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‘SNL’ has always taken on politics. Here’s what works – and why

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‘SNL’ has always taken on politics. Here’s what works – and why

Tina Fey as Sarah Palin, Kate McKinnon as Hillary Clinton, and Amy Poehler as Hillary Clinton during the “A Hillary Christmas” sketch on December 19, 2015.

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As a comedy nerd who has watched Saturday Night Live since I stumbled on a rerun of the debut episode back in the mid-1970s, I’m convinced SNL has had a profound impact on how America views politics.

But the show has seemingly struggled in recent years, as the absurdity of modern politics has caught up to satire. Former president Donald Trump’s references to myths about Haitian immigrants eating pets, his running mate JD Vance’s comments about women without children, Vice President Kamala Harris having to defend stories about working at McDonald’s as a youth – it all seems like stuff which would have been in sketches years ago, instead of real life.

As a historic election looms, and the show begins its landmark 50th season this week, SNL faces an ongoing challenge: to make America laugh – and think differently – about a political world which has gotten stranger than anyone could have predicted when the show debuted back in 1975.

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Already, the show’s been on summer hiatus for the year’s three most seismic political events: President Joe Biden’s terrible debate performance against former president Donald Trump, Biden’s eventual decision to step aside for Vice President Kamala Harris and Harris’ domineering debate performance against Trump. So they’ll need to hit the ground running Saturday, when comic actor Jean Smart hosts the show.

A political impact from the beginning 

I decided to bounce some of my harebrained theories about SNL’s impact over time off Al Franken, who wrote some of the show’s earliest political skits and worked there for many years as a writer and performer, before serving nearly ten years as a U.S. senator from Minnesota.

(Franken resigned from the Senate in 2018 amid allegations of misconduct from several women who accused him of touching or kissing them in inappropriate ways. He has denied some allegations, said he remembers others differently, apologized for making some women feel uncomfortable and said he regrets resigning the office.)

When it came to political satire, Franken says he and his fellow SNL writers had a pretty simple goal: Craft stuff that would be funny for people who knew both a little – and a lot – about politics.

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“We didn’t try to be liberal or conservative,” says Franken, who worked on the show in various stints from 1975, during its very first season, to 1995, helping write classic sketches featuring Dan Aykroyd as President Richard Nixon during his last days in office and Dana Carvey as both George H.W. Bush and Ross Perot in a debate.

Quoting another legendary SNL writer, Jim Downey, he adds, “We just tried to do stuff…that would reward people for knowing stuff, but not punish them for not…Sketches that would be funny to everyone, but we were also trying to put in things that, really, really, smart people could go, ‘Oh I see. They put that in there for me.’”

SNL shapes our view of politicians through impressions

When Saturday Night Live nails an impression of a politician, it manages a unique alchemy – elevating the thing about that person that is so funny it can pretty much define them in the public’s mind. Often, it is something people already suspected about the politician, crystallizing how the public feels about their policies or candidacies.

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When John McCain announced Sarah Palin as his running mate in 2008, Tina Fey produced a devastating take on the vice-presidential candidate as a superficial dimwit given to folksy-sounding word salads in speeches and interviews. Some people even assumed the politician actually said “I can see Russia from my house” – one of the jokes Fey’s Palin announces during a speech that the real Palin never said.

Think Gerald Ford was a clumsy dolt? That might be because that’s how Chevy Chase played him in the show’s first season, even though Ford was a former champion athlete. Aykroyd handled Nixon and Jimmy Carter – nailing Nixon’s shifty villany and Carter’s wide smile and youth appeal, despite wearing a mustache neither politician had. Dana Carvey’s take on George H.W. Bush as a stiff patrician given to flailing his arms widely also led people to confuse Carvey’s jokes with things the real-life president said and did.

