#Lorne/chevy

[ninetyminutes]

I read about this soulmate AU where each person has half of a quote important to them, and immediately I thought of “Live from New York, it’s Saturday Night” for Lorne/Chevy. Like Lorne would get "Live from New York..." and Chevy would get "…it's Saturday Night."

A little fun fact: Lorne visited 30 Rock for the first time when he was fifteen.

“I had come by bus from Toronto and I had waited on line to see Tonight Starring Jack Paar. The line moved past the skating rink and the Christmas tree and finally entered Rockefeller Center. This was where TV came from. It was a magical place.”

So imagine a young Lorne walking through New York in awe, seeing it as this magical place. Now, in Dick and Lorne's stairwell argument, Dick mentions that they could just play the recording of the dress rehearsal, but Lorne replies by emphasizing the fact that it's a live show.

I also love the idea of Lorne not knowing what Chevy is going to fully say to introduce the show until they go live. Like, maybe they workshopped it a bit together, but Lorne sort of had bigger issues going on and was pulled away to deal with so he just put his trust in Chevy to choose.

What Chevy is going to say is the last thing on his mind during the first skit because he’s still numb and giddy, unable to get over the fact that they actually did it. And then Lorne watches the words sort of just naturally tumble out of Chevy’s mouth and Lorne is just like "oh shit."

[saturdaynight-2024]

"Rosie is sleeping with Danny and Lorne's hooking up with me. Who's the clear winner in this situation? Me." - Chevy Chase, Saturday Night (2024)

[coeurdeverre82]

tomorrow show 1975

[sithlordpadawan]

saturday night was a very interesting watch beginning to end. a lot of the feedback on it (at least from what i’ve seen) says it wishes it saw more of the individual cast members (mainly about gilda radner and john belushi) more fleshed out. i get where that’s coming from, but at the same time, the goal of the movie was to encapsulate the feeling of the panic right before the show first happened. even though characters like chevy chase, dan aykroyd, rosie shuster and lorne michaels were the most focused on throughout the movie, you could still get a sense of how everyone got along and how it worked behind the scenes. i watched the real first episode of snl after watching the movie, and they did a fantastic job of casting people with similar energies to the original cast members.

i would see it again, and would recommend others to see it as well. it’s a solid biopic and i loved garret morris (played by lamorne morris) at the end!

10/10 loved it loved it loved it

[ilikestuff69]

‘Saturday Night’ (2024)

Directed by Jason Reitman

[nathanbates]

[annamarielabeau]

I just watched Saturday Night (2024) and am currently watching it for the second time...why did I not spend my me-time seeing this when it was in theaters?! And from watching the movie I learned that there is A LOT of SNL behind-the-scenes history. Guaranteed there would be but there's so much along with gallons of drama and relationships, it seems like everyone was with everyone at one point or another.

I like how it's not completely accurate and for the most part, they include facts about the cast plus events in the movie inspired by other behind-the-scenes stories. So just continuous piles of lore just added up. The fact the SNL is recent enough that there actors and comedians from each era still around and kicking and this historic event in comedy is being told this way, by a younger generation about the young generation at the time, is amazing.

Also, I recently became a bit of a Dan Akroyd enthusiast, I think he's an amazing actor one of the reasons because he is so down to Earth, gets happy seeing young actors thrive in the industry, puts his heart and soul into his films and makes everything as detail-oriented as possible, and he's now living his life with a vodka business and a lasting Ghostbuster legacy, ABSOLUTE LEGEND!! (And Dylan O'Brien as Dan...WHEW!!! :)

[cinemaseeker]

Let's Review: Saturday Night

Biopics, not unlike live TV, are a tricky tightrope walk.

The line that actors and directors have to toe is razor thin and always shifting beneath their feet. The sweat starts to bead at the very beginning of conception, when an actor is chosen to mimic, and more often than not resurrect, any given celebrity/historical figure/actual real person of note for any particular project. And the very act of mimicking the appearance and mannerisms of these people strikes at the very heart of acting itself, which can be described as the uncanny ability to completely transform oneself, both physically and mentally, into a different person.

In short, to convincingly create a character.

Biopics pose a particularly unique challenge, wherein the actor has to both create a fictionalized character that can work within a fabricated narrative structure while still recreating a non-fictitious person who is then expected to reenact events important to both the person and the world at large.

Scrutiny and criticisms (from both the general public and the people who lived it) are hardwired to the very DNA of this genre in a way that no other genres are. Not to mention all of the fans that come out of the woodwork when these projects premiere, who are always more than ready to shoot down and fact-check every fictitious addition/omission/discrepancy, beating every bush into oblivion.

It is very easy to screw up spectacularly (and very many have) but these projects can also be absolutely magical when you get it right.

It can be tricky enough doing justice representing one key figure in the world of entertainment. Now add half a dozen more. And we have an ensemble biopic, a creature that just adds more balls for us to juggle.

So now, really, a biopic chronicling the chaotic countdown towards the very first SNL live show is nothing short of catching lightning in a bottle. At the very last minute. Almost on accident. After every other conceivable thing goes very, very wrong. Only to become, somehow, very, very right in the end.

