#there’s a hilarious snl sketch that features it

[gallawitchxx]

a nsfw s4-5 entry for this week’s @galladrabbles x @sweetbee78 prompt “to be with you” by mr. big, specifically the lyric: “gotta build up your confidence / so you can be on top for once” 😏

- - - - -

They’d started with Mickey on hands and knees, Ian pounding into him from behind. Good, long, hard strokes, in and out, until delirium set in and Mickey’s elbows gave way.

“Fuckin’ heavy, man,” he slurs, breathless.

“Gotta build up your confidence,” Ian pants, a bead of sweat dropping from his forehead onto Mickey’s flushed back. “So you can be on top for once.”

It takes all the strength he can muster to abandon the orgasm building in his belly, but it’s worth it for the look on Ian’s face as Mickey flips them over and rides him into the mattress.

[shipcestuous]

SNL skit-Oedipal Arrangements (m/s) (submission)

Hey, Shipcestuous, ShipCestFan here. Last night’s SNL show featured a skit poking fun at Edible Arrangements but framing them around the Oedipal Complex.

It was quite the hoot and had me laughing and cheering SNL for their boldness! Heidi Gardner played the “coy mom with a hint of naughtiness” to perfection, and I know I am speaking for every m/s shipper when I say the clip was titillating af. 

Can you imagine all the mom-sons around the world watching SNL together and caught off guard by this skit and the awkwardness? LOL Maybe it spurred some conversations? Here’s a positive cestship award to SNL! Here’s a link to the skit from SNL’s Youtube page.

https://youtu.be/RAbAe1scQFM?si=HJoLflNb7YrbpEZ0

I don’t suspect it will stay up long, as they refresh frequently, so I also added some GIFs.  Enjoy!

@paganmindidnothingwrong​: SNL just did a new sketch called "Oedipal Arrangements".... my god I'm fucking dying over here, thought you'd die of laughter as well 😭https://youtu.be/RAbAe1scQFM

SNL was on at my house last night but the sound wasn’t turned up. I walked through the room just right as it said “Oedipal Arrangements” and I knew I was in for a treat when I got around to watching the episode. 

I thought it was going to be a commercial showing different families. I actually love that they focused on one mother/son couple because we got to see quite a lot of them. And it’s totally mutual!

It’s hilarious how steamy it is.  

Thanks for the gifs! 

[whisky-soul]

Starting the Mando season 3 press thread with this. Future articles and interviews will be added to this post. 😊

The Mandalorian Season 3 'Opens Up The World of Mandalore And The Mandalorians', Says Pedro Pascal - Empire

Pedro Pascal 'Can't See Shit In Mandalorian Armour' - Empire

The Mandalorian Season 3 Official Clip - Youtube

Real Steel - Season 3 Feature - Empire

Season 3 Stills - Empire

Baby Steps: An Oral History of Grogu - Empire

Theirs is the Way: Jon Favreau and Dave Filoni Interview - Empire

Father and Son: The Mandalorian Season 3 Feature - SFX Magazine

Pedro Pascal Talks Being Called the ‘Daddy’ of the Internet - Good Morning Britain

Pedro Pascal Is Creeped Out When Fans Ask Him to Use ‘Mandalorian’ Voice on Children: ‘It Sounds Inappropriate’ - Variety

Pedro Pascal Plays “Is It The Way?” - MTV News

Pedro Pascal Reacts To Becoming "Internet Daddy" - The Graham Norton Show

Pedro Pascal Forgot He Was Cast In The Last Of Us - The Graham Norton Show

Pedro Pascal Swerves A Kiss From Dame Helen Mirren - The Graham Norton Show

Pedro Pascal on The Mandalorian S3, a scene-stealing Grogu & knowing how much the world loves him - Joe.ie

Jon Favreau Is Watching The Last Of Us Too: ‘Pedro Pascal’s Really Cornered The Market On This Protective Father Archetype’ - Empire

The Mandalorian's Pedro Pascal teases an 'epic' season 3 - Digital Spy

Pedro Pascal über Mandalorian und andere rollen - Brisant (VPN may be required)

***NEW FEB 28th***

Mandalorian Season 3: Star Wars' Pedro Pascal Answers Kid Questions - BBC Newsround

Pedro Pascal plays The Reverse Words game - The Chris Moyles Show

Pedro Pascal has fully embraced all things ‘daddy.’ - Entertainment Tonight

‘The Mandalorian’: Pedro Pascal on Din Djarin & Grogu’s Relationship in SEASON 3 - Extra TV

Pedro Pascal RESPONDS To Being Dubbed The 'Internet's Daddy' - Access Hollywood

Pedro Pascal Talks Possible Boba Fett And Ahsoka Crossovers In The Mandalorian Season 3 - Cinema Blend

Pedro Pascal no cierra la puerta a nada con 'The Mandalorian': "Me encantaría ver una película" - Sensacine

Zoe Ball Meets Pedro Pascal - The Zoe Ball Breakfast Show

Pedro Pascal Remembers Working w/ Sarah Michelle On ‘Buffy The Vampire Slayer’ - Access Hollywood

Pedro Pascal on ´The Mandalorian’ Season 3, Grogu nicknames, and More - Entertainment Tonight

Pedro Pascal "The Mandalorian" - FabTV

See Pedro Pascal Get Nostalgic Over 'Buffy' Memories With ‘Incredibly Kind’ Sarah Michelle Gellar - Entertainment Tonight

Pedro Pascal on Season 3 - GamesRadar

**NEW March 1***

Pedro Pascal & Jon Favreau Compare American and Chilean Snacks - LADBible

‘The Mandalorian’: Pedro Pascal Wants to Go from ‘DADDY Din’ to ‘BABY D’ - ExtraTV

Pedro Pascal Talks The Mandalorian Season 3 & How It's Surprising What the Surprises Are - Collider

Pedro Pascal Praised By Sarah Paulson For Becoming 'Enormous' Star In 2016 Interview - Access Hollywood

How Pedro Pascal Feels About A Big Part Of ‘The Mandalorian’ Arc Taking Place In ‘Boba Fett' - CinemaBlend

“The Mandalorian” star Pedro Pascal teases what fans can expect from season 3. - Associated Press

Pedro Pascal is grateful for The Last Of Us and The Mandalorian - Irish Mirror

'The Mandalorian' Lead Pedro Pascal On What To Expect From Season 3 - NDTV

Pedro Pascal on Season 3 - Despierta América

FAJN RADIO I Marthy Duffek & The Mandolorian interview w/ Pedro Pascal - Fajn Radio

The Mandalorian: Season 3 | Launch Event - Pedro Pascal, Katie Sackhoff - VRAI Magazine

Pedro on KissFM UK Part 1

Pedro on KissFM UK Part 2

Pedro Pascal Looks Back At His Early Acting Days On 'Buffy' - ET Canada

Pedro Pascal on being 'faceless' in the Mandalorian suit - ABC News Australia

Pedro Pascal, 'Mandalorian' castmates promise more fun, drama, surprises, Grogu in season 3 - ABC 7

