first time

In its landmark 50th season, “Saturday Night Live” had a lot going for it: a huge cast of performers with a diverse toolbox of styles and talents, a fine assortment of musical guests (Chappell Roan! Stevie Nicks! Timothée Chalamet?) and celebratory events across multiple channels for its half-century anniversary. And it had “Lorne” (the biography), of course; creator Lorne Michaels still runs the ship.

But on a week-to-week basis, it was the guest hosts who set the tone and helped make or break a particular episode. A great host, one who is game and enthusiastic and eager to play, such as Paul Mescal or Ariana Grande, could elevate an episode way beyond expectations. An otherwise talented guest host having an off week or who was underserved by the material, like Chris Rock or Mikey Madison, reminds you that nothing is certain with “SNL.” And an outright bad host (see the bottom) can make the 90-minute show seem interminable and out of touch.

Now, let us celebrate the hosts who got it right, brought their A-game, benefited from great sketch writing and support from the cast and crew. Here are the best hosts of Season 50, ranked.

1. Lady Gaga, March 8

Ready to roll: Lady Gaga and Marcello Hernández in the sketch “A Long Goodbye.”

(Will Heath/NBC)

It was one of “SNL’s” weirdest episodes, but perfectly tuned for Gaga, who sang in multiple sketches, appeared in mock ads for L’Oreal easy-run mascara and little red glasses for women of a certain age, served at a Satanic restaurant, and memorably rode her rolling luggage to the airport. Not only was she funny and brilliant in the sketches, but she also gave two of the season’s most dynamic musical performances with “Abracadabra” and “Killah.”

2. Ariana Grande, Oct. 12

“Twist and shout”: Andrew Dismukes, left, Maya Rudolph, Ariana Grande and Andy Samberg in “Castrati.”

(Will Heath/NBC)

It was her third time hosting, but it was somehow still a complete surprise how spectacular Grande was in her run-up to the release of “Wicked.” Perfect impressions of Celine Dion and Jennifer Coolidge and a ridiculously wrong (and very funny) sketch called “Castrati” were among the highlights of a top-to-bottom ace appearance.

3. Jack Black, April 5

“Happiness is a disease”: Jack Black and Michael Longfellow in the “Goth Kid on Vacation” sketch.

(NBC/Holland Rainwater/NBC)

Like Gaga, the star of “A Minecraft Movie” danced and sang multiple times, most notably in a brief My Chemical Romance homage, “Goth Kid on Vacation.” Sometimes good hosting is about bringing lots of energy and commitment; Black went above and beyond on both counts in a wild “Flamin’ Hot Preparation H” commercial.

4. Quinta Brunson, May 3

They found OnlySeniors: Quinta Brunson and Kenan Thompson in the “Life Insurance” sketch.

(NBC/Leanne Diaz/NBC)

Don’t call it recency bias. The “Abbott Elementary” creator and star returned a year after her first-time hosting and once again flexed short-form comedy muscles that made her an online star before TV stardom. Brunson brilliantly played a senior on an OnlyFans-like service, an increasingly punchy insult boxer and a very creative hand gesturer in a follow-up to the classic “Traffic Altercation” sketch.

5. John Mulaney, Nov. 2

John Mulaney in the “Beppo” sketch, about a doomed chimp astronaut.

(Chinaza Ajuonuma/NBC)

It may have been overshadowed by a Kamala Harris appearance right before the 2024 presidential election, but Mulaney’s sixth time as host was just as solid as the rest with a predictably excellent monologue, a silly sketch about a doomed chimp astronaut and another epic Broadway-inspired musical revue about New York City. It’s easy to forget how consistently excellent the “Everybody’s Live” host is at fronting “Saturday Night Live.”

6. Paul Mescal, Dec. 7

Jane Wickline, left, Bowen Yang, Paul Mescal, Michael Longfellow, Mikey Day and Kenan Thompson turn “Gladiator II” into a musical.

(Chinaza Ajuonuma/NBC)

A great hosting debut for the actor, who was the perfect Daddy in a “Please Don’t Destroy” sketch and very funny in a “Gladiator II” musical.

7. Nate Bargatze, Oct. 5

A Founding Father returns: James Austin Johnson, left, Nate Bargatze and Kenan Thompson during the “Washington’s Dream 2” sketch.

(Will Heath/NBC)

Maybe it didn’t hit the dizzying heights of his 2023 hosting debut, but the sophomore appearance from the stand-up had some solid sketches, including another visit with George Washington.