And there was Darrell Hammond’s take on Al Gore during a debate sketch in 2000, playing Gore as an oblivious technocrat obsessed with the word “lockbox” to a crushing effect. “I think [that sketch] elected Bush,” says Franken, recalling how Gore’s team reportedly used the sketch to coach the vice president on future debate performances.

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But sometimes impressions aren’t enough

Because so much of the show’s political insight comes from impressions, it creates problems when SNL can’t find the right approach. The show never really found a great caricature of Joe Biden, despite having everyone from Jason Sudeikis to Woody Harrelson and Jim Carrey play him.

When I say they had similar problems with Barack Obama, Franken agrees. “[It] was like trying to climb a smooth, vertical wall,” he says of lampooning Obama. “He had nothing to really grab onto. You could do an impression of his voice … but there [weren’t] really a lot of footholds there.”

The problem with Donald Trump may be the opposite: too many footholds. Alec Baldwin nailed Trump’s scowling self-obsession, while James Austin Johnson captures the former president’s stream of consciousness patter, though finding things funnier or more absurd than what he’s actually done in real life remains a challenge.

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This weekend, though Maya Rudolph seems ready to nail Harris’ coolly efficient power, the question remains: who will play crucial figures like Democratic vice presidential candidate Tim Walz and his GOP opposite JD Vance – and what will those impressions say about our politics writ large? (My money’s on a “cold open” Saturday focused on Walz and Vance prepping for the vice presidential debate.)

Helping the audience process political ideas beyond impressions

There have been impactful SNL sketches which speak to political ideas beyond lampooning politicians, often in the name of helping the audience process potent ideas.

One of my favorites is a bit from 2016, where Dave Chappelle and Chris Rock are sitting in an election watch party surrounded by white people. As Trump’s election is confirmed, the white folks are shocked that America elected a candidate with such obvious race and sexism issues, while Rock and Chappelle – as Black men familiar with America’s hypocrisies – are not.

When politicians appear as themselves

Particularly before the rise of social media, the best way a politician could try to get ahead of how SNL portrayed them was to appear as themselves in the show’s sketches. Obama, Palin, Hillary Clinton, and even Nikki Haley used this tactic, popping up to look like good sports while pushing back subtly against the most insulting parts of the parodies.

McCain, who called Saturday Night Live creator and showrunner Lorne Michaels a friend, delivered one of the most notable cameos. He kicked off the SNL episode right before the presidential election in November 2008 with an appearance where the senator – flanked by Fey as Palin and his actual wife, Cindy – hawked fake merchandise on the QVC home shopping channel, deftly presaging when Trump would do it for real with his own Bibles and luxury watches.

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But one of the most infamous political cameos is also the show’s earliest, when Ron Nessen, then press secretary for Ford, hosted the show in 1976 and got his boss to pre-tape saying the show’s legendary opening phrase, “Live from New York, It’s Saturday Night.”

Franken says he impulsively asked Nessen to host the show at an event for Ford – later, he says, Michaels reminded him that handing out host invites was not his job – but they didn’t really ease up on the president for the episode. “We had way too much fun with them and the Ford family was not appreciative,” Franken adds. “And I think right after that he lost in South Carolina to Reagan…They hated it.”

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‘The Invite’ is a marriage comedy with sex and heart

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‘The Invite’ is a marriage comedy with sex and heart
What happens when a simple dinner party goes off the rails? That’s the premise of The Invite, a very good new comedy directed by Olivia Wilde. Wilde also stars alongside Seth Rogen as a couple who invite their neighbors over for a meal, played by Penelope Cruz and Edward Norton. And it’s a heck of a dinner party, full of frank talk about sex and its complications.If you like slightly absurd relationship comedies, check out these episodes:’Mr. & Mrs. Smith’ is a stylish take on spy marriageIn Tina Fey’s ‘The Four Seasons,’ marriage is far from a vacationConnect with Pop Culture Happy Hour:Letterboxd / FacebookOur weekly newsletterSupport Pop Culture Happy Hour+
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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

I met Dan on Hinge.

