padilla

In her early 20s, Ashley Padilla moved from the Bay Area to Los Angeles, hoping to make a living in comedy. She was taking classes at the Groundlings when an acting exercise forever changed her.

“The teacher said, ‘All right, everyone try to get my attention.’ Everyone starts going crazy,” recalls Padilla, imitating the manic movements her classmates incorporated to be as noticeable as possible. “I just stood in the back like a quiet little freak. I didn’t try to do anything. And she went, ‘I’m just staring at Ashley.’”

Padilla, now 33, is sitting in the restaurant at the 1 Hotel on Sunset, dressed in an elegant white blazer and long skirt, a long way both mentally and professionally from that aspiring performer struggling to find her creative voice. But that lesson remains close to her heart.

“I think about it all the time: You don’t have to be so loud. It actually is more powerful if you’re a little slower.”

Currently in her second season as a featured player on “Saturday Night Live,” Padilla, who sports an ebullient manner and warm smile, has become a fan favorite by exploring how much humor (and tension) you can derive from stillness. Her best sketches, including “Mom Confession,” in which a MAGA mother finally, begrudgingly, admits to her liberal kids that maybe Trump hasn’t been a great president, sparkle because of how expertly she builds suspense regarding where the setup is going.

Ashley Padilla, right, with castmates Tommy Brennan and Jane Wickline in the “SNL” sketch “Mom Confession.”

(Will Heath/NBC)

“I really want to be able to stop and take that pause at the beginning [of a sketch], which are the quickest things to cut because you’re trying to save time: ‘Let’s get rid of when you enter,’” she says. “What roots me as an actor is a little breath. Before we get to the jokes, let the audience see me live in it for a second. I think I’ve proven that [those pauses are] not going to suck the air out of the room. It’s actually going to assist in the blowup that we’re waiting for.”

When Padilla lived in L.A., she adored her Los Feliz neighborhood, so on this late April afternoon she confesses to some disorientation at doing press on the Westside. Still, memories keep creeping up unexpectedly. “I’ll see a coffee shop, and you remember how you were feeling: ‘Will I ever make it?’”

There were encouraging moments that kept her going. One dispiriting day, she was on Melrose Avenue walking to the Groundlings. “In my head I went, ‘Will I ever be on television?’ Just then, a car passes with the girl rolling down the window going, ‘I’ve seen you perform! You’re going to be on television!’ It’s literally like someone answered my cry inside and went, ‘Calm down, it’s going to be OK.’”

Optimism came through other channels too, such as her job as Diane Keaton’s assistant, eventually co-creating her 2024 book “Fashion First.” Padilla adored the late actor and filmmaker, grateful for her endless sense of wonder, which inspired Padilla to see the world differently.

“She would stare at a tree: ‘Look at the way the sun goes through the branches,’” Padilla says, marveling. “I have a voicemail that I listen to whenever I’m feeling a little sad or I miss her — she’s just like, ‘Hey, Ash, how are you doing? I’m just checking in.’ And she stops and goes, ‘The blue sky. Wow.’ And I’m just like, ‘You are someone we all want to be around.’ It’s why she is so massive in people’s lives.”

Before ‘SNL,’ Padilla had stints at the Groundlings and as Diane Keaton’s assistant.

(Sela Shiloni / For The Times)

Since girlhood, Padilla has loved to write, which was valuable once she joined the Groundlings, doing seven shows a week. “You don’t get onstage unless you write your own stuff,” she says. Her viral “SNL” sketch “Haircut” — in which Padilla goes to dinner with friends, disturbing them with her atrocious haircut — was created at Groundlings, where it killed. But pitching it at “SNL” revealed the differences between the stage and live television.

“‘Haircut’ started as a ‘[Weekend] Update’ [feature], and I was unwilling to get rid of some stuff in there because I knew it worked at Groundlings,” she recalls. Padilla credits her frequent “SNL” co-writers Alison Gates and Kent Sublette for helping her understand the program’s rhythms. “They made it punchier and snappier. I definitely need the other writers — they make it so much better. At the Groundlings, there’s no camera cuts, there’s no time limit — you can mosey and do behavioral stuff. But [‘SNL’ sketches] need to look good on television. These writers are so good — they’ll say a joke that I go, ‘You’ve just said everything I was trying to do in a whole page.’”

Padilla’s peculiar but grounded characters may make you wait to see what they have in store, but she isn’t wasting any time. Last summer, wanting to distract herself from wondering whether she’d be asked back to “SNL,” Padilla wrote a screenplay, which is now being backed by Oscar-winning “Moonlight” producer Adele Romanski. Padilla won’t say much about the project, but you can bet she included a part for herself.

“It’s like, ‘I want to be on television? OK, write your sketches. I want to be in movies? I wrote a movie,”’ she explains. “I don’t want to wait around for someone to give me a role. I hope I get to work with great people, but I also want to control my own career — and my own happiness as well. I want to be creative all the time.”

If you were to go by “Saturday Night Live” hosting performance alone, you might think that the best way to ensure a memorable, well rounded and surprisingly funny show is to book a female pop star — preferably one with some child-acting experience.

With apologies to Harry Styles, it’s been pop stars including Ariana Grande, Sabrina Carpenter, Dua Lipa and now Olivia Rodrigo who’ve shown themselves to be naturals at adapting their on-stage talents to the Studio 8H stage for “SNL.”

And while she might not have crushed it to the degree of Grande (something about the Bowen Yang era of the show and Grande seemed in perfect lockstep with each other), Rodrigo was a very good host. Whatever she lacked in sketch comedy chops, she more than made up for as musical guest, world-premiering a new song called “begged,” and singing in several sketches, including a memorable one about a girl in a zoo on a planet of bug people (we’ll get to that).