8. Walton Goggins, May 10

This waiter really likes your mom: Sarah Sherman, left, Walton Goggins and Heidi Gardner in the “Mother’s Day Brunch” sketch.

(NBC/Will Heath/NBC)

The “White Lotus” star delighted as a horny Mother’s Day brunch server and a boss with a Squatty Potty in his first time as host.

9. Scarlett Johansson, May 17

“I’m scared of her”: Marcello Hernández, left, Bad Bunny, Scarlett Johansson and Ego Nwodim in the “Couple at the Bar” sketch.

(NBC/Will Heath/NBC)

The season finale host started strong, took off perfectly in an air travel-themed “Please Don’t Destroy” video and was game for a brutal “Weekend Update” joke exchange. But the back half of the episode was so rough even a Marvel superhero couldn’t save it.

10. Jon Hamm, April 12

“What if we took all the fluoride out of the drinking water?”: Jon Hamm as Robert F. Kennedy Jr. in the “White Potus” sketch.

(NBC/Holland Rainwater/NBC)

Hamm, hosting for the fourth time, was spot-on with turns as a self-defeating game show contestant and a police officer obsessed with pizza. The other sketches just weren’t as strong this time.

The rest

11. Jean Smart, Sept. 28
12. Bill Burr, Nov. 9
13. Martin Short, Dec. 21
14. Timothée Chalamet (also as a musical guest performing Bob Dylan covers), Jan. 25
15. Charli XCX, Nov. 16
16. Michael Keaton, Oct. 19
17. Dave Chappelle, Jan. 18
18. Mikey Madison, March 29
19. Chris Rock, Dec. 14

Please, never again

A year after a not-great first run as “SNL” host, Shane Gillis, the stand-up comic who was famously fired from the show was invited back. Why? To appeal to anti-woke dudebros who wouldn’t otherwise watch the show? We’re not sure, but Gillis’ range for sketch comedy runs the gamut from low-energy unfunny to medium-low-energy unfunny. The host’s brand also gave the show ostensible permission to push the envelope on stereotypes and gross tropes about race and sex. It even indulged in some slow-witted crudeness about self-fellatio. Two times was plenty; Gillis doesn’t need a third crack at this.

CANNES, France — “The sun is my mortal enemy,” Ari Aster says, squinting as he sits on the sixth-floor rooftop terrace of Cannes’ Palais des Festivals, where most of the screenings happen. It’s an especially bright afternoon and we take refuge in the shade.

Aster, the 38-year-old filmmaker of “Hereditary” and “Midsommar,” wears a olive-colored suit and baseball cap. He’s already a household name among horror fans and A24’s discerning audiences, but the director is competing at Cannes for the first time with “Eddington,” a paranoid thriller set in a New Mexican town riven by pandemic anxieties. Like a modern-day western, the sheriff (Joaquin Phoenix) spars with the mayor (Pedro Pascal) in tense showdowns while protests over the murder of George Floyd flare on street corners. Too many people cough without their masks on. Conspiracy nuts, mysterious drones and jurisdictional tensions shift the film into something more Pynchonesque and surreal.

In advance of the movie’s July 18 release, “Eddington” has become a proper flash point at Cannes, dividing opinion starkly. Like Aster’s prior feature, 2023’s “Beau Is Afraid,” it continues his expansion into wider psychological territory, signaling a heretofore unexpressed political dimension spurred by recent events, as well as an impulse to explore a different kind of American fear. We sat down with him on Sunday to discuss the movie and its reception.

I remember what it was like in 2018 at Sundance with “Hereditary” and being a part of that first midnight audience where it felt like something special was happening. How does this time feel compared to that?

It feels the same. It’s just nerve-wracking and you feel totally vulnerable and exposed. But it’s exciting. It’s always been a dream to premiere a film in Cannes.

Have you ever been to Cannes before?

No.

So this must feel like living out that dream. How do you think it went on Friday?

I don’t know. How do you feel it went? [Laughs]

I knew you were going to turn it around.

That’s what everybody asks me. Everybody comes up saying [makes a pity face], “How are you feeling? How do you think it went?” And it’s like, I am the least objective person here. I made the film.

I know you’ve heard about those legendary Cannes premieres where audiences have extreme reactions and it feels like the debut of “The Rite of Spring.” Some people are loving it, some people are hating it. Those are the best ones, aren’t they?

