May 9, 2020 – Kristen Wiig / Boyz II Men (At Home III) (S45 E18)

by Matt

VIRTUAL GRADUATION
Donald Trump (Alec Baldwin) resides over KAM’s virtual graduation ceremony

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— Hooray, it’s my last time having to cover Trumpwin! Also: goddammit, I have to cover Trumpwin one more time! (To those feeling bittersweet about the occasion, rest assured that my next episode for this project features Jim Carrey’s Joe Biden, so I’ll never be truly free of my suffering.)
— Interesting to see a few writers filling out extra roles on the fake Zoom call. I can’t recognize all of them but I see Will Stephen (“Meg”), Gary Richardson (“Oz”), Alison Gates (“Charley”), and Sudi Green (“Chai”) in the mix.
— The idea that Donald Trump would be free to deliver a commencement address for a completely random high school is quite contrived. The way the sketch was going before he showed up was fine—how come we can’t just get a nice, observational ensemble piece (like, say, the graduation pretape from Schumer’s S43 ep) instead?
— Kate is actually delivering some decent deadpan lines here, which feels rare of her in this era. Maybe it’s assisted by the fact that this is pre-taped so she can’t just break her way through the material. Whatever the reason, her delivery of “Crystal, don’t make me key your car again” to Heidi’s pro-Trump student got me.
— All of the cast members’ makeshift graduation caps are really cute. I especially like Melissa’s cardboard cap with a tie hanging off the side.
— LOL, I love ya Kenan, but I cannot buy you as a high schooler. Not with that salt and pepper beard, my friend.
— Trump taking a big swig of Clorox… I’m no fan of the guy but that feels pretty cheap even for SNL’s political satire standards.
— This one was pretty par for the course in terms of being low-reaching and toothless, but I respect the slimness (it clocks in at under five minutes) and found some charm in the DIY nature of it all. I wonder how that’ll affect my scores as the night goes on.
STARS: **

MONOLOGUE
KIW celebrates her mother and sings a childhood lullaby

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— Really enjoyed the jazzy, colorful montage at the start of this.
— I feel like I have to mention Kristen flashing the camera, even if I don’t know what exactly to do with that.
— Kristen’s material here isn’t the greatest, but there’s a nice sincerity to how she talks about her mother that elevates it, as well as the flashes of Kristen’s great deadpan instincts.
— Could’ve done without Kristen’s musical number at the end, though I get the need to end this monologue with a burst of energy.
STARS: **½

ITALIAN VACATION
obnoxious HEG & MAS revel in their Italian fantasia to their disinterested pals

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— Martin Short! I could afford not to see this sketch again, which I think was lucky to have a second installment that got over (if not solely because of some good ol’ fashioned breaking), though I’ll give some credit to the fact that Martin seems like the right person to embody this sort of character. Maybe it’ll work out alright.
— There’s a decent center to this sketch’s return, with Martin and Heidi’s dim, high-society wannabes going on vacation to Italy in the middle of quarantine, but it feels like a step back from both Cooba and Nawlins for me.
— Honestly, I would’ve really liked to see a version of this sketch performed live. There’s a very clear, solid rapport between Martin and Heidi, even remotely, and I imagine them being able to truly play off of each other would enhance this significantly.
— Martin Short, as usual, finds a way to make his insane facial expressions and physical acting feel deeply inhibited.
— Not a lot of laughs in this sketch—I feel like it didn’t compensate enough for the lack of audience response. With that being said, I thought the character work was strong enough to make it decently interesting. Strange choice of lead-off sketch, though.
STARS: ***

LET KIDS DRINK
SNL cast & (Josh Gad) plead for underaged alcohol consumption

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— Solid premise to this song. I also really like that this is such a big ensemble piece, which is giving off some grandiose “We Are the World” vibes.
— Chris is providing amusing ad-libs throughout this.
— Loved how everyone sings that their idea was okayed by child services, only for “CHILD SERVICES COULD NOT BE REACHED FOR COMMENT” to briefly appear on the screen right afterwards.
— “Let kids drink! / It’s not like they can drive!”
— Good escalation with the song breaking out into a chorus of children pleading to drink.
— The Josh Gad bit is a bit shoe-horned in, but I’m also pretty amused that either Disney would okay this sort of thing, or that Josh Gad would willingly put himself in the line of fire to participate in an SNL sketch for eight seconds.
— Another short but cute bit with Pete begging his mom to let him drink. The looseness of this idea is actually sort of playing to its benefit in allowing the song to perpetually evolve in weirder and weirder ways.
— Hahaha, the overly-sentimental ending shots of kids drinking and clinking glasses was a great touch.
STARS: ****

