she mangles so badly that Buck and McCarver are just left to look on in baffled silence.

• This is obviously a Maya singing showcase more than anything. Bill and Jason are there just to react. Still, it's a well remembered sketch from this era (possibly due to its inclusion in the Best of 06/07 DVD & Special and its second life on YouTube…which is kinda ironic since the sketch itself I heard is based on a viral video).

• My mom and (especially) my sister are bigger fans of this one than I am. I guess how you would feel about this depends on your level of tolerance for “Maya Rudolph makes fun of different wacky ‘diva’ singing styles of the 2000s” sketches.

• I'm still not the biggest fan of this sketch but it's grown on me ever so slightly over time. Maya can be a likable presence in sketches even if she goes over the top with it.

• I did like how easily she switched between Christina Aguilera style belting and Britney Spears like whiny mewling mush. I also got a kick out of her suddenly sneaking in the last verse of “Take Me Out To The Ball Game” for no apparent reason. C+

Advance Man

The Equiry (Laurie) for the Queen of England addresses the manager of an upscale hotel (Wiig) that Her Majesty will be staying about her bizarre personal requests.

• Another dry yet patently absurd and near Python-esque piece from Hugh written in the vein of his “Bit Of Fry And Laurie”.

• I got a kick out of his adlib that the glasses he struggled to put on were “fortunately…just an affectation”

• I especially liked his outlining the queen's request for a room full of mini furniture staffed solely by two little people for the Queen to pretend she is a giant and the request that the staff only make direct eye contact with her breasts and begin each sentence with “homina homina”.

• I also liked the request that the hotel dub over all 60 cable channels they offer with British accents simply because “she flips around” and that they install hooks in the bathroom capable of sustaining the full weight of a 200lb man before admitting he will not be here when the queen arrives. B+

Hardball

Chris Matthews interview RNC Chairman Ken Mehlman (Samberg) and DNC Chairman Howard Dean (Sudeikis) about how various scandals befalling down ballot Republican candidates are negatively affecting the chances of a GOP controlled house & Senate

• Good to see they're still letting Darrell use one of his stronger impressions this late into his run. Hardball was always a solid vehicle for SNLs’ more brash and cartoonishly blunt political humor of the mid 2000s. I believe this was the second to last one they ever did so it's nice to see these go out in such a fun way.

• It's also really nice to see that the show had enough faith in Andy Samberg, the shows’ go-to “goofy young guy” that they thought he could hold his own in a more toned down political role this early in his tenure. I liked his character having to defend all the goofy photos of him with Congressman Glenn Beasley (played by longtime SNL lighting director Ken Aymong) after he was revealed to be “the TCBY strangler” and then revealing that the only candidate they could get to replace him is John Wayne Gacy Jr.

• I also got a kick out of Sudeikis as Howard Dean flawlessly switching from bluntly admitting to the Democratic partys’ incompetence to bluntly and calmly just challenging Samberg to a fist fight after saying he is “filled with rage” and wants to free all the terrorists from Guantanamo Bay to make room for Cheney, Rumsfeld et al. B+

Protest Song

Hugh Laurie sings a Bob Dylan style Protest Song about the world's problems, but awkwardly and incoherently mumbles the one big “solution” to all of them.

• Ok, this is literally an almost exact recreation of a sketch Hugh did on “A Bit Of Fry And Laurie” but it still works quite well here.

• I do love the very timeless quality of this. Even for something written some time in the mid to late ‘80s, it feels like it works just as well in any era.

• I also love the stage direction in this and how it gives us a chance to see some angles of the host on home base stage we don't often get to see.

• Fun note: this is the reason Andy Sambergs’ sketch “Wanna Come With” got cut from the show and ended up having to be performed on Late Night With Seth Meyers as part of “Second Chance Theater” nearly a full decade later.

