#honestly just came on here to ramble about all my feelings about the ongoing comics tonight apparently

[harlivycentral]

Also can I just say I looooove Howard's Harley Quinn run so much 😭 From the beginning, Howard's run has brought back elements of Harley's character that I love and had missed. I loved the way her first issue leaned into the looney-tunes-esque element of Harley, the way we saw her pull out her big hammer again, the way Bud & Lou were back, the way it at once illustrated her tendency toward criminal mischief and her PhD credentials, etc. This most recent issue (#38) feels like it just cements everything I've loved about Howard's run, which is that she has obvious respect and love for all the iterations of Harley that came before and has used them to create a Harley run that is distinctly her own at the same time. Seeing the panel with all of her friends from various runs gathered for her birthday party made me so emotional--it really felt like not only a fun way to honor the history of the character but also to affirm how many people (in-universe and in her readership) love her!

I loved how Howard brought back Carmen & Bonny, mentioned their "sleepover days," and made them explicitly lesbian. Since the beginning, Harley's had this tongue-in-cheek gay undertone to her character, and revisiting a story line from her first solo run that felt soooo gay while being so not felt like a fun way to nod to that history; making Carmen & Bonny explicitly lesbian felt like a celebration of the fact that we don't have to dwell in subtext for Harley anymore!

I've really loved the way Harley & Ivy have been written in Howard's run. Obviously I think the breakup storyline in Phillips' run was probably more editorial than her own choice, but it's been so satisfying to finally settle into Ivy & Harley FINALLY being a canonical couple AND not instantly broken up. I've really enjoyed the way Howard has explored their relationship and at once explored the way Harley's past with Joker still impacts her while also showing that it doesn't define her. (As a side note, I think a lot of the Harlivy content in the Harley: Black & White & Redder series did an amazing job of exploring that too <3)

I really liked the conversation Ivy & Harley had about the whole concept of "hero vs villain" not making sense to them. I think that's been a pretty clear stance of Howard's since the start of her run, but it's nice to see her have FUN with the character, and I'm excited to see Harley hopefully unleash a bit in the next few issues. It's been fun to have her mallet and hyenas back, and now to have the return of her iconic original costume! Again, I feel like Howard has a real sense of balance in writing this plotline: it's clear that we're not going back to the same emotional place that Harley was in when she first went around in her jester suit with a big mallet and a couple of hyenas, and I'm sure we'll see her out of the suit/continuing to explore teaching as well/etc. I like that we get PARTS of Kessel & Doddson's run mixed in with others. I like that Howard also brought Kevin back in a significant role for the conclusion of this last arc, and I was so right to make this post honestly at the beginning of her run--I think she has expanded on the emotional kernels in Palmiotti & Conner's run.

Idk, Harley has just meant a lot to me personally, and I remember reading her comics not so long ago when it felt like so much of what I loved about her had to remain subtext, or was spread out disparately over so many different runs. I just love love love to see it all being so loving solidified and explored in this run! And it's FUN to read! And the art is pretty! I honestly got emotional reading issues 37 & 38 because Harley feels very much like a Real Person to me in a way that few other fictional characters do, and these past few issues have really honored all of that growth and complexity that used to feel more weaved together by fans! Love love love Harley and also y'all xoxo

[bbyeeti]

thanks so much for sharing!! 8 hours to edit ch 9 wow

i love your plotting doc so much bcos it's so well-structured and it never occurred to me to use a coloured background. i almost didn't recognise it was google docs at first? ugh its even more organised than the notes i take during lectures

also the fact that you put those funny little questions to yourself and that's so useful cos it really helps you find the plotholes and stuff if they do occur. plus that encyclopedia section thingy at the front to establish world-building is cool! also i literally just started writing using comics sans a week ago just to troll myself?? and HAHA it really works when proofreading 😁

also how long did it take you to do up the plan bcos it looks super detailed e.g. the dates and timeline did you write the whole plan at one go (i.e. no writing at all for a period of time, just plotting) or do you sort of plot the chapter maybe a few days or weeks before you start the writing and how do you resolve structural plotholes when they appear do you write around them by adding new ideas to accommodate it or do you go back and change the story

sry i have so many qns lol

and yes i wrote a thing for enhypen & am working on another thing (hellu it's me ao3 user tenet ⊙‿⊙)