MASTERCLASS: QUARANTINE EDITION
Phoebe-Waller Bridge & Britney Spears (CHF) join John Mulaney (MEV), teach esoteric lifestyle classes

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— I didn’t like the first installment of this sketch at all but I recall this one being far more enjoyable.
— Chloe’s Phoebe Waller-Bridge is probably one of the most spot-on impressions that I’ve seen her do on the show. There’s not very much to the writing, but everything about how she inhibits Phoebe—all the eye and eyebrow work, the cheeky expressions—is laser-sharp. (I say all of this, too, as someone who can be pretty skeptical of Chloe’s character work.)
— Glad to see Melissa getting involved in this sketch; felt strange that she would be shut out of the last one. Her Mulaney impression here, while far from the most pitch-perfect in her oeuvre, is a lot of fun and pretty on-the-mark with capturing Mulaney’s vocal cadence.
— For some reason, Melissa-as-Mulaney’s weird, dissociated side-wave is a visual that’s stuck with me from this sketch.
— I feel sort of guilty laughing at parts of Chloe’s Britney Spears impression (“Oops, I burned my gym down~”). Especially in light of Britney finally being freed of her conservatorship, a lot of these jokes feel like they fall into that exploitative “look at this trainwreck!” camp that she was put at the mercy of during the trashiest parts of the aughts. Chloe does a good job at nailing the voice and imitating her bizarre Instagram videos, but it really borders on punching down and is making me a bit unsure of how to react.
STARS: ***½

ZOOM CHURCH
pastor (KET)’s Zoom church service is disrupted by his uncooperative virtual audience

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— Kenan is doing a good job of presiding over this sketch, though it is ultimately the kind of role that he’s born to play: the irritable guy dealing with strangely inept people.
— I like the detail of how every time we cut back to the Zoom audience, there are even more people signed in.
— Decent out with Kenan successfully muting the entire service, but preventing anyone from being able to hear the ensuing choir performance.
— I have very few specific comments to make about this. I like the observational nature of it, as with a lot of these At Home pieces, but it’s just fine.
STARS: ***

DANNY TREJO RAP
PED celebrates the life and accomplishments of Danny Trejo (real)

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— “JP ON DA TRACK!” Oh thank God, I love that guy!
— This little animated dancing Danny Trejo guy is the stuff of nightmares.
— Look, I think Danny Trejo is cool, and I think we all do. But did he need one of Pete’s substanceless hero worship raps? I don’t think so. All this does is threaten to retrospectively taint my guilty enjoyment of “Tucci Gang.”
— Now Pete’s just listing off Trejo’s roles off of IMDb. Interesting to see his creative process at work.
— “I got my own tacos / That’s right, my own tacos / They called Trejo’s Tacos / That’s right, Trejo’s Tacos.” That was written.
— Chris delivers a feature on this rap that seems tentatively attached to the Danny Trejo concept, but hey, he has far better flow than Pete.
— Nice to see Danny Trejo cameo at the end at least, even if he feels sort of unsure of how to feel about the sketch, too. Glad he could advertise his new donut shop.
STARS: *

BOUNCY WAVES WITH PJ CHARNY
(KRW)’s class on hair care is as unruly as her ‘do

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— Ah, we’re finally getting Kristen more in the mix this episode. Kinda surprised we haven’t seen her woven into anything before this, let alone after.
— The fact that the entire conceit of this sketch is just Kristen’s hair bobbing up and down over the camera is super thin, and I feel like a dumb child in that it’s kind of working for me.
— Kenan doing his flamboyant, sassy Southerner voice serves as additional confirmation that this is very clearly a James Anderson sketch.
— Cecily is offering pretty fun support, and I like how Kristen’s character has randomly turned on her. 
— Yeah, this isn’t really a sketch I can defend but it got over for me. The lack of dead air helped it a lot.
STARS: ***