• According to Samberg, Hugh played Andys’ boss in that sketch (Seth's role in the Second Chance Theater version) but this has to be cut because he wouldn't have enough time to get from this sketch to home base stage to do this song which is why Andy suddenly says “OK, have a great song, Hugh Laurie” in the Second Chance Theater version. B+

Beck performs “Nausea” & “Clap Hands”

• I remember watching these performances with my mother at the age of 15 and hearing her remark “Beck is one of those musicians where you never know whether he's gonna be a genius or if he's just gonna be weird”.

• Well, I've always liked his music just fine. I liked his subtle Alfred E Neuman/Cat In The Hat cosplay and I liked the visuals of a marionette puppet recreation of his live performance right next to it and I liked that about 99% of “Clap Hands” seemed to be played on the spoons, so…I'd say this leans more toward “genius”.

Weekend Update w/Poehler & Meyers

Senate hopeful Tim Calhoun (Forte) once again outlines his platform

A Gay Couple From New Jersey (Armisen and Hader) comment on their state's new ruling on same sex civil unions

• I liked Seth's Hillary/Obama “great, great, great” joke. That genuinely did age well. 

• I wasn't that crazy about most of Amy's jokes but her participation in Seths’ “sleep sex study” joke worked for me.

• Hey, Tim Calhoun is back! He's always great! I liked his Kim Jong IL, 24 strikes and “voracious reader” jokes.

• Fortes’ “dwarf planet/Mexico planet” joke is the type of joke that only HE and no one else could get away with.

• This is the debut appearance of Bill and Freds’ oft recurring “gay couple from ____________” characters. This was much shorter than I remembered (subsequent appearances felt a lot more dragged out) and Armisen seems to have dominated it with Hader left with little else to shout but “Ohhhhhhhhhh!” but at least Hader anchors this by being about ten times as believable in the role of a Sopranos type mobbed up Jersey tracksuit a-hole than Armisen. Hell, he even sells the gay aspect of it better as well. C+

Trust Your Physician 

Dallas Rivers (Thompson) and his wife (Laurie) are very combative and dismissive of his attending physician (Forte) and nurse (Rudolph) who are simply trying to treat his broken leg.

• Well, I'm not quite sure what to make of this sketch but I have to admire Kenan and Hugh's commitment to such a steady stream of loud, chaotic nonsense that has certainly aged…quite questionable.

• I do appreciate Hugh's character being…well, let's just say “in drag” is hardly acknowledged or made too big of a deal.

• Forte and Rudolph play well off them. It's a good thing that this sketch is stacked with performers with likable enough personalities to put just about anything over effortlessly. Only Kenan Thompson and Hugh Laurie can make sudden shouts of “TUSKEGEE!!! TUSKEGEE!!!” seem funny in a way that doesn't just elicit the “uncomfortable” type of laugh. I even liked his “don't buy those cookies rant.”

• Hell, I even liked Hugh's sudden turn to camera to deliver his sincere “trust your physician” rant at the end. It didn't feel too nonsensical and actually tied this thing all together. 

• Still, this is the type of sketch that makes the viewer wonder just how much of this was cut from dress rehearsal. C+

Late Night Movie: The Curse Of Frankenstein 

Frankenstein (Hader) somehow turns the tables on a group of angry, torch wielding villagers (Laurie, Wiig, Poehler, Armisen) tricking them into going after Dracula (Sudeikis) instead of him but then shames them for judging his appearance too harshly when Dracula sends them back to him.

• This was a real hidden gem of a sketch from this time period and a great early showcase for Bill Hader during the period when he really needed the airtime. He anchored this strongly for a second year featured player and I liked his and Jason's “regular everyday guy” portrayals of Frankenstein and Dracula respectively.

• I got a kick out of seeing his hands only being painted green up to but not past his wrists when he pointed out where Draculas’ house was and exposed his bare, unpainted forearms.

• I especially liked Bills’ “you're all a bunch of dicks and fascists/seriously dude, get that fire away from me” rant near the end before his right arm fell off completely (wonder how they rigged that up for him while the sketch was in progress?)