WOOOOOOOW HI BRO GOOD TO KNOW IT'S YOU :D

ummm is this, ahem, being 'more organised than the notes you take during lectures' an achievement bc honestly the notes students take are sometimes very—

OKAY BUT HONESTLY using comics sans feels like a fever dream T^T I'll be praying for you on this journey

I mean ✨the action✨ of writing the plan of a chapter doesn't take lots of time but figuring out what the heck you should do?? ಥ‿ಥ lots of lots of. Not sure which one you were asking about? But yeah, I didn't write the whole plan of the fic beforehand, I just started with the chapter 1 (I'm a simple girl and I like gays ok) posted it and then I sat like

and yeah, I eventually came up with a plot (more or less) and found a few things which I know I have to put here and theeeere. And, in general, I don't usually know how to put these ideas until the last minute. because my small brain just XDD it just can't. so yeah, I'm writing the plan bit by bit

if I have plotholes I ignore them, I don't go back to fill them or correct them, mostly because it's an ongoing thing, some people download the pdf of that sh t so I don't want to confuse anyone!! BUT if I was more incognito I would edit the shit out of it, not gonna lie

sorry I'm a master of rambling :))

OH GREAT SO I've just started reading your fic so when you get a kudoso but not a comentoso don't worry!! bc you shall expect my comment at the end

WHAT YOU'RE WRITING THERE IN SECRET SPILL THE TEA or bitch the pot even though I know it didn't mean spill the t—

wow I should stalk the commenting people

[stranger-who-writes-fiction]

ACTION COMICS ANNUAL (2021) fixed the trash fire that was Future State: Superwoman so lemme just RAMBLE about how much I loved it.

Spoilers, obvs.

Folks who read this blog (thank you, but also, my sincere apologies XD) will perhaps recall that I...did not particularly care for the Superwoman book, that came out of Future State.

(Of course, various individuals on twitter have since pointed out that Future State was deliberately set up to be a bad timeline; a future that the current DC books are actively fighting against. So I guess, technically, you could argue that the book was awful on purpose.

Except that, you know, some of the awful stuff was still framed good and inspiring. 

So, okay, but also, no.)

BUT THIS ANNUAL? FIXES EVERY GRIEVANCE I HAVE WITH FUTURE STATE: SUPERWOMAN.

I wasn’t even going into this book with huge expectations for Kara because of Superwoman, but! She’s here! As like, a key component of the House of El!

SHE IS THE LEADER. FOR MANY YEARS, APPARENTLY, WHILE CLARK IS AWAY.

I’m getting ahead of myself.

Backtracking a bit: this book begins with a framing device, featuring a group of Kryptonian refugees that have been introduced recently in Action Comics. 

We’ve got an older guy, Byla, telling a bunch of kids stories about The House of El.

Which is how we get back to the characters introduced in the initial House of El oneshot: Brandon, Theand’r, Ronan, Rowan, etc.

And, to be clear! I was excited for this book, knowing it would be about these guys! And these guys alone! Because they’re very cool! And there’s clearly like, a whole history and mythology just simmering below the surface and MAN. I wish we had a House of El ongoing. XD

They’re all gathered on Sanctuary to attend the wedding of Alura Van-El and Khan.

So FIX NUMBER ONE: The moon sanctuary introduced in Superwoman is no longer home to a bunch of rando jerks; rather, it’s an ACTUAL sanctuary for aliens/folks who need it, AND there are a BUNCH of House of El family members!

PKJ clarified on twitter that the ‘Sanctuary’ is built from Kara’s Fortress of Sanctuary, and that it’s a city that functions a little like Camelot. They grant refuge to all, and the members of the House of El act as a kind of Knights of the Round Table, protecting anyone who needs their help.)

THUS!! The actual dream of Kara’s Fortress is realized, AND she is SURROUNDED by friends, family, and loved ones, as opposed to dying alone. On the moon. With just her dog to keep her company.

Anyways it’s great. We love to see it.

FIX NUMBER TWO: Kara displays an emotion OTHER than barely-suppressed rage, and is genuinely happy to be overseeing this wedding!