After a charming monologue in which she also sang, Rodrigo played a scheming woman in a “Dynasty”-like nighttime soap opera from the 1980s, “Edge of Destiny,” where people kept falling down the stairs. The mix of physical comedy, distant cue cards and having to keep from breaking character as cast members flopped down a set of fake stairs seemed almost too much for the guest host. But she recovered nicely in another solid (and hilariously gross) “Shop TV” sketch about a baker (Rodrigo) who makes lava cakes that look a lot like anuses.

She also played a woman competing with her ex-boyfriend (Ben Marshall) at a birthday party by pretending to have a date (he does the same with a wacky Ashley Padilla). She also played a cheating romantic partner in a musical sketch about getting busted, a rideshare passenger whose driver (Andrew Dismukes) discovers he has a talent for Jamaican dancehall rapping, and a TikToker employed by a home security company to take viral videos of burglars.

Rodrigo’s songs were tremendous, especially “begged,” but it was hard for any of the sketches to top Aziz Ansari’s appearance as FBI Director Kash Patel, which drew the biggest non-musical audience reaction of the show when he appeared in the cold open.

As musical guest, Rodrigo performed her latest single “drop dead,” introduced by Debbie Harry, and a new song, “begged,” introduced by recent host and “Heated Rivalry” star Connor Storrie.

It was the rare cold open without a rambling James Austin Johnson performance as President Trump. Instead, after a clever opening title card (“You’re watching A-Span. Of your life disappear. Watching C-SPAN.”), White House press secretary Karoline Leavitt (Padilla) talked about her upcoming maternity leave before introducing “The man, the myth, the liability,” Secretary of Defense Pete Hegseth (Colin Jost). Hegseth talked about the war in Iran with its “sick air raids. This war has been a movie … specifically ‘The Neverending Story.’ ” Hegseth fielded a few questions, belittling reporters as he’s done before, answering the question of when the war will end: “That’s like asking when is sex gonna be over,” he replied, “Answer: when the man is done.” Hegseth introduced Patel (Ansari), who fast-talked his way through a defense of his alleged drinking and spending. From low hanging fruit (“We dotted every T and bulged every I”) to a much sharper takedown of Patel (“I’m the first Indian person to suck at their job”), Ansari brought his Tom Haverford from “Parks and Recreation” energy, particularly when describing jumping on the couch at a night club screaming, “Who wants the nuclear codes? J/K, I ain’t got ‘em!”

Rodrigo’s monologue began by acknowledging how young the 23-year-old pop star really is: they say your favorite “SNL” cast is the one you saw when you were a teenager and hers, she said, was the current cast. After teasing her new album out next month, she showed a clip of a commercial she did for Old Navy and mentioned working with Jake Paul on the Disney Channel show “Bizaardvark.” Paul, she said, once told her, “I really want to beat up old guys on Netflix!” and they both achieved their dreams. Rodrigo then played at a piano a take of her first hit single “drivers license,” focused on getting a Real ID at the DMV and all that it requires. “Passport, W2, first-born son / Gas bill, body count, bra size, how long will this be? I’ll just use my old fake ID,” she sang.

Best sketch of the night: They even have Olivia-shaped popsicles!

Unsurprisingly, the best of the night was one of Rodrigo’s musical performances, this time a pre-taped music video about a girl who loves her perfect bedroom. It’s got a purple corded phone, a lava lamp, a beanbag chair … and it happens to be a habitat at a zoo on a planet of bug people. The wistful, lovely song is accompanied by weird visuals of the aliens, who look like praying mantises, admiring the human specimen through the room’s windows, applauding when she goes to the bathroom and taking pictures. There are enough bizarre touches, such as a VHS version of “A League of Their Own” with aliens in human skin suits, a bug protester and an unsuccessful male mate (Johnson), that quite a bit of world building happens in the short span of the very catchy tune. Can we get this song on Apple Music and Spotify, please?

Also good: Cute — cake frosting on the nose. Sexy — mashed potatoes all over the face.

Former “SNL” cast member Kristen Wiig had a talent for introducing characters whose one bizarre trait, expertly performed, could drive a whole sketch. These days, it’s Ashley Padilla (maddeningly, she’s still billed as a “Featured Player”) who is able to elevate a potentially annoying character with a collection of hilarious tics and a lot of boundary overstepping. In a sketch about a broken-up couple (Rodrigo and Marshall) who try to make each other jealous by glomming on to fake new dates, Padilla laughs too loudly, smears mashed potatoes all over Marshall’s face, gives an unhinged speech that includes, “We are to be married at midnight! Now let us pray.” It seems like every episode of late has had one sketch reserved for Padilla to show her way with these types of self-unaware characters, and this was another great showcase for her.

‘Weekend Update’ winner: Podcasters are at war and it’s hard to understand why

If you don’t know why “Call Her Daddy” podcaster Alex Cooper (Chloe Fineman) and TikToker and “Hot Mess” podcaster Alix Earle (Veronika Slowikowska) are feuding, trust us, you are not alone. Their apparent beef, which has been speculated about by very online people and, weirdly, business reporters, is now “Weekend Update” fodder, with the women comparing their fight to a “literal Chernobyl for white women.” Perhaps the best part was Michael Che’s complete bafflement as to who these women are and why they’re mad at each other. Elsewhere, Kam Patterson continued his streak of clunky “Update” segments, this time vying for a date with Megan Thee Stallion after her breakup with NBA player Klay Thompson. In describing himself, Patterson said, “Some say he’s finding his voice more every week.” Unfortunately for Patterson, there’s only two episodes left in the season.