• Hell, in a just world this would've taken the place of “Most Haunted” in all those SNL Halloween Special airings. Maybe it was in those until it got cut at some point (just like Ed Grimleys’ Thanksgiving got cut from the Thanksgiving specials around 2015). I remember having seen this a few times but I'm not quite sure this would've been in the Best of 06/07.

• One small detail I got a kick out of was Steve Higgins as the announcer saying “do they still do these Late Night Movie things anymore?” and “I swear, nobody's done one of these in, like, 20 years”. Well, I guess it was FOX, CBS and various syndicators giving Joan Rivers, Pat Sajak, Arsenio Hall, Dennis Miller, Chevy Chase and Whoopi Goldberg their own Late Night shows that didn't work before David Letterman moved from NBC to CBS that killed the era of various local access stations and CBS affiliates being forced to just throw on any old cheap black and white movie they could get the rights to if they truly had nothing else to compete with Carson, Letterman, Nightline and SNL at that hour. At some point, they must have figured out that they'd have to just dump all those old movies somewhere on cable, after that? Anyway, I liked this sketch. Enough of that semi unrelated rant. B+

Job Interview 

Rebecca (Poehler) finds herself put off during a job interview with Linder and Bowles (Armisen & Laurie) by their constant impressed high pitched squeals of “OOOOOOOOOOOOHHHHHHH!!!” at all of her qualifications. She gets the job, but it backfires on her when she tries to get in on this.

• This was a nice piece of early Armisen absurdity before he got too self indulgent with these types of sketches. This was also very reminiscent of the types of nonsensical songs Armisen would sing with Forte on Update as “Patrick And Gunther Kelly” two seasons earlier.

• It was very fun and not too overlong or grating. Poehler played well off of them and this might have been Laurie's loosest performance of the night. C+

Overall Thoughts 

• This was definitely a fun episode to revisit for the podcast. I liked it just as much now as I did when I was fifteen.

• About 99% of this episode still holds up well but the few small parts that don't work for aren't too much of a distraction from the best of this episode.

• Of course, Hugh Laurie was an outstanding host who put his previous sketch comedy experience to good use.

Closing Thoughts

• Well, as of this writing I can't quite tell you what my next blog post is gonna be because the current SNL season is over for the summer and we haven't quite planned out what else we're going to cover on the We Heart Hader podcast that far out yet, but you could possibly expect a review of the Shia LaBeouf/Avril Lavigne episode soon and possibly something on the “song memories” sketches. Whatever it is, I will find a way to keep you guys updated. See you then!

Scarlett Johansson/Arcade Fire (05.17.2025)

Trump/MBS Meeting

• Well, one more Trump cold open to end the season.

• Apparently “he found…love” with Mohammad Bin Salman. Not crazy about the “season 42 Beck as Putin sketch” vibes I am getting right out of the gate.

• I do like that JAJ has worked Trumps’ real life jerky back-and-forth power move handshake into his repertoire. It brings back fond memories of seeing Athony Atamanuik do that same thing on Comedy Centrals’ “The President Show” in 2017…oh, wait. Never mind. Forget I brought that up. Parallel thinking, I guess.

• I like that they're finally using Emil after a while…but I'm not crazy about the way they're using Emil in this sketch.

• I mean, I liked “oil/money/end of list”, “the late great Fred Flintstone” and the “they Dubai a lot of weapons” and “Utah” jokes but…the rest of this was just white noise.

• Thankfully, the fourth wall break was interesting. I especially liked the “season 50 Worst one yet” jab. (Hey, at least they're being semi-honest here, amirite?)

• God help me I even got into him ranking the attractiveness of the female audience members sitting around him as they…at least pretended to be? I mean, I appreciated it more on rewatch after learning from Jon Schneider that SNL actually does arrange audience seating by placing all the younger, more “camera friendly” people on the floor and everyone else up in the bleachers.

• Yeah, while I do like JAJ himself as a performer and a comedian…I'm really about as ambivalent about seeing his Trump as I am about seeing the real one l…anywhere, so no big loss there. 