MUSICAL PERFORMANCE
MIC introduces musical guest

musical guest performs “A Song for Mama” over photos of SNL mothers

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— Matt: A classy musical guest introduction from Che.
— Aww, the pictures of the SNL cast and their moms are a really sweet touch.
— Blue: An unexpected pick for musical guest, but given the significance of the song they’re performing, a welcome one.
— Over the course of the pandemic, I became such a sucker for remote recordings of bands playing their individual parts to a song, then stitched together into one video. Seeing the different members of Boyz II Men each adding their own parts to the track is therefore really fascinating to me.
— Beautiful vocals from Shawn Stockman.
— Incredible harmonizing—whoever mixed this track clearly deserves to be recognized.
— Photos of various cast members with their mothers appear onscreen during the chorus. Very heartwarming.
— Love Wanya Morris cutting loose with the soulful vocals.
— A pretty cheesy song, lyrically-speaking, but it was a sweet Mother’s Day tribute, and the Boyz have still got it.
STARS: ****

WEEKEND UPDATE
TIF discusses motherhood under quarantine

bleach-drunk Jeanine Pirro (CES) stumbles through her wardrobe

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— Not super excited about this segment, to be honest. While Weekend Update tends to be one of the most uniformly strong part of this era, I’ve always found these At Home iterations very awkward and hollow.
— Geez, Colin looks, uh, well-lit. Don’t like that little peek of the Jost chest hair too much.
— Che: “Look, obviously this pandemic has been tough for everybody. I lost my grandmother. Colin, you lost J. Crew…”
— Michael is doing a good job with this, probably because he’s a natural stand-up and his material is far more poignant. Colin’s parts of this Update, on the other hand, feel akin to watching one of those YouTube videos where they siphon the laugh track out of The Big Bang Theory. So much of their success as a duo is how well they play off of each other, and virtually none of it is on display here. Hell, there’s awkward moments where Colin is clearly about to react to one of Che’s rants, and then it randomly cuts to Colin stiffly delivering a different news story.
— Always pretty nice to see Tina Fey giving a commentary at the Update desk. (I look forward to this claim being contested by my fellow review buddies!)
— I haven’t found a ton to specifically point out within Tina’s piece, but she’s in fine form here and seems well-adapted to this At Home format. 
— The part with Tina posing as if a picture of Andrew Cuomo is holding her hasn’t aged particularly well, but I do really like her line, “You can hit his nipple ring like a rattle.”
— Good back and forth as Tina gets Che to repeat her motherly affirmations.
— Che reads the joke that whatever mega-rich guy who won the charity auction mentioned last episode wrote, and guess what? It SUCKS! Colin and Che seem very aware of that as well, and at least had the smart thinking to feed Colin a properly offensive joke to end the segment on.
— WOAH, very random quality shift on Colin’s lighting for the Jeanine Pirro bit. I guess these were shot apart, which isn’t too surprising.
— Makes sense that they’d bring Cecily’s Jeanine Pirro back for this Update considering she’s always a great note to go out on, but I have a feeling this one won’t work particularly well considering she can’t fuck with Colin as usual.
— This segment is at least taking advantage of being pre-recorded by having Cecily get into progressively weirder outfits, but I can’t say that’s as strong of a gag as she usually gets.
— Alright, Colin at least gets some water thrown at him (courtesy of an off-screen Scarjo I’m assuming), but it feels about as haltingly-executed as you’d expect.
— I feel bad for being so hard on Update, because they really were trying for these three episodes, but it just doesn’t work with the At Home format.
STARS: **

WHAT’S WRONG WITH THIS PICTURE
What’s Wrong With This Picture- mothers (AIB) (EGN) (MEV) struggle to define visual caveats

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— I forgot they did an iteration of this for the At Home episodes. I’m not the most jazzed to see it but it should work with the current format pretty well.
— Melissa: “I’m actually not a mother, I’m a grandmother.” Kenan: “Well how does that work?”
— Aidy, regarding what’s wrong with a picture of a woman staring into a mirror: “The glory hole is too high, now she knows it’s the neighbor.”
— Melissa regarding the same picture: “She tied the noose too big and now she’s gotta start over!”
— The usual fun one-liners in this sketch, but it’s missing the extra oomph you get from audience response.
STARS: ***

