snl

Will Ferrell has done the Will Ferrell thing for so long — playing embarrassingly self-absorbed doofuses, both fictional and based on real people — that it’s easy to forget that when it counts, he can still serve as the glue on “Saturday Night Live.”

For his sixth time hosting the show since leaving the cast in 2002, Ferrell had plenty of those doofuses to portray, including a “Nudeman” dad whose underwear are exposed in the rear when he meets his daughter’s boyfriend. But in sketch after sketch on the show, he showed his usual 100% commitment to every character, even when he was playing himself in the monologue doing a bit about an identity mix-up with Red Hot Chili Peppers drummer Chad Smith. (Smith stuck around for the whole show, sitting in with the “SNL” band and playing drums for Paul McCartney.)

The ability to stay in character no matter how absurd the premise served Ferrell well yet again whether he was playing a doctor who accidentally chopped off a man’s penis (Mikey Day, trying hard not to laugh), a halfling in a “Lord of the Rings”-style fantasy clip who betrays his fellowship, a gibberish-speaking mechanic, and a cruel high school drama teacher (along with another former cast member, Molly Shannon) withholding a cast list for “Grease.” He also made a surprising appearance in the cold open as the ghost of Jeffrey Epstein.

Ferrell was an ideal closer for Season 51, which has largely been about developing relatively new talent in the cast, including rising stars Ashley Padilla, Jeremy Culhane and Marcello Hernández. Ferrell gelled with each of them and everybody else, doing the Will Ferrell thing, which still works tremendously well after all these years.

Musical guest Paul McCartney appeared in Ferrell’s monologue and in the mechanic sketch, and performed a new song, “Days We Left Behind,” as well as “Band on the Run” and “Coming Up” at the end of the show while the credits were shown.

After an absence of a few weeks, President Trump (James Austin Johnson) returned, sleepy from his trip to China. After a non-apology for not bringing Vice President J.D. Vance (Culhane) with him, Trump fell asleep on a gold bar from Switzerland before being visited by Epstein (Ferrell), who makes a series of jokes and insinuations about his association with Trump. When Trump bemoans his low approval rating in the 30s, Epstein responds, “The 30s? Gross, call me when it hits 17.” But Epstein, who claims Hell is “really, really hot” and includes Joseph Stalin and John Wayne Gacy, is there to show Trump the future, one in which former Secretary of Homeland Security Kristi Noem (Padilla) is selling vacuum cleaners on the Home Shopping Network and Secretary of Defense Pete Hegseth (Colin Jost) and FBI Director Kash Patel (a returning Aziz Ansari) are co-hosting a bro podcast while sharing a giant beer bong. Trump believes the podcast is a signal that by then, the war in Iran will be over. “We came in second,” Epstein assures him. The two then launched into a version of “Just the Two of Us” before almost kissing ahead of launching into “Live from New York… It’s ‘Saturday Night!’”

Even eagle-eyed viewers might have needed a full minute or so to realize that the person on stage delivering the monologue was not actually Will Ferrell but Red Hot Chili Peppers drummer Chad Smith, who has been doing an extended gag for more than a decade about their uncanny resemblance. Ferrell followed, wearing the same gray suit, claiming, “He pushed me down backstage. And I fell hard. Lorne (Michaels) had to give me mouth to mouth.” Ferrell tried to do a hard reset of the monologue but couldn’t get the vibe back. He turned to the audience for questions, but only found McCartney there, who still couldn’t tell the difference between the host and the drummer. Ferrell listed many of the songs that McCartney has written (which weren’t performed on the show this time out), but pointed out that there are a few great songs he didn’t write, including “Timber” featuring Pitbull.

Best sketch of the night: Did you at least check the sprog box on your Rav4?

In a piece that calls itself, “What It Feels Like Talking to a Mechanic,” Ferrell plays an auto expert telling a clueless couple (Day and Padilla) that their vehicle needs a lot of work. But he uses completely foreign terms including “dong rod gasket” and a “camber” that’s out of whack and rotting to describe what’s wrong. Another specialist (Hernández) arrives, who describes the car’s ailments in funny noises and partly in Spanish. “You need a new trans person,” he declares. He also expects them to return every six days and come to his private party. A third mechanic (McCartney) found the steering wheel is on the wrong side and that their “tipsy wispy” is all “dangly goodly.” The absurdity level keeps rising, but it will feel familiar to anyone who’s ever felt like their mechanic is speaking in an entirely different language. The only false step in the sketch is the ending, which goes on on a cheap joke.

