#emily fairn

[rosalie-starfall]

The Not Ready For Prime Time Players

Saturday Night / Saturday Night Live October 11th 1975

[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

[demifiendrsa]

SATURDAY NIGHT – Official Trailer

Poster

Synopsis

At 11:30pm on October 11, 1975, a ferocious troupe of young comedians and writers changed television – and culture – forever. Directed by Jason Reitman and written by Gil Kenan & Reitman, Saturday Night is based on the true story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of Saturday Night Live. Full of humor, chaos, and the magic of a revolution that almost wasn’t, we count down the minutes in real time until we hear those famous words…

[safedistancefrombeingsmart]

(Link in content source)

[cmsnation]

Legit the cutest cast ever

[jabberwocky1996]

Emily Fairn promoting the trailer for Saturday Night (2024) via instagram

[moviemosaics]

Saturday Night

directed by Jason Reitman, 2024

[toastyblackcat]

OH MY GOD

[meandhisjohn]

It's here!

Welcome to our Responder week!

Six different articles.

Six different topics.

The cast, the writing, a patient's opinion on panic attacks, the trauma and most of all:

Mr. Martin Freeman as Chris Carson!

All articles are already online!

I'll post them separately through the week but if you want to see them all..please go ahead and honour a fantastic S1!!!

[mad-prophet-of-the-airwaves]

Saturday Night is a 10/10 movie.

[themosleyreview]

The Mosley Review: Saturday Night

As a theatre kid, this film was a cathartic experience. I vividly remember the intense feeling of excitement, anxiety and readiness to perform in a auditorium packed to the rafters with over three hundred people. The hours leading up to the curtain rise, you are feverishly combing over every line of dialogue, tracing every step of your blocking and making sure every costume fits and each change was seamless. There's no thrill like live theatre and that is what this film captures on another level. Many have wanted to do a "making of" or origin story of Saturday Night Live, but this film decided to do something even better than a standard biopic. From the moment the film begins, you are both a fly on the wall and in the shoes of the man that created what has now lived on for 50 historical years. It changed broadcast television and the world of comedy forever and it wasn't without its doubts and difficulties. This film captures that fateful night and the 90 minutes leading up the iconic opening in break neck speed and a pulse pounding way that was truly unexpected and welcomed.

Gabriel LaBelle was fantastic as the ambitious, passionate and stressed out comedic genius, Lorne Michaels. I loved that no matter what, he was on task the entire time and even though the pressure steadily increased throughout the night, he was ready to deal with anything. I felt his anxiety, determination and heart as Gabriel brings to life that inner creative force of the visionary. Rachel Sennott was awesome as his wife, Rosie Shuster. The two of them had a working relationship that was both filled with love, trust and friendship. They worked so well off of each other even if their relationship wasn't traditional. Cooper Hoffman was great as his co-producer, Dick Ebersol and loved his loyalty to Lorne. He was sort of the balance in the chaos that set him straight and told him the truth when he needed to hear it. They had a great chemistry and it was a highlight of the film. Tommy Dewey was hilarious, witty and strongly sarcastic as Michael O'Donoghue. I loved his quick insults and humor that felt modern and revolutionary in its delivery. He has an amazing standoff scene with the "Standards and Practices" editor that was darkly offensive, sharp and hilarious. Willem Dafoe is no slouch and as David Tebet, he delivers as the main NBC network executive Lorne has to prove himself to. The tension of broadcasting something untested was truly highlighted in their scenes together. J.K. Simmons is like a good luck charm to every film and as the legendary Milton Berle, he was truly having fun as the rightfully larger than life entertainer.

Now the biggest thing this film captures is the night the original cast of SNL prepared to take the stage and all the high jinks that ensued before cameras rolled. Cory Michael Smith was absolutely brilliant and spot as Chevy Chase. He captured his comedic timing, wit and charm as the leading man in the room. He instantly would draw the most focus when in attendance of meetings or even just hanging out with his fellow cast members. Ella Hunt was sweet as Gilda Radner. She nailed her shy and loveable personality as you see the start of a love triangle between her and another classic cast member. Dylan O'Brien was outstadning as Dan Aykroyd as he pulled off his iconic speech pattern and cadence. I loved that he highlighted the flirtatious nature of Dan and his ever expansive attention to detail in one particular sketch. Emily Fairn was great as Laraine Newman and she looked almost exactly like her. She was very spunky and quirkie. Matt Wood was fantastic and unpredictable as John Belushi. He looked and sounded just like John as he nailed his personality and his devotion to comedy. He was a troublsome person and he brings that to life in many scenes. Kim Matula was great as Jane Curtin and she highlights her striking sense of humor and line delivery in one particular scene in the film. Lamorne Morris was perfection as the legendary Garrett Morris. Lamorne is known for his brilliant impressions, but he becomes Garrett instantly the moment he moves and speaks. Nicholas Braun was a complete chameleon in his portrayal of both Andy Kaufman and Jim Henson. He disappeared into both characters and he nailed Andy's childlike charm and comedic timing and definitely brought to life the soft spoken and kind nature of Henson. What a wonderful cast.

The score by the wonderful Jon Batiste was funky, smooth, warm, and fueled the tension of the story. It kept the pacing of the film up and the stress level high in the constant drum beat that felt like the heartbeat of the film. He gets a chance to perform as the great Billy Preston in number of scenes and he was great as well. Visually, this film was stunning and felt like I was watching a documentary shot on Super 8 film stock. The attention to the detail of the many film scratches and subtle dots in the scene transition was great. There are so many Easter eggs and beginnings of classic SNL sketches that you see being constructed that any die hard fan will catch. Jason Reitman has truly made pulse pounding, stressful and beautiful love letter to the greatest sketch comedy show on television. This was truly one of the best film experiences I've had in a while and most definitely one of the best films of the year! This is a must see!! Let me know what you thought of the film or my review in the comments below. Thanks for reading!

[rosalie-starfall]

Saturday Night - 2024

October 11th 1975

Gilda: "You get to be the hot one." Laraine: "Jane's the hot one." Jane: "I'm the mom... The still fuckable mom."

[onlydylanobrien]

Dylan O'Brien, Kaia Gerber, Ella Hunt, Emily Fairn, Cory Michael Smith, Lamorne Morris, Kim Matula and Matt Wood behind the scenes on the set of "Saturday Night". (2024)

📷©: corymichaelsmith on Instagram

[demifiendrsa]

SATURDAY NIGHT - New Trailer

Poster

Synopsis

At 11:30pm on October 11, 1975, a ferocious troupe of young comedians and writers changed television – and culture – forever. Directed by Jason Reitman and written by Gil Kenan & Reitman, Saturday Night is based on the true story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of Saturday Night Live. Full of humor, chaos, and the magic of a revolution that almost wasn’t, we count down the minutes in real time until we hear those famous words…

[safedistancefrombeingsmart]

It's here!!!!

Season 2 trailer for The Responder!!!

Looks amazing.

And we also have a release date: 5th May

[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.