He lives in Woodland Hills, and I live in Venice. In Los Angeles, this is considered a long-distance relationship. In another city it might be nothing. Here, it’s a factor.

But I believe that with the right person, you can make anything work, so I stay open. I’m a native New Yorker, and if I were living in Brooklyn and a guy lived on the Upper West Side, that would be a 45-minute subway ride, which is truly nothing in New York. So with that same logic, I try to have flexibility with men in L.A.

When we started planning our first date, Dan suggested three options: a hike on mushrooms, a wine tasting or a walk on the beach.

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A hike on mushrooms is something I’d only do with someone I already trust, not someone I just met online. I don’t do first-date hikes because I don’t like feeling trapped if the guy’s a dud. So I chose the wine tasting.

Then I learned the wine tasting was in West Hills.

On a Friday night, driving there from Venice would be insane. So I said I didn’t want to meet there because of the traffic. He suggested Malibu. That was also not ideal on a Friday.

I was getting annoyed — this was a pink flag because in my dating world, the guy is supposed to come to the woman’s neighborhood in the early days. I’ve gone out with plenty of men from the Valley who effortlessly suggested they come to me. It’s not rare or impossible.

I suggested he come to the Westside. I didn’t specifically say Venice, and in hindsight, I probably should have. He landed on Brentwood, which was manageable for both of us. On our first date, we met at an Irish pub on Wilshire Boulevard. He was cuter and more interesting than I had expected, and with the Guinness flowing, we had fun.

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When I got home, he texted me: “Well, I like you 🙂 Less the tik tok and the lack of rock music in your life, but it’s not a deal breaker — there are other qualities 🙂 What are your thoughts?”

I noticed the slight negativity but was mostly dazzled that a man texted immediately after the date to say he liked me. In the modern dating economy, this felt rare.

The next day, both of our evening plans fell through, so we made a last-minute date. The wine tasting he originally suggested still sounded like fun, and although it meant me driving to the Valley, I was up for it now that we’d met.

We sipped flights at Malibu Wines & Beer Garden in its airy, romantic courtyard and played a flirty version of Truth or Dare. Halfway through, he dared me to kiss him.

We ended with sushi on Ventura Boulevard and a short make-out session in his car. He invited me to Thanksgiving at his uncle’s, which felt too soon, but also sweet.

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After the second date, he texted and said he had his kids that week and was also hosting an event on Thursday, so his only day to meet was Wednesday. I said great.

On Tuesday night, he checked if we were still on, and I said yes.

Then he texted: “I’m flexible on time but not on location. I have a big event on Thursday, hopefully you can come to me again.”

My stomach tightened. This again?

So I texted back: “I drove to you last time, which was a bit of an exception for me especially in the early days, but the wine tasting location sounded special. Usually guys come to my area. How about we switch it up this time?”

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He replied: “I appreciate the effort! Because of my event, I’d rather be close to a computer just if needed … Here is what i offer:
— I’ll come to your area anytime next week/end
— Lunch/dinner on me
I want to continue where we stopped last time 😉 No pressure of course, but let’s snuggle”

I responded: “Ok let’s meet next week. Snuggles sound nice … let’s see what happens …”

Then he wrote: “So I won’t see you tomorrow?”

I replied: “Unless you wanna come to me and bring your laptop along, let’s rain check until you have more flexibility.”

He said: “Dang, you are hard. I’ll let you know tomorrow around midday if it’s ok.”

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And then — surprise — he decided to come.

He drove to Venice for a 5 p.m. date. He said his ETA was 5 p.m., and it ended up being 5:25 p.m., typical 405 Freeway.

When he showed up, he was in a cranky mood. On our way to KazuNori in Marina del Rey, I thanked him for picking me up and told him I think it’s hot when the guy comes to the girl.

“You’re just saying that because you want me to come to you more,” he said, not playfully, but aggressively.