ELEANOR’S HOUSE
AIB’s imaginary house party becomes host to some unfavorable guests (KYM) (HEG)

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— I like the aesthetic of this piece, and Aidy is a really good anchor for these sort of seemingly-cheery vibes. 
— Hahaha, a fantastic reveal of Kyle’s disturbing, middle-aged Richard Carson character being awkwardly invited to her party. For some reason, how short he is really cracks me up.
— And now Kyle’s equally-creepy, photorealistic girlfriend (played by Heidi) and a bunch of other weirdos are taking over the house party—I dig it.
— A strange (and vaguely insulting?) choice to have the weirdo that Pete’s playing just… look like Pete compared to how the others’ characters are caricatured.
— The random shots of Bowen’s cartoon dog character being fully unaware of how unnerving the other party guests are to us—just kinda happily bobbing around n’ shit—is a good, subtle touch.
— A great, distressing ending with a bunch of cops coming in, tasing Kyle’s character, and telling Aidy to get her life together.
— I’ve always really enjoyed this sketch. It’s such a weird one that it feels almost un-SNL, but I’d consider it one a strong example of the sort of boldness that would occasionally come out of these At Home episodes (alongside, say, “Middle-Aged Mutant Ninja Turtles” and Melissa’s piece from last episode)—something I wish that the show would make more of an effort to integrate when it returned to 8H. This is also one of my favorite uses of Aidy by this point in her tenure; she’s great at playing very emotionally-insecure characters, and putting that into a context as specific and creepy as this enabled it to be a huge win for me.
— Sidenote: YouTube had the comments on the official upload of this sketch disabled for the longest time because they seemed to accidentally think this was an actual kid’s video, which is fucking hilarious. Those poor kids who found this sketch by accident… 
STARS: ****½

DAD PRANKS
Brandon tortures his corny-ass bitch dad (MID)

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— Ooh, here’s my favorite Mikey sketch from these At Home episodes.
— SNL seems to alternate between either getting how Internet culture works perfectly, or not getting it at all. This is probably the best example of how right they can get it—the editing in this is absolutely perfect.
— I think it speaks to how awesome of a dad Mikey is that he finds ways to get his son involved in the show occasionally. (He also popped up at the end of the “War in Words” sketch from the Phoebe Waller-Bridge episode earlier this season.) This is definitely his most prominent role (thus far), and the kid’s inherited some pretty decent comedic timing.
— I really like the stupid, evil Gigi Hadid prank, and how much Mikey’s kid whips him around over it. (“Why do you hate Gigi Hadid?” “Brandon, I don’t hate Gigi Hadid, I wish her the best.” “…Why do you hate women?” “I don’t hate women!”)
— The jumpscares bit feels like a big step back for this sketch, which has already evolved into being about Brandon’s cruel, psychological torture of Mikey. It at least feels authentic to this sort of video content, though.
— The final escalation with Brandon changing Mikey’s Zoom background to a picture of his boss’ teenaged daughter, though, is fuckin’ perfect. The cherry on the sundae is Kenan yelling at Mikey when he gestures towards the picture in an accidentally-inappropriate way (“Don’t TOUCH her!”).
STARS: ****

LIGHTHOUSE KEEPER
Lighthouse keeper KAM offers isolation tips

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— Oh boy, now it’s Kate’s turn to ham it up for two minutes.
— I see that Kate plays all male roles the same, regardless of if they’re politicians.
— Interesting to hear the exact same royalty-free sea shanty music that SpongeBob uses regularly. Not to draw unfair comparisons, but… it’s not like there’s much going on here.
— This sketch is way too reliant on Kate being silly, which is something that just cannot do anything for me these days. It feels way too indulgent, and there’s not even any good bits of writing to take the edge off.
— Apparently this was a loose parody of Willem Dafoe’s character from The Lighthouse, though that somehow makes this worse.
STARS: *

IN MEMORIAM
a photo of Little Richard marks his passing

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— Why is this appearing right after that sketch?? I mean rest in peace Little Richard, but…