Like, there’s no background, simmering animosity towards her cousins. 

Byla even hints at another ‘tale of the House of El’ where Kara and Clark meet again! And presumably get along okay!

FIX NUMBER THREE: The Superwoman mantle is passed down to Theand’r! 

Future State: Superwoman made a big to-do about how the Supergirl name was so singular that Kara never gave it to anyone (which is so STUPID because if your big thesis is how inspiring Kara is as an individual but you say, ‘no one else gets to be Supergirl’ you kinda undermine your own point.)

(Imagine if Into the Spider-Verse spent all that time building up how inspiring Spider-Man is as a hero, and then in an epilogue narrated by Miles, he revealed that no one else ever became ‘Spider-Man’, and that the name died with Peter.)

(That would be DUMB, right?????)

This isn’t passing the Supergirl mantle, but it’s passing the Superwoman mantle, so it’s close! Which, hey. I’ll take it. XD

FIX NUMBER FOUR: Kara actually comes across as the mature, adult leader of the House of El. This ties into the whole ‘she’s not a walking bundle of barely-contained rage’ bit; she’s, like. Graceful and dignified and very clearly no longer a kid/teenager. 

Literal and figurative character growth! WOOOOOOO. 

FIX NUMBER FIVE: There isn’t the gross ‘birthright’/’pure-blooded Kryptonians are stronger/better’ element in play. In fact! Pyrrhos, the bad guy, calls Kara a traitor for allowing the ‘diluting of Clark’s bloodline’ e.g. letting folks who AREN’T Els by blood become part of the fam.  

FIX NUMBER SIX: Kara gets angry at Cyborg Superman (the original one, not her dad) but it never devolves into murderous rage, as it does in Superwoman. She PARDONS him!

Mercy! Sympathy!

AaaaaAAAAhhhhhh love it. LOVE IT.

And so! Nearly every. Major. Complaint I had regarding Superwoman is fixed in this Annual.

*happy sigh*

Some final thoughts on the Annual overall, so as not to make this COMPLETELY about Kara. ...Well. Moreso than I already have, anyway.

The art is solid, though I feel for the artist who had to share the book with Godlewski; it’s not that their art is bad, it’s just that Godlewski is very, VERY good, so his pages look a touch more polished and confident.

That said, the character art throughout? Excellent. This is a cool, varied cast and both artists do a great job with all the designs/costumes etc.

(Well, okay, Kara’s costume looks a little weird at times; I like the costume but I honestly think they should’ve stuck with the costume introduced in Superman of Metropolis, it’s much easier for artists to replicate.)

(But also like. The Superwoman costume looks more stately/’grown-up’ so I get it.) 

I WANT TO SEE MORE OF BRANDON AND HIS KID.

I want to see more of ALL of these characters but you KNOW I found the two of them particularly endearing.

I love that the House of El has a Brainiac!

As is right and good, and should always be!

Overall, SO GLAD the annual allowed us to go on another adventure with these guys, and hope that PKJ has opportunities in the future to weave them in a bit more.

There’s already a cool connection brewing with the new character introduced in Action Comics proper. Thao-La, I think her name is? Can’t wait to see where that goes!

[recentnews18-blog]

New Post has been published on https://shovelnews.com/jonah-hill-joins-the-five-timers-club-on-a-uniformly-funny-saturday-night-live/

Jonah Hill joins the Five-Timers Club on a uniformly funny Saturday Night Live

Tina Fey, Jonah Hill, Candice Bergen, Drew BarrymoreScreenshot: Saturday Night Live

“I guess the worst part of the play was their confidence in it.”

“I’m not an actor, I’m a [movie, Netflix, directing] star!

It’s be nice to think that Jonah Hill has fully stepped out of his pigeonhole at this point. A couple of Oscar nominations, co-lead in an hit Netflix series, writer-director of a promising new coming-of-age movie, Hill has emerged from the Apatow star factory still straddling the line between serious artist and broad comedy movie star. (Sort of like James Franco, except that people actually seem to like Hill’s directorial debut and no one—as of this writing—has accused Hill of being a sex creep.)