Also good: That white flag he was carrying around should have been a tip-off

It’s been a bit shocking how good some of the pre-filmed pieces this season have looked, including this one, a “Lord of the Rings” Midnight Matinee sketch called “Bobbin’s Sacrifice.” It features, with quite good special effects and costumes, a full cast of orcs, elves and dwarves during a castle siege, as well as Ferrell as a little Hobbit-looking halfling named Bobbin who bravely volunteers to destroy a bridge that separates the heroes from the monsters. However, once outside the castle gates, Bobbin proudly declares in song that he’s switching sides. And not just switching, but offering the orcs blueprints of the castle and giving them magic items he stole from his friends. Things don’t end so well for Bobbin, but at least he goes out memorably and with a song in his heart.

‘Weekend Update’ winner: How does one apply to be a Blast Boy?

“Update” traditionally does a joke-off between co-hosts Jost and Michael Che in which each writes jokes the other has to read. This edition wasn’t too surprising: Jost was made to spew racist jokes about black vampires (in reference to “Sinners”) and using his Staten Island Ferry to ship Black people “back to the motherland.” Che was made to make light of molestation claims against Michael Jackson. The segment ended up being one of the weaker joke-offs, ending with the threat of Jost getting his hair cut off by a barber on live television (it didn’t happen). Surprisingly, the joke-off was not as funny as Culhane’s return as Mr. On Blast, a guy with takes that are far from hot. Example: “AI? More like P.U.” “Metaverse? Why don’t you go read a Bible verse?” Mr. On Blast punctuates his weak jokes with very entertaining dance moves punctuated with sound effects. This time out, the character deployed a new catch phrase, “Devout!” in reference to being both Christian and Jewish, and he brought out bearded backup dancers called Blast Boys. Culhane was on point and is a lock to return next season for more fun like this.

It’s hard to believe, as Matt Damon noted in his monologue in this week’s “Saturday Night Live,” that the actor of this summer’s “The Odyssey” has only guest hosted three times during his lengthy career. (In case you’re wondering, his frequent writing and acting partner Ben Affleck has hosted five times.)

That’s a shame because Damon checks all the boxes for what an A-list actor should do when they host the show: be super present, take every opportunity to do the silliest sketches without seeming uncomfortable, and bring at least some of their acting chops to bear to give otherwise lightweight sketches a little extra gravitas or emotion.

Damon did all that and helped start the show off with an extra jolt of energy by returning as Supreme Court Justice Brett Kavanaugh in the cold open, along with last week’s ringer, Aziz Ansari as FBI Director Kash Patel.

Not every sketch worked, like an early Godzilla parody set in a command center that was simply a series of increasingly anticipated spit takes on poor Mikey Day. Things improved when Damon played himself in a pre-taped sketch about a movie made just for moms ahead of Mother’s Day; mom’s fantasy? No conflict among the kids and a blissful marriage to Matt Damon.

Damon also played one of a trio of middle-aged men (including Marcello Hernández and Kenan Thompson) constantly getting beat up by “tough guys” who are sometimes just children. He also played a frustrated dad in a strange cat litter commercial, a substitute teacher trying to get a classroom of students to dance (unsuccessfully) and, memorably, an auctioneer in a fight with his auctioneer wife (Sarah Sherman). In these sketches in particular, Damon’s acting skills helped elevate the characters he played, grounding them in sadness or frustration. It definitely helped.

The “Odyssey” might turn out to be the summer’s biggest movie hit. If that’s the case, let’s hope Matt Damon isn’t kept from hosting “SNL” for so long after this week’s solid job.

Musical guest Noah Kahan performed “The Great Divide” and “Doors.”

At Martin’s Tavern in Washington, D.C., Defense Secretary Pete Hegseth (Colin Jost) returned yet again to shout-bark at those around him, brag about the Iran War he claims he started and, of course, talk about drinking alcohol. But this time, he was joined by his apparent drinking buddy Kavanaugh, who held a gavel and immediately ordered a “six-three decision” (six beers, three shots of Jameson whiskey). Glowing in their victories, Hegseth bellowed, “Can you believe I just started a war?” Kavanaugh replied, “Can you believe I ended abortion? Your body, my choice!” Kavanaugh went on to show off what at first looked like a dinosaur-shaped district map for Tennessee before revealing it’s his field sobriety test, when he was asked to draw a circle. Kavanaugh bemoaned the male loneliness crisis just before they were joined by Patel, who cried, “Does this bar take Kaaaaash?” Patel showed off the bourbon that bears his name. (“Somehow this is a real thing that I, the FBI director, have made. This is real!”) Kavanaugh revealed a secret: that the court is going to let Trump do a third term. “Trump found the original Constitution and on the end, he wrote, ‘Psych!’ ” The three ended the sketch by singing Chumbawamba’s “Tubthumbing” with its callouts of their drink orders.