• Also, I'm starting to agree with whoever first put forth the take that Trump doesn't deserve an impression that makes him appear likable or relatable like JAJs. He does actually deserve an impression more like Baldwins’ that makes you as sick of seeing both the impressions as much as you are of the real person. JAJ just does Trumps’ actual voice better and he seems like a nice, friendly family man in real life which he can't help himself from letting through in his impression. Baldwin captures Trumps’ other real life behaviors better and probably got even more sick of doing the impression as we got of seeing him do it. C+

Monologue 

• Hey, a sincere “Piano Man” monologue where the cast gently pokes fun at themselves. This is…pleasant.

• Honestly, this feels like it SHOULD have been the cold open (and probably would've been around this time three seasons ago).

• I…thought we all agreed that Bowen pretty much stopped playing “likable” characters about two seasons before he was given the role of J.D. Vance?

• I did like the jabs at Sarah's pants. She's one of the last people I would expect to be leaving unless she sees herself as, like, the Janeane Garafalo of season 50 or something which part of me suspects may be the case with both her and Bowen (and if she really is I would have some…pretty mixed feelings about that but I would wish her all the best).

• Kenan as an audience member was fun. I also liked Longfellow, Jane, Emil and Ashley poking fun at their own lack of screen time. Heck, I even liked how they worked Devon, JAJ, Andrew, Longfellow and Marcello in here 

• Huh…I'm a bit surprised we didn't see…oh, nevermind. B-

Channel 4 NYC News

• Hey, a wildly off key Pink Pony Club parody from Emil. Now, THIS is how I like seeing them use Emil on the show.

• Hey, Ashley has a big upfront role!

• Ok, so…apparently this is a reworked and slightly inverted version of the coffee shop sketch from Timothee Chalamets’ episode…except Scarlett is taking Ashley's role which is made the main focus along with the dark, upsetting nature of the various puns.

• Well, I have to say that leaning into the darker aspects of this sketch (especially on Scarlett, Devin and Heidi's parts) really elevated this for me. B-

PDD: First Class Flight….to Newark?!?!?

• Hey, these guys are back! I was wondering where they've been.

• So, it's a rap that keeps getting interrupted by ScarJo and the boys’ anxiety over realizing they're flying to Newark? Well, at least this is the rare topical short from Please Don't Destroy.

• Mikey as the pilot was…something that turned into a very Mikey-type role.

• I did also like the “who will make the article?/prayer hands/LOST pilot/Avengers money” jokes.

• I appreciate their slight subversion of the audience's collective expectations of when Bad Bunny was gonna show up in this…and how long it would be taking him to start singing. He does work surprisingly well as a dumbfounded, out of his depth, first day air traffic controller and this had a charming ending with the plane landing semi-safely…as Ben Marshall reveals he has urinated on himself. C+

Couples At The Bar

• Four people fighting over the same specific thing? What is this, a season 28 sketch?

• I guess this was the requisite “hey, Bad Bunnys’ in the building this week so naturally that means we HAVE to do a sketch where he and Marcello talk to each other almost exclusively in Spanish for 99% of the total runtime” sketch?

• Still, I do like how multilayered this sketch was where the men are just as much the butt of the joke for how they view the women in their relationships as the women are for how badly they misunderstand (or how they merely very selectively understand as the case may be) Hispanic language and culture.

• I also liked how JAJ and Dismukes characters accidentally display a better, more educated understanding of Marcello/Ego and Benito/Scarjos’ relationships from a complete outsider's perspective than they do. Even though their parts could've been cut without really affecting the sketch either way, I liked that they were there to add that extra wrinkle to it.

• I especially liked Marcellos’ intense, bug eyed stare down of Bad Bunnys’ character as he tells Scarlett what a great couple he and Ego make. C+

Bowens’ Still Straight

• So, they're just gonna do “Bowens’ Straight” again? Goddammit.

• Yeah, I just wasn't crazy about this the first time he did it with Sydney Sweeney over a year ago (no pun intended) but I guess…some people still liked it and that episode much more than I did?