That dichotomy showed up in Hill’s monologue, as SNL legend Tina Fey ushered new Five-Timers Club member Hill into the selective lounge set, where fellow FTC members Candice Bergen and Drew Barrymore celebrated his entry by showing an old sketch where Hill’s character admits to doing some serious damage to a toilet. Protesting that he does more than toilet humor now (“But that’s where you shined!,” enthuses Bergen), the disappointed Hill can only endure an all-ladies Five-Timers welcome, since, according to Fey, Bergen, and Barrymore, all the male members have turned out to be, well, sex creeps. (Steve Martin will just play his banjo “without consent.”)

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Saturday Night LiveSeason 44

Fitted with the coveted FTC smoking jacket, Hill is disappointed to find that the new female leadership has refashioned it into something like a kicky boldero number. It’s a neat little way to incorporate Hill’s evolving comic persona while still trading on the downtrodden victim vibe he carries with him, especially once Kenan pops in to remind everyone that his record-breaking seniority carries its own privileges. “This is my show. I let you in here sometimes,” he responds to Hill questioning his presence in the Five-Timers lounge.

Over at Vulture, AV Clubber Jesse Hassenger recently did a ranking of the relatively rare phenomenon of SNL hosts’ recurring characters, and placed Hill’s Borscht Belt six-year-old Adam Grossman near the top. I get it. For one, the field isn’t exactly littered with gold (glad I’m not the only one sick of the Omletteville guy), with most of the bits weathering even faster than those done by the actual cast. But Grossman keeps working as well as he does because of a character throughline, as the garrulous little guy keeps tossing out his inexplicable Catskills schtick to his unlikely Benihana co-diners alongside a series of guardians indicating the unstable family life that’s somehow spawned such a weird creature. Here it’s forbearing nanny Leslie Jones, sighing deeply as she weathers Adam’s insult comic “I’m just kidding” one-liners as Grossman attempts to puncture any tension his borderline racist material generates by proclaiming his age (complete with specific and funny awkward hand gestures). It’s never been my favorite sketch, but Hill (who created the bit alongside Bill Hader and Seth Meyers, based on a bafflingly tracksuited child diner Hader once sat with) is into it, and he suggests the merest hints of the defensive mechanisms that are powering Adam’s transformation into a hacky joke machine, which always lends just enough shadings to the idea. Leslie kept breaking, but, then again, so did I.

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Weekend Update update

There was a certain elegance to the way SNL kept weaving themes through its political material tonight, with jokes about Trump’s “caravan of scary brown people” terror tactics, and the importance of voting on Tuesday reinforcing each other throughout. Jost and Che were on, each landing their material confidently. On the caravan (of desperate asylum seekers that are a thousand miles away), Jost noted how Trump’s sweatily named “Operation Faithful Patriot” (where American troops are needlessly stringing barbed wire for a piece of election eve fear-mongering theater) sounds like a company that makes “reverse mortgages and catheters.” (Fox News commercial viewers get that.) Che followed up on the race-baiting scare tactics by urging that the old white people being hyped about the looming but nonexistent threat should be more worried about the less-easily-scapegoated specter of their grandkids stealing their pain pills.

On the election front, Che continued his role as Update’s resident “slow your roll” skeptic, confessing that, while he does intend to vote (on Tuesday, November 6, kids), he’s not going to buy into any “final notice for democracy” panic. Joking that, if final notices were actually final, his college debts would actually be paid, Che, as ever, positions himself for the long view, an edgy place to be in a time of national crisis (see, there’s that panic), but one consistent with his stance as a (black) guy who’s been living in a dangerous situation his entire life. For Jost (white guy), the jokes were less pointed, but not bad, as he noted that things are pretty dire when ice cream is taking a side, and that it has to be a complicated feeling when Oprah knocks on your door, only to present you with a pamphlet about Georgia governor candidate Stacey Abrams instead of a new car.