Oh, yeah. But again, I don’t really have a picture of what the response is.

Do you read your reviews?

I’ve been staying away while I do press and talk to people. So I can speak to the film.

Makes sense. I felt great love in the room for Joaquin Phoenix, who was rubbing your shoulder during the ovation. Have you talked to the cast and how they think it went, or were they just having a good time?

I think that they’re all really proud of the film. That’s what I know and it’s been nice to be here with them.

Joaquin Phoenix, left, and Pedro Pascal in the movie “Eddington.”

(A24)

In the context of your four features, “Hereditary,” “Midsommar,” “Beau Is Afraid” and now “Eddington,” how easy was “Eddington” to make?

They’re all hard. We’re always trying to stretch our resources as far as they can go, and so they’ve all been just about equally difficult, in different ways.

Is it fair to say that your films have changed since “Hereditary” and “Midsommar” and now they’re more accommodating of a larger swath of sociopolitical material?

I am just following my impulses so I’m not thinking in that way. There’s very little strategy going on. It’s just: What am I interested in? And when I started writing, because I was in a real state of fear and anxiety about what was happening in the country and what was happening in the world, and I wanted to make a film about what it was feeling like.

This was circa what, 2020?

It was in June 2020 that I started writing it. I wanted to make a film about what it feels like to live in a world where nobody agrees about what is happening.

You mean no one agrees what is happening in the sense that we can’t even agree on the facts?

Yes. There’s this social force that has been at the center of mass liberal democracies for a very long time, which is this agreed-upon version of what is real. And of course, we could all argue and have our own opinions, but we all fundamentally agreed about what we were arguing about. And that is something that has been going away. It’s been happening for the last 20 something years. But COVID, for me, felt like when the last link was cut, this old idea of democracy, that it could be sort of a countervailing force against power, tech, finance. That’s gone now completely.

And at that moment it felt like I was kind of in a panic about it. I’m sure that I am probably not alone. And so I wanted to make a film about the environment, not about me. The film is very much about the gulf between politics and policy. Politics is public relations. Policy is things that are actually happening. Real things are happening very quickly, moving very quickly.

I think of “Eddington” as very much a horror film. It’s the horror of free-floating political anxiety. That’s what’s scaring you right now. And we don’t have any kind of control over it.

We have no control and we feel totally powerless and we’re being led by people who do not believe in the future. So we’re living in an atmosphere of total despair.

During the lockdown, I was just sitting on my phone doom-scrolling. Is that what you were doing?

Of course. There was a lot of great energy behind the internet, this idea of: It’s going to bring people together, it’s going to connect them. But of course then finance got involved, as it always does, and whatever that was curdled and was put on another track. It used to be something we went to. You went to your computer at home, you would maybe go to your email. Everything took forever to load. And then with these phones, we began living in cyberspace, so we are living in the internet.

It’s owned us, it’s consumed us and we don’t see it. The really insidious thing about our culture and about this moment is that it’s scary and it’s dangerous and it’s catastrophic and it’s absurd and ridiculous and stupid and impossible to take seriously.

Did that “ridiculous and stupid” part lead you aesthetically to make something that was an extremely dark comedy? I think “Eddington” sometimes plays like a comedy.

Well, I mean there’s something farcical going on. I wanted to make a good western too, and westerns are about the country and the mythology of America and the romance of America. They’re very sentimental. I’m interested in the tension between the idealism of America and the reality of it.

You have your western elements in there, your Gunther’s Pistol Palace and a heavily armed endgame that often recalls “No Country for Old Men.”

You’ve got Joe, who’s a sheriff, who loves his wife and cares about his community. And he’s 50 years old, so he grew up with those ’90s action movies and, at the end, he gets to live through one.

Let’s step backward for a second about where you were and what you were doing around the time you started writing this. You were finishing up “Beau Is Afraid,” right? What was your life like then? You were freaking out and watching the news and starting to write a script. What was that process like for you?

I was New Mexico at the time. I was living in New York in a tiny apartment, but then I had to come back to New Mexico. There was a COVID scare in my family and I wanted to be near family. I was there for a couple months and just wanted to make a film about what the world felt like, what the country felt like.

Were you worried about your own health and safety during that time?

Of course. I’m a hyper-neurotic Jew. I’m always worried about my health.