Damon previewed his upcoming film, even though he had to mention several times that “The Odyssey” won’t be out for another nine weeks. He also had to break the news that the lovely “SNL” tradition of bringing on moms of cast members wouldn’t be happening this year due to Spirit Airlines shutting down. It turns out, after an audience member (“SNL” writer Jack Bensinger) asks, that only Hernández’s mom was able to make it. Damon then recorded a video message to moms out there for anyone who didn’t get a gift for them. “You deserve a night out… nine weekends from now,” he said, suggesting the movie would make a great date night.

Best sketch of the night: Do I hear best sketch of the night? Sold!

A sketch as gimmicky as this one — in which the premise is two auctioneers (Damon and Sherman) are having a marriage-ending fight — only works if the performers are up to the task, and luckily both Damon and Sherman navigated the super-fast dialogue expertly and without looking like they were eyeing cue cards the entire time. The two went back and forth, auctioneering a discussion about weight, infidelity, drinking, their sex life and, eventually, terms of their divorce in front of their four young sons (who, adorably, hold up little numbered signs. Yes, they were played by adult cast members.). Even for “SNL” and for the last-sketch-of-the-night slot, it was a bold sketch for live TV and Damon and Sherman expertly walked the tightrope on this one.

Also good: Your mom will only make it through 23 minutes of this

“SNL” is no stranger to spiky sketch comedy takes on motherhood: remember “Mom Jeans?” For this year’s Mother’s Day take, it presented “Mom: The Movie,” a film devoid of conflict or dramatic tension because “Moms have enough stress. Why not let them feel good for a day?” Ashley Padilla plays the mom in the film, enjoying argument-free time with her kids (Jeremy Culhane, Tommy Brennan and Veronika Slowikowska), who only deliver good news. She’s married to Matt Damon, making her Rhonda Damon, and they met when he noticed her giant turquoise necklace after a movie screening. The film is streaming where moms are expected to find it: on HomeGoods Plus.

‘Weekend Update’ winner: This ‘Update’ segment is bananas — the round kind

This week’s “Update” featured three guest segments. Hernández and Day played kamikaze dolphins who work for the government, giving them a sense of porpoise (their joke, not mine). Jane Wickline expressed her anger at people caring that she’s always late in a funny musical rant. But Culhane’s return as Tucker Carlson continued a dead-on impersonation that covered several topics, including the Met Gala’s wild outfits, the new Michael Jackson biopic, and why eating round bananas is less gay than eating traditionally shaped ones. Culhane’s impression is a thing of beauty, and this time it leaned harder into Carlson’s tendency to express things from a very white point of view. In describing ASAP Rocky’s pink robe from the Met Gala, he said the performer was, “Wearing my least favorite color … African-American.”

Saturday Night Live UK’s cold open featured Peter Serafinowicz in a guest cameo as Nigel Farage, spoofing the Reform UK leader as Prime Minister in 2046 following the party’s sweeping local election wins.

Shaun Of The Dead actor Peter Serafinowicz made a surprise appearance playing Reform UK leader Nigel Farage as prime minister in an SNL UK sketch set in the year 2046.

The comedy programme kicked off on Saturday evening with a political skit depicting Mr Farage occupying Number 10, pulling pints at his desk while US President Donald Trump has seized control as the nation’s king.

The sketch took aim at the party’s landslide victories during this week’s local council and Scottish and Welsh elections. It began with ‘Mr Farage’ recording a personalised 120th birthday message for much-loved naturalist Sir David Attenborough, before Conservative party leader Kemi Badenoch (Ayoade Bamgboye) appeared as his deputy.

READ MORE: Chilling footage shows the final moments of frail man, 93, before 28-hour torture ordealREAD MORE: WHO issues update to people of Tenerife where hantavirus-stricken ship is headed

“Big news day, Prime Minister. Thanks to our deportations, the population of London is finally down to single fingers,” she said, drawing uproarious laughter from Mr Farage.

Taking a swipe at the continuing tensions between the US and Iran, she went on: “One last thing, King Trump assures us he has almost negotiated a ceasefire over the Strait of Hormuz.”

Mr Farage responds: “Phew, for a minute there, it felt like we were on the brink of World War Four.”

The pair jest that since their parties joined forces, they have been “unstoppable”, drawing a comparison to the spreading hantavirus, referencing the outbreak that has dominated news coverage in recent days. After checking the weather forecast – which shows London engulfed in flames, satirising climate change – the pair head out for a stroll before Sir Keir Starmer and Angela Rayner emerge from behind a bookshelf, which turns out to be a time machine.

The former deputy leader, portrayed by Celeste Dring, warns Sir Keir (George Fouracres) that unless he allows her to run the government, “this future will come to pass”, to which he replies he will “seize every moment” as Prime Minister.