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Pete Davidson has become such a strange star on SNL, his very public statements about his battles with mental health and substance abuse and the recent ongoing saga of his tabloid-fodder relationship with now-ex Ariana Grande have made Davidson more of a personality star than anyone I can think of in SNL history. Pete’s never been the most polished sketch guy (although he’s improved), and his Update pieces as himself have always been his best showcase, especially since he’s sharpened up his material beyond the adorable stoner little brother schtick he started out with. Here, with newly-dyed hair and the elephant of his recent, much-publicized breakup hanging over his head, Davidson delivered a solid series of political takedowns in advance of the Tuesday midterm elections. Sure, they were all cheeky appearance smack (NY Republican Peter King looks like “a cigar came to life,” Florida candidate Rick Scott looks like “if someone tried to whittle Bruce Willis out of a penis”), but, for a young comic staking out political material for the first time in his life, it’s funny stuff. And since SNL has made hay all season long about Davidson’s rising media profile, his genuinely sweet and decent-sounding appraisal of ex Grande was both de rigeur and unexpectedly touching.

Melissa Villaseñor made the leap to the main cast this year, but hasn’t had much opportunity to show off her mimicry skills or her comic chops much on the young season. So, taking a page out of Heidi Gardner’s playbook, she debuted a specifically targeted character piece on Update, with her “Every Teen Girl Murder Suspect on Law & Order.” Honestly, it’s such a specific Gardner niche at this point that I was surprised to see Villaseñor in the chair, but Melissa did fine, as her Brittany—ostensibly there to talk about young adult literature—squirmed and equivocated about what happened to her friend Logan at that “big alcohol party.” Not to harp on the comparison, but Brittany wasn’t as immediately memorable as any of Gardner’s similar turns, even if Villaseñor delivered on the premise with a uniformly strong performance.

Just when I think I’m tired of Kenan Thompson’s Big Papi, he pulls me back in. It helps that there’s a reason for his appearance tonight, as, you know, the Red Sox won the World Series again. (That’s, like, what, four in 15 years, right? Huh. Cool.) Petty sports partisanship aside, Kenan’s performance as retired and beloved Boston slugger David Ortiz has never been the problem. Kenan’s Ortiz, with his nonsensical endorsements, gap-toothed ebullience, and food obsession, is an all-time belly laugh, his infectious enthusiasm for baseball, food, his spokesman deal for the concept of spokes, and simply being Big Papi is impossible to hate. (Presumably even for Yankees fans, whose team got clobbered in the ALDS 3-1, including a humiliating 61-1 loss on their home diamond.) But the jokes don’t change much (as in, at all). Thankfully, it’s been a while, the Sox won the series, and it was nice to see the big lug again. Mofongo all around.

Best/worst sketch of the night

Look, some of you are going to clamor for a “worst” tag on Kate McKinnon’s teacher sketch. You’ll point to both its unexplained weirdness and its languorous pace, and how it never quite announces its authority as something that should appear as early in the show as it did. Well, shush. This was great stuff, not as much for the sketch itself (it really could have used more writing punch to match McKinnon’s performance), as for how it represents the sort of oddball conceptual idea Saturday Night Live desperately needs to encourage. The premise of someone acting weird while other people comment on it is hardly new SNL territory, but, as McKinnon’s overly dramatic drivers ed teacher sprawls on the classroom floor and rambles on about her predicament and its meaning, it was like a cool drink to realize that the sketch wasn’t going to go out of its way to hammer the premise home with explanations for the slowest possible viewer. It was just weird for weird’s sake, and McKinnon, accusing her charges at laughing at her “like this was some episode of Friend,” worked within the framework of the sketch to craft an enigmatically loopy character whose comic integrity isn’t over-explained. There is room on SNL for a lot more shades of humor than its current template generally allows.

This week’s branded content sketch, on the other hand, was pretty unnecessary, even if some of the performances livened it up a little, as another NBC property got some free advertising. Not watching interminably long-running televised talent shows as a rule, I’m not particularly invested in how the celebrity judges were impersonated here (although Kyle Mooney’s perpetually amazed Howie Mandel got a laugh). But at least the joke that there are only a very few possible narratives to every contestant’s journey on such shows took the piss a bit, and Cecily Strong, Kenan and Leslie, and Jonah Hill all sang their hearts out as the contestants who are probably terrible—but then are shockingly not terrible!