That was basically the end for me. But there I was, in his car, heading to dinner. So I stayed pleasant and tried to make the best of it.

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I shared that in the early stages of dating, I find it’s good etiquette for the guy to come to the woman’s neighborhood. He immediately disagreed and started ranting about how dating rules are ridiculous and how they swing in women’s favor. He resented paying for dates and declared he wasn’t looking to “sponsor a woman’s life.”

“If women want equality and equal rights,” he said, “then it should apply all across the board, including dating, and the man shouldn’t have to pay.”

I said women don’t actually have equal rights because we get paid less than men and often receive lower salaries than men in the same position.

I tried to change the subject and reset the mood, but he insisted we keep hashing it out.

I tried to explain masculine/feminine dynamics: providing and protecting, giving and receiving.

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“What does the man get out of this arrangement?” he asked.

It was like watching someone’s personality warp into Mr. Hyde. Then he brought up another point: He’s a single dad of two kids, so he gets tired; and because I don’t have kids, that should factor into who drives where.

At this point, I was barely engaging and focused on eating my hand rolls, and I couldn’t wait to get home.

The check came, and I happily split it, wanting nothing further from him.

In the car back to my place, he remarked: “It’s obvious we’re never gonna see each other again.”

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Obvious, but did it need to be stated?

Then he showed me a Spotify playlist he’d made for me of his favorite electronic music, because he knows I like EDM.

“Oh, that’s sweet,” I said.

“Yeah, that’s how I show interest. Through things like this, not who drives to who,” he replied.

When I got out of the car, we wished each other luck, and I headed inside and shut the door.

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Two hours later, he sent me the playlist. I’ve yet to listen to it.

It wasn’t the distance that ruined it. It was the resentment. I’m not looking for a man who feels burdened by the effort. I’m looking for a man who sees the value of courting a woman in the first place.

The author is a writer, comedian and former psychologist who lives in Venice. She is the creator of the new vertical series “Manfari.” She’s on Instagram: @solange_neue and @manfari.show.

L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

Lonnie Bunch III is the 14th Secretary of the Smithsonian. He’s pictured above in September 2017.

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In a memo addressed to staffers sent Tuesday, the secretary of the Smithsonian, Lonnie G. Bunch III, defended the institution after the White House issued a 162-page report that characterizes the National Museum of American History as a place which has become “subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”

In his email, which NPR has obtained, Bunch wrote in part: “While there will always be room for improvement, this report is not a fair characterization of the work and totality of the National Museum of American History. At the Smithsonian, our work is driven by scholarship, accuracy and an uncompromising commitment to tell the fullness of America’s story. As public servants and the keepers of this institution, we are charged with helping a nation find understanding, hope and clarity and as part of that duty, we are dedicated to excellence, reflection and growth.”

He continued: “We remain focused on what grounds us: a steadfast commitment to scholarship, nonpartisanship, independence, accuracy and integrity. For nearly 180 years, the Smithsonian has worked alongside partners across government — from the White House to Congress to our governing Board of Regents — guided by our enduring mission to increase and diffuse knowledge. That purpose remains: to pursue knowledge with rigor and to serve the American public with clarity and care.”

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The White House report was issued on July 4 by the Domestic Policy Council under the title “Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage.”

The council faults the National Museum of American History on a multitude of fronts, saying it underemphasized the Founding Fathers and early colonial and Revolutionary history; was not sufficiently celebratory of the country’s 250th anniversary; and that it engaged in “anti-white,” “illegal alien” and transgender activism.

It also accuses the museum of trying to “indoctrinate” teachers and students through its exhibitions, programming and teaching resources.

In the report, the council also specifically criticizes museum director Anthea Hartig, who has led the National Museum of American History since 2019 and is concurrently the president of the Organization of American Historians, calling her “an activist advancing an ideological agenda contradictory to the museum’s founding purpose of fostering patriotism.”

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