When Mr Farage returns to the office accompanied by Mrs Badenoch, he queries who Sir Keir is, declaring himself the “big chungus” of the “great United Kingdom and the middle part of Wales”.

They warn they’ll have the Labour party leaders removed from the building by security guards, but Mrs Badenoch jokes: “We deported security.”

The sketch concluded with Al Nash emerging through the prime ministerial time machine portal dressed as Sir Winston Churchill to launch the show, leading into Ted Lasso star Hannah Waddingham’s opening monologue.

The award-winning actress made light of the “glamorous characters” she has portrayed throughout her career, before displaying pictures of less flattering parts such as her “sexy little turn as the shame nun” in hit TV series Game Of Thrones.

Throughout the episode, Waddingham took part in numerous sketches alongside the show’s inaugural cast, and was accompanied by Stargazing singer Myles Smith as the musical guest. The programme also marked Sir David’s landmark 100th birthday in its weekend news segment, with hosts Ania Magliano and Paddy Young sitting down to interview a rhino (Hammed Animashaun) for their take on the much-loved broadcaster.

The skit descended into mayhem when Sir David (Fouracres) burst onto the scene to grapple with the wild beast after it dared to criticise him.

The Sky Original production is filmed live in London, featuring a rotating guest host each week alongside the show’s regular cast, which comprises actor Hammed Animashaun and comedian Ania Magliano.

SNL UK returns to Sky and Now TV on May 16 for its series finale, with Sex Education star Ncuti Gatwa taking the hosting duties, accompanied by musical guest Holly Humberstone.

Saturday Night Live UK is available to watch on Sky and Now TV on Saturdays at 10pm.

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.

You know him by his imitators, the ones he hand-picked for the show he made. Arguably the greatest comedy impresario of the modern age, Lorne Michaels, the lip-pursing, imperiously droll Canadian who created “Saturday Night Live,” has curiously enough never seemed like documentary material — there’s always been a strange satisfaction in him remaining an aloof, besuited guru, getting older but seeming beyond mystery. A well-timed impression always felt like enough. We’re laughing about someone we don’t know and there’s an odd purity in that.

Oscar-winner Morgan Neville’s “Lorne” — made with the begrudging OK of its subject as part of the 50th season hoopla — is, therefore, a curious instance of not being all that successful at unraveling the man, yet remaining perfectly enjoyable as a conduit for bite-size chunks of insight from not-so-famous associates and ultra-famous friends. It’s a well-meaning impression of a soul-searching documentary (and only an impression), but impressions can still be plenty entertaining.

Neville hedges his bet by filling us in on Michaels’ spotlight apprehension, making his reticence a through line. Interviewees joke about how inscrutable he is, guess at aspects of his biography, and early on we hear Michaels’ belief that explaining humor is pointless.

But would we have wanted a Jedi of few words to suddenly dissect his many brilliant casting choices or rehash the impetus to conceive the show, when it’s been written about repeatedly and even turned into a feature? Thankfully “Lorne” grasps this and instead decides the best narrative is one of Michaels as a force of stability amid constant change: shielding “SNL” from irrelevance and invasive network overlords, turning his unknowability into a kind of totem-like, hard-earned confidence, taking mentorship of talent seriously and accepting his mockability as the release valve that reinforces his wise stewardship.

Better to have dozens of funny, perceptive interviewees (Tina Fey, Conan O’Brien, John Mulaney, Adam Sandler, Lily Tomlin) piece it together, than to expect much from the guy who doesn’t care to self-analyze anyway. Likewise, don’t expect anything noteworthy from a pal like Paul Simon, who would rather be facile about his friendship with Michaels than informative.

Being there for his weekly routine captures something of Michaels’ entrenched schedule, as well as the scary-fast prep swirling around him. Seeing everyone crammed into his office for a howdy-host confab looks like the coolest family get-together. Same with the table read for dozens of mostly-to-be-axed sketches — like a dinner at which everyone’s trying to get Grandpa to laugh. The night-of-broadcast scenes draw you into the tension of finalizing and problem-solving and Michaels’ engagement with all manner of details is captivating.

Neville is smart enough as a documentarian to leave out platitudes, but also to let access to Michaels’ Maine retreat be a vibe rather than some knockout reveal. The result is an ode of sorts to elusive bossdom, where the cryptic may remain cryptic, decoded just enough to let us appreciate the achievement.

You’ll probably go straight from “Lorne” to rewatching notorious moments like the controversial Season 3 “stunt baby” sketch — and this is no doubt Michaels’ preferred outcome. Because, all those impersonations of chilly indifference aside, he will be known by what he got on the air: a legacy of generation-defining comedy that’s more impressive than any dutiful biodoc could ever be.