Like lightning, this film has a zappy, kinetic energy to it (helped in very large parts by the editing, camerawork, and Jon Batiste's exciting frenetic score) as it zips and weaves it's way around every square inch of 30 Rockefeller Plaza on the night of October 11th 1975, playing out in roughly real time from 10pm to 11:30pm (aka showtime). It doesn't hold your hand so much as roughly drag you up and down the studio, huffing and puffing as the unsinkable Lorne Michaels (anchored by an earnestly steadfast Gabriel Labelle) rushes to put out little fires that keep popping up all over the place (mostly figurative, one very literal).

You've got a ragtag group of untested comics with large personalities that occasionally bump against each other like bowling balls against pins; some of whom wonder what they, as real actors, are even doing there. There's an anarchic writer with SNL's first head writer Michael O'Donoghue (played by a magnetic Tommy Dewey) pushing back for artistic freedom against the prudish NBC censor (the hilariously sour-pussed Catherine Curtin) in a heated interaction that marks a particularly bright spot in both the film and the fast-paced, wise-cracking script. Then there's countless technical problems with both the sound and lights, not helped by bitterly rebellious crew who won't even help a pour guy lay down some bricks. And all of this in service towards a sketch comedy show that, having run for 3 hours in dress rehearsal (a dress rehearsal that wasn't even taped) that has to be severely trimmed down for primetime.

And of course, there are the NBC executives that are breathing down their necks, waiting for Lorne and the show to fail. A show that, even Lorne admits, nobody has really figured out yet. As he states in one of the film's best lines, he has the ingredients in mind, just not the amounts.

Not to mention the Alpaca.

Oh, and Andy Kaufman's there. As well as Jim Henson and his Muppets. Both of whom are brought to impressive, gangly life by Nicholas Braun (aka Cousin Greg from Succession) pulling double-duty as the unconventional comic and innovative puppeteer with an equally commendable, underperforming monotony that provides the perfect sounding board for everyone else to bounce their insanities against.

The entire ensemble and supporting cast collide and compliment each like a finely tuned jazz band, creating great conflict in the cacophony and allowing great soloists to shine through all the noise.

Perhaps the most obvious standout is Cory Michael Smith as Chevy Chase (I'm sure he wouldn't have it any other way).

The natural physical resemblance always helps but Smith manages to effortlessly portray the egotistical smarminess of Chase in a way that's served him well in his other past roles.

This is the part of the review where I get to flex and say that I liked Cory Michael Smith before he was cool and btw I'm glad that he's getting bigger and better roles in his career. Good for him.

Shoutout to his kooky turn as Edward Nygma/Riddler on Gotham. Do yourself a favor and check it out. You won't be disappointed.

But if I had to pick a best supporting actor, I would have to give it to Matt Wood for his take on the late great John Belushi.

In any other movie, his part probably would've been much bigger (that's what she said). But all jokes aside he's wisely used rather sparingly, glaring at us from the background until he's brought in to punch up the tension with his explosive temper and mercurial demeanor. Your eye can't help but wander over to this strange little man who's obvious talent tips both the show and film's scales towards greatness, even as everyone can already see the deep shadow starting to darken the doorway.

One underappreciated aspect of the biopic is the opportunity it gets to lend voices to people who wouldn't otherwise get a chance to tell their side of the story. With all the big egos swinging their dicks around Saturday Night, the spotlight smartly tends to swing more towards Garrett Morris, the token black member of the cast.

You probably wouldn't have thought much about Garrett Morris before going to see this movie. But my hope is that after seeing this you'll go Google him and then hopefully Hollywood will finally give him his flowers. Played with indignant dignity by newly minted Emmy winner Lamorne Morris (no relation), Garrett rightfully chafes against having to play into limited black stereotypes, especially given that he graduated from Juilliard and performed on Broadway.

And finally, I would be remiss not the mention the incredible women of Saturday Night.

Like very much of SNL's history, the female cast members and writers, especially Lorne's wife Rosie Shuster (played with tender grit by the incomparable Rachel Sennott), have had to fight tooth and nail to make their voices heard. The film takes great strides to spotlight Rosie as the great unsung hero of Saturday Night, giving meat to a supporting wife role that far too often comes delivered bareboned. One of the very favorite lines in the film has Rosie desiring to be a writer rather than a wife and eventually choosing to go by her maiden name in the show's credits, her supportive husband by her side.

Although not the focal point of the film, their efforts do manage to shine brightly through the cracks, giving us glimpses into sketchwork that would lay the groundwork for future SNL superstars like Tina Fey and Maya Rudolph.

The fact that they get to do it while harassing former teen star Dylan O'Brien (aka Stiles from Teen Wolf) is just an added bonus.

But in all seriousness, O'Brien makes for a fun, buoyant Dan Aykroyd.