**NEW March 2nd**

Pedro Pascal On Being The Internet's Daddy - Capital FM

Pedro Pascal Explains Rehearsal Behind Hilarious SNL Table Sketch - E News

Pedro Pascal jokes about ‘The Mandalorian’ outlasting ‘The Simpson’s’ - Yahoo Entertainment

Pedro Pascal Meets Young Fans at The Mandalorian Season 3 Premiere - jenmarkham

***NEW March 3rd***

Pedro Pascal talks 'Mandalorian' Season 3, 'Last of Us' comparisons and 'Saturday Night Live' - Yahoo Entertainment

The Mandalorian Season 3 Launch Event - Star Wars

"I like my own burps!" Pedro Pascal on playing The Mandalorian and meeting "The Ultimate Daddy" - BBC Radio 1

The Sudden Fashion-Daddy Arrival of Pedro Pascal - GQ

Ciné Télé Revue Interview

Radio Corazón

***NEW March 7th***

One on One Interview with Pedro Pascal for 'The Mandalorian' - MJ Felipe

Melanie Lynskey calls Pedro Pascal a 'dreamboat' - Etalk (this has nothing to do with Mando; I just like it)

Pedro Pascal on Mandalorian S3, Melanie Lynskey, Tem Morrison and Taika - NewsHub

***NEW March 9th***

Pedro Pascal Cries From His Head While Eating Spicy Wings - Hot Ones

***NEW March 18th***

Pedro on the Dagobah Dispatch Podcast - EW

[z34l0t]

On Conan O’Brien Needs a Friend, the longtime talk-show host typically interviews other celebrities, often taking strolls down memory lane with his old comedy buddies. For the Hans and Franz episodes, featuring the former SNL cast members Kevin Nealon and Dana Carvey, O’Brien reminisces about the script they’d co-written, which he considers a particularly absurd example of the micro-genre. The venture hinged on the participation of Arnold Schwarzenegger, who would have played himself in the movie. When Schwarzenegger passed on the script, the project died. Decades later, over the course of four podcast episodes, O’Brien and the film’s other intended stars read aloud from the abandoned draft.

The experiment stirred in me a surprising level of nostalgia for the type of silly comedy that just never gets made anymore. O’Brien wrote the script in 1991 with Robert Smigel, another SNL vet, who is otherwise best known for his character Triumph the Insult Comic Dog. They intended to make a feature-length story about Carvey and Nealon’s characters Hans and Franz, two overzealous Austrian bodybuilders who brag about their muscles, claim to be able to “pump up” their viewers, and criticize practically everyone else alive for being “flabby” or “girly.” Like many SNL sketches, “Pumping Up With Hans & Franz” adopted the same basic setting every time it appeared on TV—in this case, a talk show in which the pair dispensed nonsensical advice. The opportunities for a fuller narrative seemed limited.

Enter Schwarzenegger, the obvious inspiration for Hans and Franz. According to O’Brien and Smigel, Schwarzenegger was briefly interested, took meetings with the writers, and read the script. But after appearing in a series of movie comedies with diminishing returns (most notably Last Action Hero in 1993 and Junior the following year), he pivoted back to serious material. “What we did, which shocks me now upon rereading it … is that Arnold is in it more than anybody; we hung the entire project [on him],” O’Brien says on his podcast, laughing.

Schwarzenegger was the kind of early-’90s mega A-lister who could get practically anything made if he was attached, and the gamble was that he would provide enough cover for the ridiculousness: “If Arnold says yes, all the craziness is going to happen,” O’Brien recounts. By revisiting the script and diving into the oddness that could have been, O’Brien and his guests achieve the charming clubhouse vibe that all the best comedy podcasts strive for, with four veterans of the world hooting at the audacious foolishness of the story they were so committed to years prior. That self-aware tone is exactly what made these movies so funny to begin with.

[cleverhottubmiracle]

Ana Gasteyer was on Saturday Night Live during the new golden age, bridging the late ’90s and early aughts. It was a supremely funny time, but also notable for another reason. “Mine was the beginning of an incredible era for women at the show,” she told GQ.From 1996 until 2002, Gasteyer—one of a great SNL cast members who came up via the LA comedy troupe The Groundlings—made us laugh in part because she was so good at playing it straight even while being ridiculous, whether as one half of the musical duo the Culps with Will Ferrell, as a hilariously reserved radio host in the “Delicious Dish” sketches, or as a pitch-perfect Martha Stewart. In this interview, conducted as part of the reporting process for the GQ feature “Saturday Night Forever,” Gasteyer spoke to us about watching the original cast as a child, her eerily silent audition, and why the guest hosts are usually on such good behavior.GQ: Who was your favorite cast member when you first started watching the show?Ana Gasteyer: I mean, I'm OG. I was a kid kid. I was really little. It would probably be Gilda, I would have to say. Funny, funny characters. But Jane Curtin as well. I was a weird child in that I found really dry, mature performers hilarious. Bob Newhart and that style. So I really loved Jane Curtin as well. I knew that she could clip the edges of a joke sharper than anybody.How about which era had the greatest cast?Obviously the original cast just because it was so groundbreaking and it was small. But to pick one [cast] would be kind of unfair to the legacy. But specifically, I wanted to be a comedian when I first saw Jan Hooks and Nora Dunn work. That would've been when I was in college. Now I don't think that those casts were necessarily universally the best cast, because they were fluid at that point. So it's hard to say. And I think our cast was pretty damn good.If you had to pick the single funniest cast member in all of SNL history, who comes to mind?That is actually impossible. That is a physical impossibility. I mean, honestly for me it would be a tossup of Phil Hartman and Will Ferrell. They both are just consistently funny in everything they do.How about during your time there? What was your favorite sketch that you were in?Probably Bobbi and Marty [Culp] just because it was just soup to nuts so fun. I mean, there's the sketch that you see on TV and then there's everything that goes into making the sketch. I can't have a conversation about Saturday Night Live in my era there without talking about Paula Pell, who is now getting her flowers, finally, as a performer, but was such an instrumental behind the scenes engineer of so much wonder. And we wrote those Bobbi and Marty [sketches] with Will—they were just epic creations to do, to think about, to avoid, to procrastinate, to follow through on and repeat over and over and over again.How about the best sketch that you worked on that didn't make it to the air?This is a controversial thing to say, but I did not have a lot of experience with things not eventually making it to air. Sometimes they didn't make it that week and that would be disappointing. But almost universally, I did come from such a writer's era of SNL, not just in terms of the excellence of the writing staff from Adam McKay and Tina Fey’s leadership when I was there, Harper Steele—I mean, we had great, great writers, but also all of us were writers in that era. Because of that respect for really sharp comedy, if you had a sketch that was wonderful that didn't make it, it would come back. So I don't have a lot of bitter feelings about that, because generally speaking, it would pay off down the line.How about your audition? What do you remember about that day and how did you celebrate once you were cast?Well, I didn't really celebrate because here's what I remember: it was like being shot out of a cannon. We were flown to test at 8H, which is insane. At the 11th hour, the two big things that I was told were, They do not laugh in the audition, which was true.Which is very weird when you're a comedian because your relationship to your bits is, the cadence of the laughs becomes part of how you hear it. So I would rehearse it in front of my husband who would sit stone-faced like Mount Rushmore and stare really aggressively, to practice doing it against a silent wall. And the other thing is that, again, Groundlings aren't impressionists—we're people who do characters and wigs and write comedy. And somebody got the word to me, They may come to you in the 11th hour [of the audition process] and ask for an impression. So I knew that in advance and I cooked up two impressions. I wasn't an impressionist, but I was like, I think I could do Martha Stewart. I thought she was kind of funny. And I subscribed to her magazine. And so I wrote and I knew enough to make it short and make it sweet, but make it funny. So those are the two things that I remember kind of pulling together fast.And then I got into the elevator after my audition, and when you audition in the old days, the satellite feed was coming out to the network on the west coast. And so in 30 Rock, everybody had seen my audition. Which is a very weird feeling if you work at NBC. It's just the feeds are on throughout. I got onto the elevator and some random person was like, “Oh, that was really funny. I just watched your audition.” It was so validating because it was such a strange and silent experience.How about your best story about a guest host?I mean, generally speaking, [guest hosts] are on such good behavior because they really are being ruled by fear. It's a terrifying experience. I mean, I have such respect for people who host, because they show up in this crazy house. There's no syllabus for how your week is going to go. No one's going to break it down for you. And so I just have enormous respect for basically anyone who hosts, because they have to really have faith in what turns out to be a very effective but pretty makeshift system.Why do you think SNL’s managed to last for 50 years?I think its job has always been—because it started as sort of a revolutionary piece of television—to reflect culture back to itself. By the nature of it being live, it's immediate and it's probably riskier. There's not a lot of time spent hand-wringing and wondering if someone's going to be offended. Even the standards and practices are more chill at SNL, so you don't have this kind of delayed reaction, “Can we do that joke? Can we not do that joke?” And Lorne, of course, being the leader has always had a really bold foot forward on that stuff. Source link

[norajworld]

Ana Gasteyer was on Saturday Night Live during the new golden age, bridging the late ’90s and early aughts. It was a supremely funny time, but also notable for another reason. “Mine was the beginning of an incredible era for women at the show,” she told GQ.From 1996 until 2002, Gasteyer—one of a great SNL cast members who came up via the LA comedy troupe The Groundlings—made us laugh in part because she was so good at playing it straight even while being ridiculous, whether as one half of the musical duo the Culps with Will Ferrell, as a hilariously reserved radio host in the “Delicious Dish” sketches, or as a pitch-perfect Martha Stewart. In this interview, conducted as part of the reporting process for the GQ feature “Saturday Night Forever,” Gasteyer spoke to us about watching the original cast as a child, her eerily silent audition, and why the guest hosts are usually on such good behavior.GQ: Who was your favorite cast member when you first started watching the show?Ana Gasteyer: I mean, I'm OG. I was a kid kid. I was really little. It would probably be Gilda, I would have to say. Funny, funny characters. But Jane Curtin as well. I was a weird child in that I found really dry, mature performers hilarious. Bob Newhart and that style. So I really loved Jane Curtin as well. I knew that she could clip the edges of a joke sharper than anybody.How about which era had the greatest cast?Obviously the original cast just because it was so groundbreaking and it was small. But to pick one [cast] would be kind of unfair to the legacy. But specifically, I wanted to be a comedian when I first saw Jan Hooks and Nora Dunn work. That would've been when I was in college. Now I don't think that those casts were necessarily universally the best cast, because they were fluid at that point. So it's hard to say. And I think our cast was pretty damn good.If you had to pick the single funniest cast member in all of SNL history, who comes to mind?That is actually impossible. That is a physical impossibility. I mean, honestly for me it would be a tossup of Phil Hartman and Will Ferrell. They both are just consistently funny in everything they do.How about during your time there? What was your favorite sketch that you were in?Probably Bobbi and Marty [Culp] just because it was just soup to nuts so fun. I mean, there's the sketch that you see on TV and then there's everything that goes into making the sketch. I can't have a conversation about Saturday Night Live in my era there without talking about Paula Pell, who is now getting her flowers, finally, as a performer, but was such an instrumental behind the scenes engineer of so much wonder. And we wrote those Bobbi and Marty [sketches] with Will—they were just epic creations to do, to think about, to avoid, to procrastinate, to follow through on and repeat over and over and over again.How about the best sketch that you worked on that didn't make it to the air?This is a controversial thing to say, but I did not have a lot of experience with things not eventually making it to air. Sometimes they didn't make it that week and that would be disappointing. But almost universally, I did come from such a writer's era of SNL, not just in terms of the excellence of the writing staff from Adam McKay and Tina Fey’s leadership when I was there, Harper Steele—I mean, we had great, great writers, but also all of us were writers in that era. Because of that respect for really sharp comedy, if you had a sketch that was wonderful that didn't make it, it would come back. So I don't have a lot of bitter feelings about that, because generally speaking, it would pay off down the line.How about your audition? What do you remember about that day and how did you celebrate once you were cast?Well, I didn't really celebrate because here's what I remember: it was like being shot out of a cannon. We were flown to test at 8H, which is insane. At the 11th hour, the two big things that I was told were, They do not laugh in the audition, which was true.Which is very weird when you're a comedian because your relationship to your bits is, the cadence of the laughs becomes part of how you hear it. So I would rehearse it in front of my husband who would sit stone-faced like Mount Rushmore and stare really aggressively, to practice doing it against a silent wall. And the other thing is that, again, Groundlings aren't impressionists—we're people who do characters and wigs and write comedy. And somebody got the word to me, They may come to you in the 11th hour [of the audition process] and ask for an impression. So I knew that in advance and I cooked up two impressions. I wasn't an impressionist, but I was like, I think I could do Martha Stewart. I thought she was kind of funny. And I subscribed to her magazine. And so I wrote and I knew enough to make it short and make it sweet, but make it funny. So those are the two things that I remember kind of pulling together fast.And then I got into the elevator after my audition, and when you audition in the old days, the satellite feed was coming out to the network on the west coast. And so in 30 Rock, everybody had seen my audition. Which is a very weird feeling if you work at NBC. It's just the feeds are on throughout. I got onto the elevator and some random person was like, “Oh, that was really funny. I just watched your audition.” It was so validating because it was such a strange and silent experience.How about your best story about a guest host?I mean, generally speaking, [guest hosts] are on such good behavior because they really are being ruled by fear. It's a terrifying experience. I mean, I have such respect for people who host, because they show up in this crazy house. There's no syllabus for how your week is going to go. No one's going to break it down for you. And so I just have enormous respect for basically anyone who hosts, because they have to really have faith in what turns out to be a very effective but pretty makeshift system.Why do you think SNL’s managed to last for 50 years?I think its job has always been—because it started as sort of a revolutionary piece of television—to reflect culture back to itself. By the nature of it being live, it's immediate and it's probably riskier. There's not a lot of time spent hand-wringing and wondering if someone's going to be offended. Even the standards and practices are more chill at SNL, so you don't have this kind of delayed reaction, “Can we do that joke? Can we not do that joke?” And Lorne, of course, being the leader has always had a really bold foot forward on that stuff. Source link

[ellajme0]

Ana Gasteyer was on Saturday Night Live during the new golden age, bridging the late ’90s and early aughts. It was a supremely funny time, but also notable for another reason. “Mine was the beginning of an incredible era for women at the show,” she told GQ.From 1996 until 2002, Gasteyer—one of a great SNL cast members who came up via the LA comedy troupe The Groundlings—made us laugh in part because she was so good at playing it straight even while being ridiculous, whether as one half of the musical duo the Culps with Will Ferrell, as a hilariously reserved radio host in the “Delicious Dish” sketches, or as a pitch-perfect Martha Stewart. In this interview, conducted as part of the reporting process for the GQ feature “Saturday Night Forever,” Gasteyer spoke to us about watching the original cast as a child, her eerily silent audition, and why the guest hosts are usually on such good behavior.GQ: Who was your favorite cast member when you first started watching the show?Ana Gasteyer: I mean, I'm OG. I was a kid kid. I was really little. It would probably be Gilda, I would have to say. Funny, funny characters. But Jane Curtin as well. I was a weird child in that I found really dry, mature performers hilarious. Bob Newhart and that style. So I really loved Jane Curtin as well. I knew that she could clip the edges of a joke sharper than anybody.How about which era had the greatest cast?Obviously the original cast just because it was so groundbreaking and it was small. But to pick one [cast] would be kind of unfair to the legacy. But specifically, I wanted to be a comedian when I first saw Jan Hooks and Nora Dunn work. That would've been when I was in college. Now I don't think that those casts were necessarily universally the best cast, because they were fluid at that point. So it's hard to say. And I think our cast was pretty damn good.If you had to pick the single funniest cast member in all of SNL history, who comes to mind?That is actually impossible. That is a physical impossibility. I mean, honestly for me it would be a tossup of Phil Hartman and Will Ferrell. They both are just consistently funny in everything they do.How about during your time there? What was your favorite sketch that you were in?Probably Bobbi and Marty [Culp] just because it was just soup to nuts so fun. I mean, there's the sketch that you see on TV and then there's everything that goes into making the sketch. I can't have a conversation about Saturday Night Live in my era there without talking about Paula Pell, who is now getting her flowers, finally, as a performer, but was such an instrumental behind the scenes engineer of so much wonder. And we wrote those Bobbi and Marty [sketches] with Will—they were just epic creations to do, to think about, to avoid, to procrastinate, to follow through on and repeat over and over and over again.How about the best sketch that you worked on that didn't make it to the air?This is a controversial thing to say, but I did not have a lot of experience with things not eventually making it to air. Sometimes they didn't make it that week and that would be disappointing. But almost universally, I did come from such a writer's era of SNL, not just in terms of the excellence of the writing staff from Adam McKay and Tina Fey’s leadership when I was there, Harper Steele—I mean, we had great, great writers, but also all of us were writers in that era. Because of that respect for really sharp comedy, if you had a sketch that was wonderful that didn't make it, it would come back. So I don't have a lot of bitter feelings about that, because generally speaking, it would pay off down the line.How about your audition? What do you remember about that day and how did you celebrate once you were cast?Well, I didn't really celebrate because here's what I remember: it was like being shot out of a cannon. We were flown to test at 8H, which is insane. At the 11th hour, the two big things that I was told were, They do not laugh in the audition, which was true.Which is very weird when you're a comedian because your relationship to your bits is, the cadence of the laughs becomes part of how you hear it. So I would rehearse it in front of my husband who would sit stone-faced like Mount Rushmore and stare really aggressively, to practice doing it against a silent wall. And the other thing is that, again, Groundlings aren't impressionists—we're people who do characters and wigs and write comedy. And somebody got the word to me, They may come to you in the 11th hour [of the audition process] and ask for an impression. So I knew that in advance and I cooked up two impressions. I wasn't an impressionist, but I was like, I think I could do Martha Stewart. I thought she was kind of funny. And I subscribed to her magazine. And so I wrote and I knew enough to make it short and make it sweet, but make it funny. So those are the two things that I remember kind of pulling together fast.And then I got into the elevator after my audition, and when you audition in the old days, the satellite feed was coming out to the network on the west coast. And so in 30 Rock, everybody had seen my audition. Which is a very weird feeling if you work at NBC. It's just the feeds are on throughout. I got onto the elevator and some random person was like, “Oh, that was really funny. I just watched your audition.” It was so validating because it was such a strange and silent experience.How about your best story about a guest host?I mean, generally speaking, [guest hosts] are on such good behavior because they really are being ruled by fear. It's a terrifying experience. I mean, I have such respect for people who host, because they show up in this crazy house. There's no syllabus for how your week is going to go. No one's going to break it down for you. And so I just have enormous respect for basically anyone who hosts, because they have to really have faith in what turns out to be a very effective but pretty makeshift system.Why do you think SNL’s managed to last for 50 years?I think its job has always been—because it started as sort of a revolutionary piece of television—to reflect culture back to itself. By the nature of it being live, it's immediate and it's probably riskier. There's not a lot of time spent hand-wringing and wondering if someone's going to be offended. Even the standards and practices are more chill at SNL, so you don't have this kind of delayed reaction, “Can we do that joke? Can we not do that joke?” And Lorne, of course, being the leader has always had a really bold foot forward on that stuff. Source link

[chilimili212]

Ana Gasteyer was on Saturday Night Live during the new golden age, bridging the late ’90s and early aughts. It was a supremely funny time, but also notable for another reason. “Mine was the beginning of an incredible era for women at the show,” she told GQ.From 1996 until 2002, Gasteyer—one of a great SNL cast members who came up via the LA comedy troupe The Groundlings—made us laugh in part because she was so good at playing it straight even while being ridiculous, whether as one half of the musical duo the Culps with Will Ferrell, as a hilariously reserved radio host in the “Delicious Dish” sketches, or as a pitch-perfect Martha Stewart. In this interview, conducted as part of the reporting process for the GQ feature “Saturday Night Forever,” Gasteyer spoke to us about watching the original cast as a child, her eerily silent audition, and why the guest hosts are usually on such good behavior.GQ: Who was your favorite cast member when you first started watching the show?Ana Gasteyer: I mean, I'm OG. I was a kid kid. I was really little. It would probably be Gilda, I would have to say. Funny, funny characters. But Jane Curtin as well. I was a weird child in that I found really dry, mature performers hilarious. Bob Newhart and that style. So I really loved Jane Curtin as well. I knew that she could clip the edges of a joke sharper than anybody.How about which era had the greatest cast?Obviously the original cast just because it was so groundbreaking and it was small. But to pick one [cast] would be kind of unfair to the legacy. But specifically, I wanted to be a comedian when I first saw Jan Hooks and Nora Dunn work. That would've been when I was in college. Now I don't think that those casts were necessarily universally the best cast, because they were fluid at that point. So it's hard to say. And I think our cast was pretty damn good.If you had to pick the single funniest cast member in all of SNL history, who comes to mind?That is actually impossible. That is a physical impossibility. I mean, honestly for me it would be a tossup of Phil Hartman and Will Ferrell. They both are just consistently funny in everything they do.How about during your time there? What was your favorite sketch that you were in?Probably Bobbi and Marty [Culp] just because it was just soup to nuts so fun. I mean, there's the sketch that you see on TV and then there's everything that goes into making the sketch. I can't have a conversation about Saturday Night Live in my era there without talking about Paula Pell, who is now getting her flowers, finally, as a performer, but was such an instrumental behind the scenes engineer of so much wonder. And we wrote those Bobbi and Marty [sketches] with Will—they were just epic creations to do, to think about, to avoid, to procrastinate, to follow through on and repeat over and over and over again.How about the best sketch that you worked on that didn't make it to the air?This is a controversial thing to say, but I did not have a lot of experience with things not eventually making it to air. Sometimes they didn't make it that week and that would be disappointing. But almost universally, I did come from such a writer's era of SNL, not just in terms of the excellence of the writing staff from Adam McKay and Tina Fey’s leadership when I was there, Harper Steele—I mean, we had great, great writers, but also all of us were writers in that era. Because of that respect for really sharp comedy, if you had a sketch that was wonderful that didn't make it, it would come back. So I don't have a lot of bitter feelings about that, because generally speaking, it would pay off down the line.How about your audition? What do you remember about that day and how did you celebrate once you were cast?Well, I didn't really celebrate because here's what I remember: it was like being shot out of a cannon. We were flown to test at 8H, which is insane. At the 11th hour, the two big things that I was told were, They do not laugh in the audition, which was true.Which is very weird when you're a comedian because your relationship to your bits is, the cadence of the laughs becomes part of how you hear it. So I would rehearse it in front of my husband who would sit stone-faced like Mount Rushmore and stare really aggressively, to practice doing it against a silent wall. And the other thing is that, again, Groundlings aren't impressionists—we're people who do characters and wigs and write comedy. And somebody got the word to me, They may come to you in the 11th hour [of the audition process] and ask for an impression. So I knew that in advance and I cooked up two impressions. I wasn't an impressionist, but I was like, I think I could do Martha Stewart. I thought she was kind of funny. And I subscribed to her magazine. And so I wrote and I knew enough to make it short and make it sweet, but make it funny. So those are the two things that I remember kind of pulling together fast.And then I got into the elevator after my audition, and when you audition in the old days, the satellite feed was coming out to the network on the west coast. And so in 30 Rock, everybody had seen my audition. Which is a very weird feeling if you work at NBC. It's just the feeds are on throughout. I got onto the elevator and some random person was like, “Oh, that was really funny. I just watched your audition.” It was so validating because it was such a strange and silent experience.How about your best story about a guest host?I mean, generally speaking, [guest hosts] are on such good behavior because they really are being ruled by fear. It's a terrifying experience. I mean, I have such respect for people who host, because they show up in this crazy house. There's no syllabus for how your week is going to go. No one's going to break it down for you. And so I just have enormous respect for basically anyone who hosts, because they have to really have faith in what turns out to be a very effective but pretty makeshift system.Why do you think SNL’s managed to last for 50 years?I think its job has always been—because it started as sort of a revolutionary piece of television—to reflect culture back to itself. By the nature of it being live, it's immediate and it's probably riskier. There's not a lot of time spent hand-wringing and wondering if someone's going to be offended. Even the standards and practices are more chill at SNL, so you don't have this kind of delayed reaction, “Can we do that joke? Can we not do that joke?” And Lorne, of course, being the leader has always had a really bold foot forward on that stuff. Source link

[oliviajoyice21]

Ana Gasteyer was on Saturday Night Live during the new golden age, bridging the late ’90s and early aughts. It was a supremely funny time, but also notable for another reason. “Mine was the beginning of an incredible era for women at the show,” she told GQ.From 1996 until 2002, Gasteyer—one of a great SNL cast members who came up via the LA comedy troupe The Groundlings—made us laugh in part because she was so good at playing it straight even while being ridiculous, whether as one half of the musical duo the Culps with Will Ferrell, as a hilariously reserved radio host in the “Delicious Dish” sketches, or as a pitch-perfect Martha Stewart. In this interview, conducted as part of the reporting process for the GQ feature “Saturday Night Forever,” Gasteyer spoke to us about watching the original cast as a child, her eerily silent audition, and why the guest hosts are usually on such good behavior.GQ: Who was your favorite cast member when you first started watching the show?Ana Gasteyer: I mean, I'm OG. I was a kid kid. I was really little. It would probably be Gilda, I would have to say. Funny, funny characters. But Jane Curtin as well. I was a weird child in that I found really dry, mature performers hilarious. Bob Newhart and that style. So I really loved Jane Curtin as well. I knew that she could clip the edges of a joke sharper than anybody.How about which era had the greatest cast?Obviously the original cast just because it was so groundbreaking and it was small. But to pick one [cast] would be kind of unfair to the legacy. But specifically, I wanted to be a comedian when I first saw Jan Hooks and Nora Dunn work. That would've been when I was in college. Now I don't think that those casts were necessarily universally the best cast, because they were fluid at that point. So it's hard to say. And I think our cast was pretty damn good.If you had to pick the single funniest cast member in all of SNL history, who comes to mind?That is actually impossible. That is a physical impossibility. I mean, honestly for me it would be a tossup of Phil Hartman and Will Ferrell. They both are just consistently funny in everything they do.How about during your time there? What was your favorite sketch that you were in?Probably Bobbi and Marty [Culp] just because it was just soup to nuts so fun. I mean, there's the sketch that you see on TV and then there's everything that goes into making the sketch. I can't have a conversation about Saturday Night Live in my era there without talking about Paula Pell, who is now getting her flowers, finally, as a performer, but was such an instrumental behind the scenes engineer of so much wonder. And we wrote those Bobbi and Marty [sketches] with Will—they were just epic creations to do, to think about, to avoid, to procrastinate, to follow through on and repeat over and over and over again.How about the best sketch that you worked on that didn't make it to the air?This is a controversial thing to say, but I did not have a lot of experience with things not eventually making it to air. Sometimes they didn't make it that week and that would be disappointing. But almost universally, I did come from such a writer's era of SNL, not just in terms of the excellence of the writing staff from Adam McKay and Tina Fey’s leadership when I was there, Harper Steele—I mean, we had great, great writers, but also all of us were writers in that era. Because of that respect for really sharp comedy, if you had a sketch that was wonderful that didn't make it, it would come back. So I don't have a lot of bitter feelings about that, because generally speaking, it would pay off down the line.How about your audition? What do you remember about that day and how did you celebrate once you were cast?Well, I didn't really celebrate because here's what I remember: it was like being shot out of a cannon. We were flown to test at 8H, which is insane. At the 11th hour, the two big things that I was told were, They do not laugh in the audition, which was true.Which is very weird when you're a comedian because your relationship to your bits is, the cadence of the laughs becomes part of how you hear it. So I would rehearse it in front of my husband who would sit stone-faced like Mount Rushmore and stare really aggressively, to practice doing it against a silent wall. And the other thing is that, again, Groundlings aren't impressionists—we're people who do characters and wigs and write comedy. And somebody got the word to me, They may come to you in the 11th hour [of the audition process] and ask for an impression. So I knew that in advance and I cooked up two impressions. I wasn't an impressionist, but I was like, I think I could do Martha Stewart. I thought she was kind of funny. And I subscribed to her magazine. And so I wrote and I knew enough to make it short and make it sweet, but make it funny. So those are the two things that I remember kind of pulling together fast.And then I got into the elevator after my audition, and when you audition in the old days, the satellite feed was coming out to the network on the west coast. And so in 30 Rock, everybody had seen my audition. Which is a very weird feeling if you work at NBC. It's just the feeds are on throughout. I got onto the elevator and some random person was like, “Oh, that was really funny. I just watched your audition.” It was so validating because it was such a strange and silent experience.How about your best story about a guest host?I mean, generally speaking, [guest hosts] are on such good behavior because they really are being ruled by fear. It's a terrifying experience. I mean, I have such respect for people who host, because they show up in this crazy house. There's no syllabus for how your week is going to go. No one's going to break it down for you. And so I just have enormous respect for basically anyone who hosts, because they have to really have faith in what turns out to be a very effective but pretty makeshift system.Why do you think SNL’s managed to last for 50 years?I think its job has always been—because it started as sort of a revolutionary piece of television—to reflect culture back to itself. By the nature of it being live, it's immediate and it's probably riskier. There's not a lot of time spent hand-wringing and wondering if someone's going to be offended. Even the standards and practices are more chill at SNL, so you don't have this kind of delayed reaction, “Can we do that joke? Can we not do that joke?” And Lorne, of course, being the leader has always had a really bold foot forward on that stuff. Source link

[influencermagazineuk]

Timothée Chalamet, a well-loved Hollywood actor, is starting 2025 with an exciting challenge. He is set to appear on Saturday Night Live (SNL) later this month, taking on not just the role of host but also performing as the musical guest. This marks a significant moment in his career, as he combines his acting skills with his newfound talent for music, offering fans a double treat in one show. Chalamet’s Fourth Time Hosting SNL This will be Chalamet’s fourth time hosting SNL, showcasing his comfort and charisma on the famous comedy stage. His previous hosting stints in 2016, 2020, and 2022 were all met with enthusiasm from fans and critics alike. His ability to engage the audience with humor and charm has made him a favorite guest on the show. Credits: Wikicommons Raph_PH, CC BY 2.0 https://creativecommons.org/licenses/by/2.0, via Wikimedia Commons However, what sets this upcoming appearance apart is Chalamet’s dual role. He will not only guide viewers through the sketches but also perform as the musical guest, marking his debut as a musician on SNL. This unique combination adds an exciting twist to his appearance and reflects his versatility as an artist. A Musical Surprise: Songs from "A Complete Unknown" Chalamet’s musical performance is likely tied to his recent portrayal of music legend Bob Dylan in the biographical film A Complete Unknown. The movie highlights Dylan’s rise to fame and features Chalamet singing several of Dylan’s iconic songs. His dedication to this role, including the effort to master Dylan’s vocal style, has earned him praise from critics and audiences alike. By performing songs from the film, Chalamet will bring a piece of Dylan’s legacy to the SNL stage, blending his acting talent with a musical tribute. Fans are eager to see how he translates his on-screen performance into a live musical act, and many are already speculating which songs he might choose to perform. Building a History with SNL Chalamet’s connection with SNL goes beyond his hosting duties. He has also made guest appearances on the show, further cementing his relationship with the cast and crew. These appearances, including one in January 2024, have allowed him to develop a deeper understanding of the show’s dynamics, making him a natural fit for his upcoming double role. His comedic timing and ability to adapt to different sketches have consistently impressed viewers, and his return is highly anticipated. Fans are eager to see how he balances the dual responsibilities of hosting and performing, especially given the high expectations set by his previous appearances. The Announcement That Excited Fans The news of Chalamet’s double duty was revealed through SNL’s official Instagram account, where the guest list for January 18 and January 25 was shared. The announcement confirmed that comedian Dave Chappelle would kick off the 2025 season as host on January 18, with GloRilla performing as the musical guest. For the January 25 episode, however, all eyes are on Chalamet, who will take center stage for both hosting and performing. The announcement sparked excitement among fans, who are looking forward to an unforgettable night of entertainment. Why This Appearance Is Significant Chalamet’s decision to take on both roles reflects his growth as an artist and his willingness to step out of his comfort zone. While he has already proven himself as an actor, this opportunity allows him to showcase his musical abilities on a major platform. The combination of acting and music is a rare feat for SNL hosts, making this episode a unique addition to the show’s history. It also demonstrates Chalamet’s confidence in his talent and his dedication to exploring new creative avenues. A Look Back at Memorable Hosting Moments Chalamet’s previous hosting gigs on SNL were filled with memorable moments that showcased his humor and personality. From hilarious sketches to light-hearted monologues, he brought his own flair to the show. Fans fondly remember his ability to connect with the audience and his willingness to dive into comedic roles that differed from his usual serious movie characters. This history of success on SNL has built anticipation for his upcoming appearance. Viewers are eager to see how he will use his experience to deliver another standout performance, especially with the added element of live music. What Fans Can Expect For the January 25 episode, fans can expect a mix of humor, music, and heartfelt moments. Chalamet’s versatility as an entertainer ensures that there will be something for everyone, from lighthearted sketches to emotional musical performances. Credits: Wikicommons Raph_PH, CC BY 2.0 https://creativecommons.org/licenses/by/2.0, via Wikimedia Commons Given his dedication to his craft, it’s likely that Chalamet will bring his A-game to both roles, making this episode a memorable one for fans of SNL and Chalamet alike. The combination of comedy and music promises to create a dynamic and engaging show that will leave a lasting impression. The Legacy of SNL Hosts Who Perform While it’s rare for SNL hosts to also serve as musical guests, it’s not unheard of. Previous examples include stars like Justin Timberlake, Lady Gaga, and Ariana Grande, who showcased their talents in both roles. Chalamet’s upcoming appearance places him among this elite group of performers, highlighting his ability to excel in multiple areas of entertainment. By taking on this challenge, Chalamet is further solidifying his place as one of Hollywood’s most versatile and talented stars. His willingness to embrace new opportunities and push his boundaries sets him apart from his peers, making him a role model for aspiring artists. Read the full article

[whatsissue]

SNL Recap: Maya Rudolph and James Austin Johnson Face Off as Kamala Harris and Donald Trump

James Austin Johnson as Donald Trump, Kenan Thompson as Steve Harvey and Maya Rudolph as Kamala Harris on 'Saturday Night Live.' Will Heath/NBC SNL Recap: Maya Rudolph and James Austin Johnson Face Off as Kamala Harris and Donald Trump on Family Feud In a brilliant satirical twist on political debates, Saturday Night Live (SNL) brought back fan-favorites Maya Rudolph as Kamala Harris and James Austin Johnson as Donald Trump. This time, they faced off on the iconic game show Family Feud, hosted by the ever-charismatic Kenan Thompson as Steve Harvey. The sketch not only provided laughs but also cleverly highlighted the absurdities of political rivalries in a humorous game show format. A Hilarious Introduction The sketch opened with Thompson introducing himself with his signature humor: “I am Steve Harvey and I have spent the past 20 years hosting every show on TV as my alibi for them Diddy parties.” The audience erupted in laughter as he set the stage for a comedic showdown between the two political rivals. Thompson then introduced the Democratic side, which featured Harris (Rudolph), Tim Walz (played by Jim Gaffigan), Joe Biden (portrayed by Dana Carvey), and Douglas Emhoff (played by Andy Samberg). On the Republican side, Johnson’s Trump was flanked by J.D. Vance (played by Bowen Yang), Donald Trump Jr. (played by Mikey Day), and a notably absent Melania Trump. Rudolph's Harris wasted no time with her sharp wit and humor. Upon her introduction, she quipped, “It’s wonderful to be here, Steve. I love to see a man getting paid millions of dollars at his black job.” The line drew laughter from the audience, showcasing her ability to blend humor with social commentary. She then humorously recounted her recent media blitz, stating, “I went on Howard Stern to reach the horny cab drivers and on The View for the horny moms.” This self-aware commentary was not only funny but also highlighted the often ridiculous lengths politicians go to in order to connect with various voter demographics. She concluded her introduction with a powerful message aimed at young women: “You need to go to the ballot box if you want the government out your ballot box,” reinforcing the importance of civic engagement. The Game Begins As the game commenced, Thompson's Harvey introduced the first question: “What’s something that you keep in your glove compartment?” The comedic tension built as Harris took the floor. In a humorous detour, she began discussing her middle-class upbringing, sharing anecdotes about her mother and sister, before finally answering the question with a punchline, “Oh, a Glock, Steve. A big ole Glock.” The unexpected answer elicited laughter and applause from the audience, and the Democrats seized control of the board. Next was Samberg’s Emhoff, who attempted to mirror Harris’s boldness by echoing her answer. “Steve, a Glock,” he confidently stated, adding another point to their team. However, the momentum shifted when Gaffigan’s Walz and Carvey’s Biden offered less impressive answers, leading to a missed opportunity for the Democrats. The Republicans then had their chance to steal. Thompson turned to Trump first, who responded with characteristic bravado. “Well, Steve, I’ve never ridden in the front seat of cars, so this question is very unfair,” he declared, setting the stage for a lengthy, rambling rant that veered off-topic. The audience laughed at Johnson’s portrayal of Trump, which effectively captured the former president’s penchant for long-winded speeches. In a moment of comedic genius, Thompson’s Harvey, growing increasingly frustrated, yelled, “Show me dementia!” The audience erupted at the absurdity, but that answer wasn’t on the board, leading to a decisive victory for the Democrats. The sketch perfectly encapsulated the chaotic nature of political discourse, using humor to address serious issues. Ariana Grande Hosts The episode featured Ariana Grande returning to Studio 8H to host SNL for the second time, a notable comeback since her hosting debut in 2016. Grande also performed as the musical guest during Josh Brolin’s episode last season, making her presence even more anticipated. This week, the legendary Stevie Nicks took on the role of musical guest. Grande opened her monologue with a lighthearted promise to keep things “low-key.” “I’m just hosting. I’m not gonna make this about me. I’m just gonna have fun,” she stated, setting the tone for her appearance. However, true to her vibrant personality, she soon broke into song, showcasing her impressive vocal range with a medley that included spot-on impressions of Britney Spears, Miley Cyrus, and Gwen Stefani. During one segment, Yang joined her on stage dressed as Glinda from The Wizard of Oz, prompting Grande to playfully inform him, “Bowen, didn’t anybody tell you? We cut the Wicked sketch.” This line not only highlighted her comedic timing but also connected with the audience, who appreciated the reference to Broadway. Grande further entertained the audience with her playful declaration, “The other last thing I’m not gonna do is bring out some hot dancers to do some insanely high kicks,” only to be joined by a troupe of dancers for a lively performance. The “We Can’t Be Friends” artist continued to flex her vocal prowess, singing, “If you’re looking for a diva, don’t look over here. ‘Cause tonight, I’m keeping it low-key.” Conclusion The latest episode of Saturday Night Live successfully blended political satire with musical entertainment, showcasing the talents of both the cast and the host. The Family Feud sketch provided a humorous critique of political rivalries while highlighting the absurdity of contemporary discourse. Ariana Grande’s return added an extra layer of excitement, as her performances captivated the audience and showcased her multifaceted talents. As SNL continues to tackle current events with humor and creativity, viewers can look forward to more memorable moments that reflect the ever-evolving landscape of politics and entertainment. The combination of sharp satire, musical performances, and engaging sketches ensures that SNL remains a cultural touchstone in American television. SEO Keywords: Saturday Night Live, SNL recap, Maya Rudolph, James Austin Johnson, Kamala Harris, Donald Trump, Family Feud sketch, Ariana Grande, Kenan Thompson, political satire, comedy. Read the full article

[usnewsper-politics]

SNL's Hilarious Parody of the Republican Debate with Alec Baldwin as Donald Trump! #AlecBaldwin #donaldtrump #republicanpresidentialdebate #SaturdayNightLive #SNL

[creaturesfromelsewhere]

Goth Talk

Sometimes when I travel and folks learn I currently hail from the Tampa Bay area, they point at me and announce with great enthusiasm, “Oh, oh - Goth Talk!”  And then there is a brief shared memory of the most obscure recurring SNL skit from the late 90′s.  Although many people wave a dismissive hand and declare that Goth Talk was merely a rip-off of Wayne’s World, I prefer to think of it this way: Wayne’s World was the prototype and proof of concept while Goth Talk was the polished, commercial product.  A niche product to be sure, but a well crafted niche product.

For those not familiar with this admittedly obscure bit of pop culture, Goth Talk was an SNL skit portraying a goth cable access show hosted by two high-school aged teens, Todd aka Azrael Abyss, the Prince of Sorrows (Chris Kattan), and Denise aka Circe Nightshade (Molly Shannon - looking really hot as a goth, btw), in Todd’s family’s garage.  Although the two are desperate to present themselves as living in a sinister and gothic world, they live in Tampa, Florida.  All that pesky sun, sand, and hockey - not exactly the stuff gothic dreams are made of - the real world of Tampa is constantly intruding upon their flimsily constructed dark world, to great hilarity.

My introduction to Goth Talk was totally random.  Brushing away the cobwebs in that corner of my memory brings me back to some small gathering of acquaintances in someone’s living room while the TV was tuned in to SNL for background noise, barely audible over our music.  Suddenly, everyone’s attention was grabbed by the TV faintly playing ‘Bella Lugosi’s Dead’ by Bauhaus - so incongruous an event that it demanded one’s attention, even if for only a momentary glance.  On the screen was presented the title card, in gothic font Goth Talk.  Conversation ceased and somehow our music faded and the TV volume increased.  

We sat transfixed by a skit that seemed to have been written specifically for us.  Sitting in bewildered amusement, we chuckled and smiled for the brief 6 minute skit.  This particular episode featured guest host Rob Lowe and a god-awful video he had shot in a park, but only part of it since volumes 1-3 had been taped over.  When the skit ended and reality started back up, there was a moment of silence from our little group, then one of the girls gave voice to the thought running through all our minds, “Did...did that really just happen?”

We instantly became die-hard SNL fans and religiously tuned in week after week awaiting the return of our new distraction, but it took quite a few weeks before our TV friends returned for another visit.  Only then did we catch the beginning of the skit with the Sunshine State Cable Access gag we hadn’t noticed the first time.  Jeff Goldblum was the guest on this segment, and this one was just as hilarious as the first.

Unfortunately, the segments were not a regular enough occurrence to keep us watching for them and I only finally saw the segments I’d missed while I was doing what passes for research on this little blog.  I’d seen the Sarah Michelle Gellar episode where they argue whether Tampa or Orlando is more sinister (spoiler - the answer is neither) and I’d seen the Christina Ricci one where Todd, excuse me, Azrael Abyss, the Prince of Sorrows, has a ‘living’ funeral.  However, I’d never seen the ones with Lucy Lawless, Steve Buscemi, or Charlize Theron until recently.  On the one hand, it’s sad that only 7 segments were made but on the other hand, it’s amazing that 7 segments were made considering the target audience is so tiny.  

Details of the sketch’s origin are, well, sketchy.  Apparently the idea was conceived by Chris Kattan, but it was left to SNL writer Dennis McNicholas to flesh it out into a full skit.  McNicholas being from Tampa, knew of the local goth scene and, appreciating the dichotomy of goths baking under the Florida sun, decided to set the skit in Tampa.  The rest, as they say, is History Channel.

One might think after watching all 7 Goth Talk segments, that Tampa must only have 4 or 5 goths in the whole city, but in an ironic twist, it actually has quite a few.  Difficult to lock down numbers for any nocturnal species, but you can get an idea of population at The Castle goth club in Tampa’s Ybor City neighborhood.  Friday and Saturday nights find The Castle filling with scores to hundreds of the darkly inclined.  All these goths in the same sunny Tampa Todd and Denise seemed so alone in?  Who’d have thunk it?

Will we be blessed (cursed) with a Goth Talk revival of some sort?  Hell, they made a Mary Katherine Gallagher movie, after all. Sadly, even within the deepest, darkest servers of the interwebs there is nary a whisper of a revisit to Todd’s parent’s garage, but one can always hope.  Perhaps a Super Bowl commercial?  Perhaps a skit on Jimmy Fallon?  A cheap one-of 6 page graphic novel?  The cards are silent for now, but one never knows what the next shuffle will reveal.  As I’m an incurable optimist, I like to think Azrael and Circe will visit us again.  I’ll keep an eye out for them at The Castle, just in case.

“So until next time, beware the daylight.”

-CreaturesFromElsewhere  2/10/2021

[carlosgabrielruiz]

PINKERTON - 33 1/3 Proposal Part 3

Why Now?

Weezer’s Pinkerton was released on September 24, 1996, so September 2021 would be the 25th anniversary of the record, and the perfect time to make this book happen.

Weezer are still relevant. They’ve continued to release records at a steady clip, with sales that are impressive, and they’re one of the biggest draws on the road whenever they launch a new tour. 

Plus, they still maintain a certain amount of cultural clout. Look no further than the SNL sketch from December 2018 featuring Matt Damon and Leslie Jones debating the Weezer discography, the pros and cons of Weezer post-Matt Sharp’s departure from the band, and which fan truly “understands” the psyche of Rivers Cuomo, all with hilarious results.

The fact that there is no 33 1/3 book featuring Weezer is a travesty. It’s high time that Bloomsbury rectifies the situation by putting out a book on Weezer, specifically this book on Pinkerton. 

My take on Weezer’s Pinkerton will focus on three different areas: 

The key members of the band, specifically the duality of Rivers Cuomo and Matt Sharp, who were the heart and soul of Weezer.

The background subject matter of this record and the historical context of it, as well as juxtaposing it with Puccini’s opera Madame Butterfly.

The songs on the record. What they’re saying, what they’re meaning, and wrapping them in the context of the songwriter’s (Rivers Cuomo) life.

[some-lists]

10 Shows That Should Be Added to Disney Plus

Disney Plus is a goldmine for all things Disney. They’ve got almost every animated film, all the Star Wars films, Marvel, Disney Junior cartoons, old 50’s shows, and more. I was excited to check out all the old Disney Channel Original Series from days past to sadly discover they only go back to 2000.

There are some really great 80’s and 90’s shows that are missing from Disney Plus. That’s two decades of material sadly not included in the streaming service. Here are 10 that should be added.

10. The Torkelsons

The Torkelsons was a family sitcom about an Oklahoman woman, whose husband has just left her and her five children. The show depicts her trying to survive financially while raising her kids. Her oldest daughter Dorothy Jane talks to the “man in the moon” like a diary. The second season saw the family move to the West Coast where they moved in with an upper middle class family. It featured a pre-famous Brittany Murphy, Jared Leto, and Ben Affleck.

9. The Famous Jett Jackson

The Famous Jett Jackson came out in the late 90’s, just before Even Stevens. It was about a famous teen movie star who moves back into his small hometown to be a regular kid. It was one of the Disney Channel’s first original series and it was a big hit. It had its own original TV movie and Beyoncé even made a guest appearance. Tragically, its star Lee Thompson Young committed suicide in 2013. I wonder if that’s the reason it wasn’t included in the streaming service.

8. Welcome to Pooh Corner

This was one the Disney Channel’s first preschool programs in the 80’s. It featured a narrator telling various adventures of Winnie the Pooh and his friends. All the characters were played by real people in costumes. I’ll admit, the costumes are a little creepy by today’s standards. But the theme song and soothing voice of the narrator are worth it.

7. Ready or Not

This wasn’t an original Disney series, but was picked up from Canada and aired on the Disney Channel throughout the 90’s. It was about two best friends and their life from sixth to ninth grades. It dealt with so many issues still relevant today in real, thoughtful ways. It’s still one of the best children’s shows to air throughout the channel’s history.

6. