![]() This sketch does a fine job of walking the line while there’s nothing explicitly about the very real terrorist threat to kidnap Gretchen Whitmer (and apparently Ralph Northam), the motives explicated here are only a bit more exaggerated than those fired up by Trump’s “LIBERATE MICHIGAN” tweets. As they communicate the petty frustrations of this gang, they’ve got a twitchy, childish energy that is all pout and no potency. The quartet of Kyle Mooney, Beck Bennett, Kenan Thompson, and new featured player Andrew Dismukes makes for a perfectly furious and hapless team. ![]() Somewhere in Michigan, four militia members want their local theme restaurant Jack Flatts back open, and if they have to kidnap the governor to make it happen, so be it. And as the wife convinced she doesn’t need it because “I’m a woman, it’s the same,” Heidi Gardner has a nice moment punctuated by an excellent disappearance. Beck Bennett, as the well-meaning, comfortably middle-class white guy who can’t quite bring himself to drink it, gives off just enough entitlement. The performances, including Kenan Thompson’s voiceover, are really well calibrated. In examining lip service from white people, the writers deliver the most biting bit of satire the show has seen since the start of the season. This miracle product, which offers an afternoon of true compassion for Black people who have faced centuries of systematic oppression, is for all those who think the Obama presidency ended racism. Her languid dancing, noxious coke snorting, and the inevitable breakdown that follows is all really well mapped out and executed. For a closer, Heidi Gardner plucks up another movie trope as “Famous ’80s Cocaine Wife, Carla.” The performance doesn’t include many jokes, but Gardner’s investment sells it. Aidy Bryant comes on with a remote bit about being quite literally in the field there’s not much to it, but Bryant’s presence is always endearing. But at least they enjoy likening Timothée Chalamet to a ring-tailed lemur. They can’t even seem to handle the idea that Paul Newman in a sombrero is mildly racist. The studio audience really impedes the momentum of this week’s Update - they groan and gasp on nearly every punchline, even the fairly benign gags. (At one point, after drinking hand sanitizer, Eric presents it to the audience like a newly corked bottle of Bordeaux.) Fineman, playing Tiffany as though she were Eric’s long-lost neglected twin, is a great addition. Day and Moffat have refined their schtick at this point, so it’s nice they’re still eking out new, little moments. (Mikey Day) and Eric Trump (Alex Moffat) are joined by their little sister Tiffany (Chloe Fineman), whom Eric is meeting in person for the first time. Che’s punchline, about a possible third candidate during the battle between JFK and Richard Nixon, is as sweet as tutti-frutti. Michael Che makes a fine point about the choices in this year’s contest, in that a handful of voters actually consider Kanye West a viable alternative. Much of the first half of Update homes in on Trump’s continued rallies and the election as a whole. Despite feeling “scared as hell” during her monologue, Rae seemed at home on the SNL stage: She does accents, she’s happy to look silly on camera, and it’s easy to see SNL asking her back in the future - and hopefully giving her a bit more screen time than she got this time around.Īs per tradition, this week’s sketches are ranked here from best to worst While “awkward Black girl” may be Rae’s comedic baseline, as she showed on ABLSS and on this episode of SNL, she’s got range. And this was just 2020.īefore this debut hosting gig, Rae was no stranger to sketch comedy, having also executive-produced and dropped into A Black Lady Sketch Show. While her HBO series Insecure aired its fourth season and was confirmed for its fifth, Rae starred in both a high-profile romance ( The Photograph) and romantic comedy ( The Lovebirds). It’s gratifying to see Issa Rae, a multi-hyphenate who made her own opportunities and insisted there was a place for her in Hollywood, steadily garnering more recognition and roles from the institutional powers that be.
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