• I wasn't too crazy about this one either (and that's not coming from a place of sheer jealousy over the mere implication that Bowen got to hook up with both Ego and Heidi in the same sketch) so I'll just stick to mentioning which elements of this I actually DID like.

• I do like how they're establishing some continuity from the last one with Gina Gershon making another cameo and not totally ignoring the elephant in the room anymore at this point in the episode any more re: Colin's relationship status with this week's host.

• I did like Bowens’ lines to Scarlett about how he just found out who she was this morning and “thanks for inventing A.I., by the way”. I don't like how this pretty much had the exact same ending as last time, though. 

• Was it ever established who wrote both of these? I'm guessing Bowen himself may have had a large hand in it but I'm just curious how it was determined which specific women Bowen would be “straight” for. Heidi and Ego must've come from him having bonded with them as a platonic friend and coworker over the years but Sydney and Emily must've just come from a specific preference of his or just him having the basic idea of “lol str8 guys just like big boobs, big lips and blonde hair”. Scarlett must've come from a place of all three of these things together. C-

Elevator

• Hey, Mike Myers is back! He's not playing Elon. He's playing himself…and Scarlett isn't. In fact, she is barely in the scene at all. This should be interesting.

• …and hey, look. Kenan is playing…Ye (neé Kanye West)? Ok, not too crazy about Kenan's impression, but…he can make it work well enough. I have faith in him. Still, I would’ve at least liked to see Devons’ attempt at a Kanye instead of just a walk on between him and Ego where she has lines and he doesn't.

• I genuinely wonder who had the idea of “let's imagine what it would be like if Mike Myers had a chance encounter with the stunningly bigoted and fully broken brained Kanye West of 2025 because there's no way that wouldn't be a million times more awkward and uncomfortable for him, right”?

• I definitely think that news of Kanye having released a new single that could be described as “slightly incestuous” at best would be the only thing to make someone come up with this because I haven't heard of this having been cut from any previous dress rehearsals but if this was ultimately scrapped from the 50th I can see why. I mean, that one aired in primetime on a Sunday night so I would see why they would want lighter fare than this to the point where they would've chosen Debbie Downer and In Memoriam over this.

• I mean, upon rewatch, I can see what Kenan is going for with Yes’ speech patterns but he doesn't quite have that nasal Chicagoan semi-angry whine down they way Pharoah and Redd did so it's coming out more Steve Harvey than Ye.

• I did like Mike's sudden line “my kids are safe” and Kenan's line revealing his next song is called “Squeezin’ On My Grandpas’ Booty” which gave me a legitimate laugh, but what was with that weird voice modulated line of Kenan's at the very end? Were the writers confusing Nitrous Oxide with helium or does Nitrous actually lower your voice?

• Also, why are all his front teeth gone…oooooh riiight, he blamed/tried to sue a dentist for getting him hooked on Nitrous. Was that what that was supposed to be a reference to?

• So, basically this is a slightly inferior remake of a sketch that Mike Myers had previously done with (unfortunately) the real Kanye West almost 20 years on the season 31 premiere? Hey, me and Deej actually covered that previous sketch in the first ever episode of our own podcast which you can listen to here. C+ 

Weekend Update w/Jost & Che

• Out of Colins’ “regular” jokes, I liked “McJournalist”, “Qatar-a-lago”, “favors” and “Dick's/Foot Locker”.

• Out of Michaels’ “regular” jokes his “uphold the constitution” seemed surprisingly out of character but I liked “South Africa/Mandella Effect”

• Boy, that RFK Jr./parasites joke was a real throwback to Seth & Amy's era of Update, huh?

• Hey! Miss Eggys’ back! All right!

• I'd say the highlights from this one were “piss a biscoff”, “compote” “Miss Eggy stay strapped” and “hollandaise/benedict”

• Hey! Another joke swap to close out the season!

• For what Colin was given, I got a bigger kick out of the “Lorne, retire bitch/topping off priests/ bonobos halftime show” stuff than the “black CBS soap opera” and “Nick Kerr lover” jokes.