And also the breakdown of truth. What were the reactions when you first started sharing your script with the people who ended up in your cast? What was Joaquin’s reaction like?

I just remember that he really took to the character and loved Joe and wanted to play him, and that was exciting to me. I loved working with him on “Beau” and I gave him the script hoping that he would want to do it. They all responded really quickly and jumped on. There was just a general excitement and a feeling for the project. I had a friendship with Emily [Emma Stone, whom Aster calls by her birth name] already and now we’re all friends. I really love them as actors and as people. It was a pretty fluid, nice process.

I haven’t seen many significant movies expressly about the pandemic yet. Did it feel like you were breaking new ground?

I don’t think that way, but I was wanting to see some reflection on what was happening.

Even in the seven years since “Hereditary,” do you feel like the business has changed?

Yeah, it is changing. I mean, everything feels like it’s changing. I think about [Marshall] McLuhan and how we’re in a stage right now where we’re moving from one medium to another. The internet has been the prominent, prevailing, dominant medium, and that’s changed the landscape of everything, and we’re moving towards something new. We don’t know what’s coming with AI. It’s also why we’re so nostalgic now about film and 70mm presentations.

Do you ever feel like you got into this business at the last-possible minute?

Definitely. I feel very fortunate that I’m able to make the films I want to make and I feel lucky to have been able to make this film.

There’s a lot of room in “Eddington” for any kind of a viewer to find a mirror of themselves and also be challenged. It doesn’t preach to the converted. Was that an intent of yours?

[Long pause] Sorry, I’m just thinking. I’m just starting to talk about the film. I guess I’m trying to make a film about how we’re all actually in the same situation and how similar we are. Which may be hard to see and I’m not a sociologist. But it was important to me to make a film about the environment.

I was asked recently, Do you have any hope? And I think the answer to that is that I do have hope, but I don’t have confidence.

It’s easy to be cynical.

But I do see that if there is any hope, we have to reengage with each other. And for me, it was important to not judge any of these characters. I’m not judging them. I’m not trying to judge them.

Ari Aster, left, and Pedro Pascal on the set of “Eddington.”

(Richard Foreman)

I love that you have a partner in A24 that is basically letting you go where you need to go as an artist.

They’ve been very supportive. It’s great because I’ve been able to make these films without compromise.

Do you have an idea for your next one?

I’ve got a few ideas. I’m deciding between three.

You can’t give me a taste of anything?

Not yet, no. They’re all different genres and I’m trying to decide what’s right.

Let’s hope we survive to that point. How are you personally, apart from movies?

I’m very worried. I’m very worried and I am really sad about where things are. And otherwise there needs to be another idea. Something new has to happen.

You mean like a new political paradigm or something?

Yeah. The system we’re in is a response to the last system that failed. And the only answer, the only alternative I’m hearing is to go back to that old system. I’ll just say even just the idea of a collective is just a harder thing to imagine. How can that happen? How do we ever come together? Can there be any sort of countervailing force to power? I feel increasingly powerless and impotent. And despairing.

Ari, it’s a beautiful day. It’s hard to be completely cynical about the world when you’re at Cannes and it’s sunny. Even in just 24 hours, “Eddington” has become a conversation film, debated and discussed. Doesn’t it thrill you that you have one of those kind of movies?

That’s what this is supposed to be. And you want people to be talking about it and arguing about it. And I hope it is something that you have to wrestle with and think about.

CHESTER, Pa. — Tai Baribo scored two second-half goals, including the winner in stoppage time, and the Philadelphia Union rallied to beat the Galaxy for the first time at home with a 3-2 victory on Wednesday night.

The Galaxy (0-9-4) continued the worst start by a defending champion in MLS history despite Diego Fagúndez becoming the eighth player in league history to reach 75 goals and 75 assists in a career.

Baribo scored in the sixth minute of stoppage time after tying the match 2-2 with a goal in the 50th for the Union (8-3-2), who are on a five-match unbeaten run. Baribo has a league-leading 10 goals this season.

Defender Mauricio Cuevas scored for the first time this season and the second time in 31 career appearances to give the Galaxy the lead in the 31st minute. Fagúndez scored his second goal this season for a 2-0 lead in the 37th. Marco Reus collected assists on both scores.

Philadelphia tied it in the first five minutes of the second half. Jacob Glesnes headed in a goal off a corner kick by Kai Wagner in the 48th minute.

Homegrown goalkeeper Andrew Rick made the 10th start of his career and did not have a save for the Union.