BEER MONEY
KYM, KYM, & KYM go on a quest to cure his broken heart and find treasure

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— Feels really odd to see Kyle doing such different character voices. The voice he’s putting on for “Ben,” especially, is one that I’ve never heard him use on the show before.
— The very poor split-screen editing here is providing some laughs.
— A funny, random moment where Kyle appears as a brand-new character who, when questioned about his sudden appearance, runs away immediately.
— Another great little bit with Kyle nonchalantly walking into a bank and ostensibly, through a shoddy voice-over, robbing them. (“Hey gimme all your money.” “No prahblem!”) I also like that he only stole $20.
— As this sketch is progressing, it feels almost too formless for me to get a decent read on it. A lot of the weird and off-beat moments are getting laughs from me, but the fact that I can’t really figure out any throughline makes it feel very discombobulated.
— Yeah, I mean… I liked this enough, but it’s probably one of Kyle’s weaker contributions to the show.
STARS: ***

DREAMS

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— YES! This is the sketch that cemented my decision to cover this final At Home episode, even if it’s probably thought of as the lesser of the three. (Whether or not I agree with that claim is up for debate.)
— A brilliant little idea for an ensemble sketch to arise out of these circumstances, going through what every member of the cast dreams about doing in the city through miniature vignettes. The choice for it to have it suddenly burst into color after starting in black-and-white is making it feel extra special, as well as Clair De Lune playing in the background—always classy, as long as it isn’t trashy.
— Ironic that there’s a little footage from “Sad Mouse” in here considering it has similarly sentimental vibes.
— Love the little reveal of Alex gleefully throwing breadcrumbs at a horde of rats. Poor guy hasn’t gotten a lot to do in these At Home specials, or indeed, SNL in general, but he’s great for little moments like these.
— In her dream, Cecily’s attending the grand premiere of “Sonic the Hedgehog: The Musical,” another solid bit of stupidity. I recall there being a bit of minor controversy over the fact that the Sonic artwork used here was actually uncredited fan-art. The artist took it in pretty good spirit, at least, though he’s right that it’s kind of shitty to do on their part. I’ll assume negligence.
— There’s a few bits where the cast is superimposed next to a celebrity in some bizarre situation (Pete with Giuliani at a baseball game, Heidi sitting courtside with Jeff Goldblum), but my absolute favorites are Kenan giving Tootsie a thumbs-up, and Ego’s uncomfortable revelation that she’s sitting next to Woody Allen.
— I like Beck’s little gasp when he realizes that he’s on a Carnival cruise.
— This final part of the pretape gets me really misty-eyed. Colin and Che having a nice moment on the Rockefeller ice rink; Kate playing piano on top of the front entrance of 30 Rock and waving; Cecily seeing her castmates across the street fade away. You can really feel the well of emotions that everyone at SNL must’ve been feeling—the pain that they were separated and couldn’t be with each other, but the tightness of their bond. A lot of people looked at this sketch as a means of speculating if anyone was leaving at the end of the season, myself included—maybe Cecily, since she’s the center of the sketch? Maybe Kate, because of her wave goodbye?—but the fact that no such speculation came to pass doesn’t make this sketch feel any less visceral. Hell, even if I wasn’t happy to see everyone return in the fall and then some, watching this sketch again after so long… I really do get it.
— God, what a way to close out the season. It feels rare for a season’s final sketch to be truly solid, let alone so deeply poignant and meaningful. This one’s perfect.
STARS: *****

GOODNIGHTS

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— I’ve always found the goodnights rolling over the photo of an empty Studio 8H to be a bit haunting, so I like these credits rolling over footage of Kristen tossing and turning in bed quite a bit in comparison.