• Yep, I can definitely tell Che's part of this once Scarlett came out was crafted by her, Colin and her (presumably female) friends to humiliate him. I got a slightly bigger kick out of the “unattended drink”,“farm” “thousands of jokes/dozens of laughs” and “selling crack” stuff though.

• Yeah, this one was just as fun as the Christmas one. I know it might feel like a slight let down, but how else could they have possibly even TRIED to follow that roast beef joke anyway?

• I will say that the joke swaps we got this season were both much better than the ones we got last season but I've noticed both sets of joke swaps have followed the same pattern of “stronger one for the Christmas show, weaker and more uneven one for the season finale.

• I wouldn't say this was the best we could hope for for this season's final Update since, y'know…we were all at least hoping for some solid confirmation of who would be LEAVING the show tonight and the closest thing we even got to that was…Colin begrudgingly smearing on lipstick.

• Ok, I've also heard some people theorize that Colin may stay on to take Lornes’ position rather than leave the show at some point. I highly doubt Lorne is planning on retiring this soon anymore (if at all) but if that truly turns out to be the case with Colin some time down the road, then I have a theory of my own there.

• My theory is that Lorne is going to eventually talk Colin into stepping down from the Update desk if he wants to move into the executive producer position. He'll only do it by telling Colin the story of how he was originally planning to host Update himself in the very early stages of development for “NBCs’ Saturday Night” but decided to give that gig to Chevy because he realized he can't be the person who ultimately decides what sketches get cut and what gets taken from the rest of the casts’ airtime while also having secured his own guaranteed spot for himself on the show that he (for all intents and purposes) created each week.

• Of course, Lorne will put this forth to Colin in such a vague way that it may takes Colin days to figure out what Lorne was trying to tell him, but only time will tell if this truly turns out to be the case. B-

Penelopes’ Secret

• So, Kenan and Scarlett are intimacy coordinators, Mikey is a try hard male feminist type without the predatory vibes, Sarah is the assistant director just there to be the butt of a single “they/them” joke, Ashley and Jane are about to shoot a lesbian love scene and everyone is just trying to gently guide Kenan in the vague direction of “finally figuring out what ‘scissoring’ is for the first time in his life?

• Thank God this ended at the EXACT moment it wore out its welcome and thank God Kenan still has a likable enough personality to put this over.

• I did get a kick out of Kenan sweetly smiling as he tried to picture two women scissoring and then running through the wall (although the timing of Kenan's exit after “what's the wifi?” seemed visually botched a bit). C+

TV Takes

• Ok, so they're literally just doing a slightly more dumbed down version of the same “cast interview” sketch from the season 46 finale except with Marcello in Pete's role, Bowen and Scarlett in Aidy and Anya Taylor-Joy's roles and…Sarah and Jane being placed into Punkie and Bowens’ old roles?

• I did like some of Sarah, Jane, Ego and Heidi's roles in this (although I didn't like the return of the “hey, let's make Sarah the butt of a few ‘lol she's least attractive girl in this sketch’ when in reality nothing could be further from the truth” trope).

• Ok, so maybe this version of this sketch wasn't THAT bad. Upon rewatch the highs may have been a bit higher this time. In fact, it was probably smart of them to borrow a sketch from a much stronger season finale than this one. 

• Hell, it’s not even the fact that they're still so frequently bringing back old sketch premises from several seasons ago that bothers me so much here.

• I guess the fact that they borrowed a sketch from a previous season finale where absolutely none of the cast members people were expecting/secretly hoping would leave…actually left…is perhaps the most troubling thing to me here. C+

Victorian Ladies At Lunch

• A strange Victorian sketch featuring Scarlett Johansson? Could we finally be about to meet the mysterious Mr. Willoughby?

• So, I guess the whole point of this was to try and create a “THIS IS LIVE TELEVISION!!!” forced breaking type moment by making the women of the cast eat real blood pudding, jellied eels, candied clams and pickled cows’ feet on camera? Hey, they could've done worse.