Also not terrible but not that surprising was the newscast sketch, where Cecily Strong’s weatherperson is nonplussed by boyfriend Hill’s decidedly unwelcome on-air proposal. Hill manages to create a nicely realized character is his unimpressive suitor, unwisely wearing a green shirt in front of Strong’s green screen and even more unwisely busting out a proposal rap. And the bit even has a decent turn, when Strong reveals that her refusal was only because she’d planned an elaborate on-air proposal of her own. I kept waiting for the reveal that Strong’s too-perfect twist was only in the downtrodden Hill’s head, but the sketch decided to let the improbable duo have their happy ending, so that’s nice.

“What do you call that act?” “The Californians!”—Recurring sketch report

Adam Grossman, Big Papi.

“It was my understanding there would be no math”—Political comedy report

With SNL’s resident guest Trump Alec Baldwin otherwise occupied (and pointedly joked about), the show opened with the always more-profitable tack of doing Trump without Trump. With Kate McKinnon adding Fox News talking head and smirking white supremacist Laura Ingraham’s glint-eyed provocation to her long list of current right-wing a-holes (“No, you’re an a-hole,” McKinnon’s Ingraham responds to her viewer mail), the sketch ran through the usual roster of weekly outrages. Finding ways to satirize the news at this point is a thankless task since reality is so far beyond satire that our pals at The Onion can essentially just transcribe stuff. Here, the jokes leant on hyperbole to make comedy out of Fox and friends’ (and Fox And Friends’) daily klaxon blare of racist bullshit designed to make white parents vote against their self-interest. Like Trump’s ginned-up, racist, Hail Mary, pre-midterms caravan, which Cecily Strong’s appropriately wild-eyed Jeanine Pirro’s claims contains such terrifying, non-white figures as “Guatemalans, Mexicans, the Menendez brothers, the 1990 Detroit Pistons, Thanos, and several Babadooks.” Similarly, Kenan Thompson’s cowboy-hat-wearing disgraced former Sheriff David Clarke showed footage of the caravan in the form of a swarm of migrating crabs. “And those are humans?,” gently presses McKinnon’s Ingraham, to which Clarke replies, “Basically, yeah.”

Unlike Baldwin’s uninspired Trump, which serves as a crutch for some very one-dimensional writing as a rule, the satire here is more layered. There are the performances, which are uniformly great. (McKinnon and Strong don’t need more praise at this point, but they are both outstanding, nuanced comic actresses). And the sketch casts a wider net, encompassing Ingraham’s fleeing sponsors (and the reason why), leaving her thanking warm ice cream, nurse’s sneakers, and White Castle. (“A castle for whites? Yes please.”) And, divorced for now by Baldwin/Trump’s absence, the cold open works to lay the groundwork for some recurring satirical themes for the rest of the show. There’s GOP voter suppression, here prodded along by Ingraham giving non-white voters the wrong advice. There’s Fox’s feverish efforts to mock the very idea that Donald Trump is a bigot. (“Except for his words and actions throughout his life how is he racist?”) And there’s the transparent propaganda of Trump’s latest “brown people are coming at you from below” propaganda, with McKinnon claiming that Trump’s try-hard gung-ho operation is actually named “Operation Eagle With A Huge Dong” and bragging that there will be “five armed soldiers for every shoeless immigrant child.”

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Hey, there’s a midterm election coming up on Tuesday, so vote in that. Pete Davidson ended his amiably goofy Update stint by urging everyone to vote, as did musical guest Maggie Rogers (via T-shirt), and, in the Vote Blue campaign ad, so did a roster of very fucking nervous Democrats. While polling shows that maybe, perhaps, enough Americans are motivated, pissed, and goddamned terrified enough to actually go out and vote on Tuesday (yes, this coming Tuesday, you) to put some checks in place against Donald Trump and his GOP accomplices in dismantling democratic norms, environmental regulations, and civil rights of any kind, well, we’ve seen sweaty Democratic overconfidence explode in our faces before. That’s the message here, as the person-on-the-street interviews parroting optimistic election messages all veer into a series of forced grins, shaking hands, binge-drinking, eyes-averted mumbling, and, in the case of Heidi Gardner’s tremble-voiced suburban mom, hair-trigger panic. “Get inside until Tuesday!,” she snaps at her frolicking children, while Hill’s anxious doctor tries to take comfort in the fact that Nancy Pelosi predicted a big victory on Colbert, and Leslie Jones grits her teeth in her stated faith that “white women are going to the right thing this time.” Pitch perfect stuff, right down to Aidy Bryant hauling off to slap teenaged son Pete Davidson when he jokes about forgetting when Election Day is. (It’s Tuesday. November 6. Check here for all the necessary info you need to vote. On Tuesday.)