CUT FOR TIME: MESSAGE TO THE GIRLS

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— I’m assuming this is another Anna Drezen/Alison Gates piece considering the Kate & Aidy pairing. While I’ve found those to be increasingly running out of steam, I recall enjoying this one a lot when it came out.
— Not usually a huge fan of these two doing gender-swaps, but I do like this premise of them playing teenaged boy altar-egos.
— Kate’s mic is pretty iffy throughout this sketch. Her audio quality fluctuates between good and “talking into an empty trash can,” but I have to let it slide a bit.
— A cheap joke, but I like how Kate calls COVID “the Cordoba virus” (with a picture of the Qdoba logo on-screen, to boot). 
— This premise of “Kurt” and “Aiden” running down how prom would’ve gone if it happened this year is a solid chance to run through some fun, very specific observational comedy.
— The editing throughout this is also helping to sell all of the bits and keep things moving along swiftly.
— Funny, quick bit with Aidy’s awkward conversation with his limo driver.
— Hahaha, Kate was on the prom committee that helped come up with the prom’s theme: WWII.
— Some good physical comedy from Kate and Aidy with their awful, graceless dancing.
— Kate: “When it’s time to kiss I will become distant and sweaty, like a first-time bank robber.” Aidy: “I will have so many Altoids throughout the night, you will feel my breath in your eyes.”
— Your mileage might vary with this sketch. Some might dismiss it as more Kate and Aidy nonsense, which is valid; I think it’s one of their stronger, more inspired team-ups.
STARS: ****

CUT FOR TIME: THE LAST DANCE
Bulls fanatic Kim Jong-Un (BOY) weighs in on The Last Dance

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— Yeahhh, I love Bowen but I’m thoroughly unsold by the comedic thrust of this piece just being interviews from The Last Dance with Kim Jong-Un randomly woven in.
— I feel like Chloe is trying too hard with this random impression. It’s kind of distracting.
— I got a mild laugh from Chris saying Jerry Kraus used to be “a little fat kid.”
— Wow, this sketch really just… ends. And with not a solid hook to be found…
STARS: *

CUT FOR TIME: MOMMING WITH DENISE

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— Glad to see Ego getting a solo character showcase sketch. Her characterization of a mother beyond wit’s end is incredibly solid and well-realized, even if the material feels somewhat familiar.
— I got a big laugh out of the glittery “MOM WIN!” text appearing on-screen inappropriately after Ego confesses that she lies to her kids about being a nurse so that she can hide in the closet for two hours.
— “Last night my son asked me if he needs to wipe his penis after he pees. And I realized, I DON’T KNOW.”
— A short but sweet piece. All killer, no filler. You can tell how poised Ego is to become next season’s big breakout star.
STARS: ****

IMMEDIATE POST-SHOW THOUGHTS
— It’s really hard to really compare the At Home episodes to a conventional SNL episode, given everything that was working against them in their creation. It’s a high-wire act, and the fact that it came together for three different outings—each one deeply-experimental and worthwhile—is a demonstration of how well-oiled a machine SNL is, even in the toughest of times. I’ve also always thought of them as sort of a sink-or-swim trial for the cast, demonstrating how well they can adapt to the circumstances and create solo, sometimes deeply-personal pieces; it’s an even greater reflection of the cast that every single one of them has their moments across these episodes, even if some have more than others.
— I feel like this third At Home episode is dismissed a bit more than the first two. The debut is the most sloppy by far, but that can be excused pretty readily—it was their first shot at something that they’ve never done before, and its daring nature makes up for the bouts of weakness. The second outing, meanwhile, is the most solid as a whole. That leaves this third one somewhere in the middle, but I feel like it’s got quite a bit to brag about in its own right, featuring a nice blend of sharp character work, absurd premises, and the very affecting “Dreams” sketch to close out the season. A complicated episode for sure, but a winner.

MY PERSONAL CHOICE OF “BEST OF” MOMENTS FOR THIS EPISODE, REPRESENTED WITH SCREENCAPS

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RATED SEGMENTS RANKED FROM BEST TO WORST
Dreams
Eleanor’s House
Dad Pranks
Let Kids Drink
(CFT: Momming with Denise)
(CFT: Message to the Girls)
Masterclass: Quarantine Edition
Italian Vacation
Beer Money
Zoom Church
What’s Wrong With This Picture
Bouncy Waves with PJ Charnt
Monologue
Weekend Update
Virtual Graduation
(CFT: The Last Dance)
Danny Trejo Rap
Lighthouse Keeper

COMING SOON
We’re taking a little detour with our usual coverage! John will take a look at the cluster of Cut-for-Time At Home sketches that came out between S45 and S46.