• At first, this felt more like it belonged on Jimmy Fallons’ Tonight Show than SNL but then I noticed how the snappy live pacing of it and the over the top writing and dialogue delivery saved it.

• Kudos to them for executing this as a live sketch rather than a pretape. That was a very unusual and uncharacteristically daring move on the show's part. 

• I liked a lot of Dismukes' dialogue (probably because his was easiest to understand due to his mouth being the least full). It seemed like this sketch was structured dialogue wise to just have the women set him up to describe the ridiculously offensive way these endangered animal dishes were prepared.

• Perhaps the thing I got the biggest kick out of was seeing Chloes’ very real reactions to what she was eating. Yeah, she was clearly struggling the most here. She was even too disgusted to break like a normal person here.

• Meanwhile, the gross out queen herself Sarah Squirm seemed the absolute least phased by this out of anyone. Heidi and Scarjo are tied for a close second here since Heidi's one if the shows’ more fearless performers in the cast right now (which means something different today, I'm sure) and Scarletts’ just a friend of the show who's always willing to support her fellow women and who must've been in a prankish mood this week between this and the joke swap. 

• My guess is that some combination of Sarah, Heidi, Dismukes and possibly Scarlett were involved with the writing on this one and I have another (slightly less educated) theory that this sketch was designed by the other women solely as one big humiliation ritual for Chloe for missing so much airtime for doomed vanity projects lately. I mean, she must've been absent at least on Monday and Tuesday of this week because I believe this and the monologue were the only things she was even in this week.

• Damn, that is the longest title card I have ever seen on this show. They must've taken great care timing-wise not to overload the show because they knew they absolutely HAD to get this in along with the joke swap on Update. There wasn't even a band shot anywhere near this episode.

• Yeah, the Pepto Bismol button at the end was a bit of a bummer and something I too really wish the show would cease doing already but I had enough fun watching the rest of this sketch that I'm honestly not gonna let it bug me that much. B-

Goodnights

• So, we see Scarlett being handed flowers by Colin who kisses her on the mouth so that Emil can react with the most committed disgust out of a small group in the left hand corner of the stage that includes him and everyone else besides Sarah who joined the cast after season 46? I wonder how that was set up? I'm sure they were always planning to have the Victorian lunch sketch at the end of the rundown.

• We do see Sarah over in the opposite corner tightly hugging Bowen (who appears the most emotional out of everyone on stage at this moment) with Ego a distant third behind him and Sarah. Miss Eggy doesn't appear on the verge of tears or anything. She just appears most ready to hug everyone.

• Based on this alone, I'd say the safest bet to make would be the announcement of Bowens’ departure some time by August or September. I'd say Sarah and Ego are the next most likely candidates in that order. I don't base that on what I'm now seeing could be their “meta moments” in the monologue and TV Takes respectively (because reading into that may be a bit much). I just get the sense that Bowen and Sarah may have developed such a strong emotional bond that they may not want to do the show without one another and this may leave together. Plus, Ego getting to reprise Miss Eggy so soon reminds me of when Vanessa Bayer did the same thing with her Dawn Lazarus character back in season 42, so…these might just be gut feelings on my part.

Ranking All Of ScarJos’ Episodes From Best To Worst

1. Scarlett Johansson/Death Cab For Cutie (01.14.2006)
2. Scarlet Johansson/Niall Horan (12.14.2019)
3. Scarlett Johansson/Bjork (04.21.2007)
4. Scarlett Johansson/Lorde (03.11.2017)
5. Scarlett Johansson/Bad Bunny (05.17.2025)
6. Scarlett Johansson/Wiz Khalifa (05.02.2015)
7. Scarlett Johansson/Arcade Fire (11.14.2010)