John McCarthy had four saves as the Galaxy built a 2-0 lead in the first half and finished with seven.

Philadelphia improved to 1-3-2 all time at home in the Galaxy’s first visit since 2018.

The Union travel to play Atlanta United on Saturday. The Galaxy will host rival LAFC on Sunday.

“Selena y Los Dinos,” the latest documentary film about the life of Tejano music icon Selena Quintanilla, has been acquired by Netflix. The film is currently scheduled to begin streaming in winter 2025.

The movie, directed by Isabel Castro, features original VHS footage taken by Selena’s older sister, Suzette, and is interspersed with present-day interviews with family and friends.

Netflix announced its acquisition in a Tuesday press release.

“Through personal archive and intimate interviews with her family, the film reveals new dimensions of her journey that have never been seen before,” Castro shared in the release. “I am deeply grateful to her family for their trust and support throughout this journey, and I can’t wait for a global audience to experience the magic, heart and community that Selena gave to all of us.”

Suzette also shared her enthusiasm about the scope of the partnership with Netflix in the Tuesday announcement, stating, “Grateful to have a platform that helps bring Selena’s story to fans around the world.”

This is not the first time that the Quintanilla family has collaborated with the streaming giant. They worked with Netflix to help create “Selena: The Series” — a scripted retelling of Selena’s childhood, rise to fame and death starring Christian Serratos as the Texas singer.

It was after working as an executive producer on the Netflix series that Suzette consulted her lawyer about making her own documentary.

“There’s some things that you just want to hold on to and not share with everyone,” Suzette said at the documentary’s 2025 Sundance Film Festival premiere. “I was always taking the pictures, always with the camera. And look how crazy it is, that I’m sharing it with all of you so many years later.”

The documentary surfaces footage from performances in which Selena subverts the idea of the well-manicured image that the Quintanilla family has constantly put out of the singer in the 30 years since her death. It also captures, in real time, the evolution of a bold new identity growing among Latino youth in the 1980s, encapsulated in Los Dinos’ cultural hybridity.

The film was awarded with a special jury prize for archival storytelling at the renowned movie gathering at Sundance. The jury made note of how the feature “transported us to a specific time and place, evoking themes of family, heritage, love and adolescence.”

So badly were people clamoring to view the movie that the organizers of Sundance pulled it from its online platform. The film had fallen victim to a number of copyright infringements as eager fans were uploading clips from it to social media platforms. This was the first time that Sundance had removed a feature during the festival.

De Los assistant editor Suzy Exposito and Times staff writer Mark Olsen contributed to this report.

For the first time, sports fans will be able to subscribe to ESPN without signing up for satellite or cable TV. It will cost $29.99 a month.

The Walt Disney Co. unit announced Tuesday that the new direct-to-consumer streaming service will go by the legacy name ESPN, a sign that the sports media behemoth sees streaming as the future. The launch date will be in early fall.

The standalone service will provide live feeds of all ESPN channels including ESPN2, ESPNU, SECN, ACCN, ESPNEWS and ESPN Deportes. Users will also be able to stream ESPN productions airing on the ABC broadcast network, which include the NBA Finals and “Monday Night Football.”

The service will also be available in a streaming bundle, where consumers can get ESPN, Disney + and Hulu for $35.99. The bundle plan will be available at a discounted $29.99 for the first year.

“It’s going to redefine our business,” ESPN Chairman Jimmy Pitaro said at a press briefing held at Disney’s New York headquarters in lower Manhattan.

The unveiling of the new product is a significant moment for the company. The current streaming service ESPN+ offers the channels, but only to users who have pay TV.

As younger consumers have moved to streaming, they have left behind the cable universe their parents lived with. The new ESPN streaming product is aimed at attracting sports fans who are not buying pay TV.

“Our priority is looking at the 60 million households on the sidelines,” Pitaro said.

Pitaro said the brand name has meaning to younger consumers who spend time with it on social media and digital platforms even if they don’t watch on cable.

ESPN has long received the biggest cut of cable bills and as a result felt the most pain as consumers were giving up their pay-TV subscriptions. The network has managed to offset that revenue loss with increases in ad revenue and cost-cutting.

Under Pitaro’s watch, ESPN has locked up a number of major sports rights deals in recent years that he believes will strengthen the streaming offering. Last year, the company finalized a new 11-year deal to keep the NBA.