Entertainment
John Mulaney hosts eventful 'SNL' with Kamala Harris in cold open, new song from Chappell Roan
You know it’s a stacked week on “Saturday Night Live” when a new John Mulaney-led Duane Reade at the Port Authority Bus Terminal musical sketch is only about the fifth-most important thing to discuss.
The biggest news, as reported earlier, was that Vice President Kamala Harris appeared in the cold open to “stop the dramala” and to literally mirror Maya Rudolph’s portrayal of her. We’ll talk more about that sketch in a moment.
Also notable was that musical guest and festival sensation Chappell Roan performed her sing-along hit “Pink Pony Club” and also debuted a surprise country song, “The Giver.”
In another surprise, 2016 vice presidential candidate, Virginia Sen. Tim Kaine, who ran alongside Hillary Clinton, portrayed himself in “What’s That Name?” a game-show sketch. In it, Mulaney plays a man who claims to care deeply about Tuesday’s presidential election, yet can’t remember Kaine’s name.
Maya Rudolph, left, with Vice President Kamala Harris during the cold open.
(NBC/Will Heath/NBC)
Mulaney, who hosted “Everybody’s in L.A.” for Netflix in May and who will host a weekly live show for the streamer in early 2025, did an admirable job holding it all together in a solid mix of sketches. There was a sublimely silly video in which Mulaney plays a ground control officer trying to help a chimp astronaut return to Earth early in the show. Two sketches late in the episode jammed in a lot of jokes into simple premises: one was about Little Richard (Kenan Thompson) appearing too many times in a 1990s sitcom. And the other featured Mulaney playing real-life New York City Council candidate Harvey Epstein, who acknowledges in a campaign video that both his names are highly problematic.
Even without the Broadway fantasia that is the latest edition of Duane Reade (more on that one below), Mulaney’s hosting would have been tops for the 50th season so far, or at least neck-and-neck with Ariana Grande from a few weeks ago.
Before the closing goodbyes, a title card honored Teri Garr, who died this week. The actor hosted the show three times in the 1980s.
Rudolph finally came face-to-face with the real-life Harris in this week’s cold open, whose speaking-to-the-mirror conceit was similar to a recent Jennifer Coolidge sketch. But there was lots of ground to cover three days before the national election, including former President Trump (James Austin Johnson) at a rally, sporting a big orange vest for “wearing it in garbage truck” and mocking former Wyoming Rep. Liz Cheney (“I just said I wanted her to go hunting with her dad”).
J.D. Vance (Bowen Yang) appeared briefly before we saw the return of Jim Gaffigan as Minnesota Gov. Tim Walz, Andy Samberg as Doug Emhoff and Dana Carvey as President Biden.
But of course, it was Kamala Harris who got the biggest reaction, joining Rudolph with, “Live from New York, it’s Saturday Night!”
For his sixth outing as host, Mulaney performed a monologue that was extremely quick-moving, jumping from topic to topic, and that was notable for making absolutely no mention of the impending election. Instead, Mulaney began by updating the audience on his family life: He recently married Olivia Munn and now has a 5-week old daughter along with a 2-year-old son. He described the relative heights of all the people in his life who he’s taller than, including Munn, his even shorter mother-in-law and a nanny who is “negative one-feet tall.” Mulaney talked about his parents, who are aging too slowly for his taste (“They still have brown hair and go on bike trips”) and what it’s been like, at age 42, to already be thinking about hip-replacement surgery.
Best sketch of the night: Bring Beppo home
There’s just something about Mulaney and monkeys that works on “SNL.” Two years after appearing as a monkey judge, the host plays a character trying very hard to bring Beppo, America’s first chimp to orbit the Earth, back home safely. Beppo can communicate with words via a keyboard of icons, but when mission control loses control of the spacecraft, it’s up to Mulaney’s character to tell the chimp the bad news in words he can understand: “Beppo no go home. Beppo go dark. Beppo equals zero forever.” The video sketch takes several dark and absurd turns, includes a “Hidden Figures” reference and ends triumphantly … sort of. Extra points for making Beppo the doomed chimp look so realistic and adorable.
Also good: Duane Reade milk is organ, not organic
Whenever John Mulaney hosts “SNL,” there’s always a good chance he’ll bring back his musical homage sketch that take place at a Duane Reade at the Port Authority Bus Terminal. For this latest version, former cast member Pete Davidson returned, looking to buy a jug of milk that turns out to be from a family of possums (Thompson and Ego Nwodim), who turn the bit into a “Lion King” number. Marcello Hernández played a shampoo bottle kept under lock and key while New York mayor Eric Adams (Thompson) parodied “Aladdin” in reference to his Turkish connections. There was more, lots more, but the standout may have been Samberg returning to perform “Baby Bear Carcass,” in tune with the “Hamilton” opening number, a reference to Robert F. Kennedy Jr.’s bizarre Central Park story. As the sketch notes, the former presidential candidate is still on the ballot in two swing states. Either you love these New York-centric musical sketches or you find them completely random, but you can’t deny they’re ambitious.
‘Weekend Update’ winner: Reba!
Hernandez and new cast member Jane Wickline played “a couple you can’t believe are together,” but it was Heidi Gardner as “The Voice” coach and country superstar Reba McEntire who won “Weekend Update” this week. In a segment that continued to indulge the show’s fascination with McEntire (why not have her host sometime?) Gardner portrayed the singer as an undecided voter. “Call me Shawn Mendes because I’m still figuring it out,” she said. Gardner’s arm-waving impression paired with strange stories about McEntire’s hometown of McAlester, Okla., where, “If you think the milk is spoiled, give it another sip.” More disturbing: Reba says she’s the daughter of a Republican momma and a daddy who was Pennywise the Clown from Stephen King’s “It.” “Momma worked 59 jobs. Daddy only had one: eating kids.” Was it the most accurate Reba impression? It was not. Was it the strangest? Absolutely. Let’s have the real McEntire on the show to do another one of those mirror sketches.
Movie Reviews
Jeremy Schuetze’s ‘ANACORETA’ (2022) – Movie Review – PopHorror
PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.
Let’s have a look…
Synopsis
A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.
Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)
My Thoughts
Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.
Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.

Check out Anacoreta on Prime Video and let us know your thoughts!
Entertainment
Todd Meadows, ‘Deadliest Catch’ deckhand, dies at 25
Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.
Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”
“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.
“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”
A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”
According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.
“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.
Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.
Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.
“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”
Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.
Movie Reviews
‘Hoppers’ review: Pixar’s best original movie in years
“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.
It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.
Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.
We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.
Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.
That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.
Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.
The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.
And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.
“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.
HOPPERS opens in theaters Friday, March 6th.
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