Ranking The 50th Season Best To Worst

1. SNL50: The Anniversary Special (02.16.2025)
2. Jack Black/Elton John & Brandi Carlile (04.05.2025)
3. Nate Bargatze/Coldplay (10.05.2024)
4. Bill Burr/Mk.Gee (11.09.2024)
5. John Mulaney/Chapell Roan (11.02.2024)
6. Quinta Brunson/Benson Boone (05.03.2025)
7. Chris Rock/Gracie Abrams (12.14.2024)
8. Paul Mescal/Shaboozey (12.07.2024)
9. Lady Gaga (03.08.2025)
10. Scarlett Johansson/Bad Bunny (05.17.2025)
11. Jon Hamm/Lizzo (04.12.2025)
12. Walton Goggins/Arcade Fire (05.11.2025)
13. Timothee Chalamet (01.25.2025)
14. Mikey Madison/Morgan Wallen (03.29.2025)
15. Dave Chappelle/GloRilla (01.18.2025)
16. Martin Short/Hozier (12.21.2024)
17. Ariana Grande/Stevie Nicks (10.12.2024)
18. Charli XCX (11.16.2024)
19. Shane Gillis/Tate McRae (03.01.2025)
20. Jean Smart/Jelly Roll (09.28.2024)
21. Michael Keaton/Billie Eilish (10.19.2024)

Overall Thoughts

• Well, that was season 50…and that was another typical “let's run out the clock” finale to end it. 

• Just think, this is the exact same episode that a few years ago some people were led to believe would be the last SNL episode ever. Makes you think, huh?

• Overall, I feel this episode represents this season as a whole (outside of the anniversary special itself) in that we might have proven ourselves to be fools for buying into any amount of hype and expecting anything bigger or better from the show than just…what it actually is now. Oh, well. Just standard operating procedure, I guess.

• At least after last week, it was nice to have another established host who has the proven ability to elevate material and boost morale around the show…even if there was still this gassed out feeling.

• I'm not gonna let myself get bothered by the fact that they're still digging out as many old, reused sketch premises from years ago as they've been these past two weeks. I'm not saying that because there was a fair enough level of buzz and hype surrounding it to distract even me from that but also because a few moments felt original enough to stand out and balance out this episode a bit.

• Still, there was fun to be had if you can see the forest for the trees tonight…and although Mikey seems to have had a light night, it looks like everyone in the cast got some airtime and no one was shut out of the finale (no matter how many times they may tell you it's happened to them previously on the show).

• Honestly, the thing that bums me out the most is that we're finding ourselves back in the same place we were four years earlier when season 46 ended and we were left with no clue as to who (if anyone) would be leaving the show.

• Of course, Covid isn't dictating those decisions as much anymore and back then we did find out that new people would be joining an already overstuffed cast after a couple of people did leave slightly unexpectedly, and the people we were expecting to have left dipped in and out quite a bit and ended up leaving at the end of season 47 instead (and in the middle of season 48 in one person's case who we just saw last week).

• This led to a promising new season that quickly lost steam leading us right back to where we are now and where we have been for the past two damn years at this point and I don't know if I can go through that whole cycle with this show again.

• Still, I guess we have the whole summer ahead of us to wait and speculate until we find out who's definitely leaving and who may be joining the show and if there's hope for things to take off in any more new directions creatively at this point.

• Maybe a complete season 21 style reboot is too much to hope let alone ask for at this point…but I agree with whoever been putting forth the take recently that this would be the biggest thing the show could do to keep them genuinely interested at this point (and you know who you are…even though I kinda doubt you're reading this right now).

Closing Thoughts 

• Well, that sure was season 50, wasn't it?

• Fear not though, because for a change of pace…this blog will actually continue on semi-regularly throughout the summer…by taking things back to season 32…for now.

• I can confirm that the next post on this blog is going to be posted this coming Thursday, May 22nd and it will be another full length SNL retro review of the Hugh Laurie/Beck episode from season 32 as Deej and I will be covering it on the next episode of the We Heart Hader Podcast.

• After that, we'll do a couple more episodes with season 32 specific topics that I will not reveal here yet. I'll wait until Deej and I nail down a few more things before doing so.

• See you in a few days and have a great summer!