“HuckaPM” continued SNL’s baffling comedy position that literally every woman involved in the Trump administration is secretly ashamed of her role in, well, every shitty thing Trump and the Republican Party does. You know, despite the fact that there is no evidence to that in the public or private actions of any of them, including (or especially) the sketch’s target, White House Press Secretary and sneering daily mouthpiece for whatever bigoted nonsense dribbles out of Trump’s Twitter account in the middle of the night, Sarah Huckabee Sanders. Still, this sketch works because of Aidy. Good god, is Aidy Bryant great at physical comedy. Even if one can’t follow the show’s premise that there is some glimmer of humanity in Sanders’ soul somewhere, Aidy sells the hell out of the idea that only a sleeping pill loaded with quaaludes and “what Michael Jackson’s doctor called ‘one-and-dones’” can knock Sanders out after a day of claiming that “CNN spelled backward is ISIS” and that Trump’s caravan boogeymen includes ravenous chupacabras with a trio of outstandingly timed and committed falls. Sometimes performance overcomes everything else.

The off-Broadway show short film trafficked in a sort of joke that never doesn’t work on me, so I’m going to allow myself to be pandered to. The main joke—that an actor-written topical revue is not very well written—is fine. (I loved how at least two of the numbers shamelessly aped Hamilton). But I’m just a sucker for jokes where scathing review blurbs are read out as if they’re raves by an enthusiastic voice-over guy, and these had me laughing. “This is helping no one,” and “Whose parents paid for this?” were good, but the New York Times critic’s economical “Jesus Christ!” got me out loud.

I am hip to the musics of today

Maggie Rogers came out flat in her SNL debut. Like, vocally, very flat for her first song of lilting, pretty pop. It was the sort of wobbly beginning that could knock a fledgeling performer right off her pins, but, to her credit, Rogers came back stronger in the second number. It helped that that song was more uptempo and didn’t highlight a delicate introductory vocal, but, still, props to Rogers for pulling it together. As Adam Grossman might bellow, “Redemption song!”

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Ego Nwodim got a line. Keep plugging, new kid.

Otherwise, in an exceptionally strong night for the female cast, Kate wins it by a whisker, edging out Cecily and Aidy.

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“What the hell is that thing?”—The Ten-To-Oneland Report

While it’s no “Whiskers R We,” “Wigs For Pugs” ably carried on the ten-to-one tradition of doing adorably weird stuff with animals, as Hill and Cecily Strong played a couple of clearly mobbed-up entrepreneurs whose pug toupee business is in no way “a front for something.” Mainly, it’s just pugs in wigs, with a succession of very chill pugs getting carried out in their hairy finery, but sometimes that’s enough. And Hill, Strong, Aidy, Mooney, and Kenan (as a guy making pug beards) are thoroughly committed to their characters in a broad yet deadpan way that adds another level to the premise. Pugs in wigs. What more do you need, people?

Stray observations

Kenan’s Clarke cites his caravan sources as “the crows from Dumbo,” echoing Clarke’s description of his current state as “unpopular with my own people.”

McKinnon’s Ingraham refers to Baldwin as “disgraced former actor Alec Baldwin” and shows a clip from “Canteen Boy” to explain.

Che claims that the country would be doing better if red state parents would stop “sending all their liberal kids to coastal cities to do improv.”

Pete Davidson, addressing his new blue hair, claims he looks like “a guy who makes vape juice in a bathtub,” and “a Dr. Seuss character who went to prison.”

Melissa Villaseñor’s teen suspect finally breaks down, telling Jost that she only stabbed her dead friend as a joke, “but Logan took it the wrong way and started bleeding.”

Big Papi for Apple Watch: “You gotta watch your apples or a monkey’s gonna steal them, man!”

Vote on Tuesday.

The Red Sox won the World Series.

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Source: https://tv.avclub.com/jonah-hill-joins-the-five-timers-club-on-a-uniformly-fu-1830206395