Without trying very hard, Saturday Night would've been able to give older viewers a shot of nostalgia for the early days of SNL while also giving younger generations a great first step back into learning about the early history of SNL, a show which is currently airing its 50th season and still going strong. The fact that it's also a great movie is truly an added bonus and a gift to the state of current cinema.

At the end of it all, Saturday Night is able to prove that while a biopic doesn't have to get all the facts right, it certainly has to capture the vibe. And it certainly does so, making us feel what it was like to be there in Studio 8H during a chaotic October night in 1975, where the Not Ready for Primetime Players were just trying to put on a show.

[amxndareviews]

TIFF '24: 'Saturday Night' Review

#SaturdayNightMovie Review: "Being a longtime fan of SNL, Jason Reitman’s "Saturday Night" had a similar feel to Lorne Michaels capturing lightning in a bottle. It is an electric deep-dive into the birth of one of the longest-running comedy series on TV."

By: Amanda Guarragi There has always been something special about New York City on Saturday nights. Whether going out on the town or staying in, the media has always made the “Big Apple” appealing with the city’s bright lights. Nighttime in New York means an endless world of possibilities and a never-ending night that is bound to end up as a story. Fifty seasons ago, Lorne Michaels had a sketch…

[erstwhile-punk-guerito]

[ninetyminutes]

AU where Chevy is the star of a different show also located in 30 Rock, like he’s already this budding celebrity who’s not in the comedy side of entertainment (but he secretly wants to be). He and Lome run into each other in the halls of 30 Rock and in the elevators and such. Lorne sees right through his tough guy act and treats him with the same amount of respect as he treats most people and isn’t at all ruffled up by Chevy’s attempts to piss him off. So Chevy sort of drops that almost immediately after realizing this guy doesn’t give a shit about what Chevy thinks.

And they start to sort of like actually chat with one another and Chevy is really opening up to Lorne. He’s doing impressions in the elevator and stuff because he likes making Lorne laugh, but their interactions never last very long because they’re always getting interrupted for one reason or another. Oh, and maybe the others on the SN(L) cast warn Lorne to stay away from him like “he’s a selfish, egotistical asshole whose only ever after one thing,” but Lorne is like “what do you mean, likes he literally always been nice to me??”

[saturdaynight-2024]

[cinemedios]

¡Todo sobre 'Saturday Night', la película sobre el primer 'Saturday Night Live'!

Con el reciente anuncio de su estreno en el Toronto International Film Festival, nos parece el momento idóneo para repasar toda la información sobre la próxima película dirigida por Jason Reitman 'Saturday Night' que conocemos hasta ahora.

Con el reciente anuncio de su estreno en el Toronto International Film Festival, nos parece el momento idóneo para repasar toda la información sobre la próxima película dirigida por Jason Reitman ‘Saturday Night’ que conocemos hasta ahora. ‘Saturday Night Live’ actualmente es uno de los programas de televisión estadounidenses más icónicos, reconocidos, divertidos y vistos de todos los tiempos,…

[wanderingmind867]

She was the best person on 70s SNL, and you can't change my mind! I saw her on the Muppet Show as a child (my mom and dad bought those DVDs for me), and she was funny. She deserved her own show! She did! Especially since a lot of the writing on SNL was never very good! Curse you, Lorne Michaels!!!

Flashing a great big weekend smile…

With the incomparable Gilda Radner

❤️ 

[onlydylanobrien]

Cory Michael Smith, Lamorne Morris, Emily Fairn, Matt Wood, Ella Hunt, Kim Matula, and Dylan O’Brien.

Dan Aykroyd (Dylan O’Brien) restrains an irate John Belushi (Matt Wood) as Lorne Michaels (Gabriel LaBelle) and Gilda Radner (Ella Hunt) look on alongside alarmed crew workers.

The cast and crew watch a crucial performance: (from left) Gilda Radner (Ella Hunt), Jane Curtin (Kim Matula), Cooper Hoffman as NBC’s weekend late-night exec (Dick Ebersol). Behind him is Dan Aykroyd (Dylan O’Brien) and Laraine Newman (Emily Fairn). Writer Rosie Shuster (Rachel Sennott) stands at center, alongside Garrett Morris (Lamorne Morris), writing and performing duo Tom Davis and Al Franken (Mcabe Gregg and Taylor Gray) and the overwhelmed producer, Lorne Michaels (Gabriel LaBelle.)

First look at Dylan O’Brien as Dan Aykroyd, Matt Wood as John Belushi, Gabriel LaBelle as Lorne Michaels, Ella Hunt as Gilda Radner, Cory Michael Smith as Chevy Chase, Lamorne Morris as Garrett Morris, Emily Fairn as Laraine Newman, Kim Matula as Jane Curtin, Cooper Hoffman as Dick Ebersol, Rachel Sennott as Rosie Shuster, Mcabe Gregg as Tom Davis and Taylor Gray as Al Franken in Jason Reitman’s "Saturday Night".

Release Date: October 11, 2024 in theaters

📷©: vanityfair.com

[xabiramone]

Chevy Chase, Dan Aykroyd and John Belushi with "Saturday Night Live" producer/creator Lorne Michaels in 1975.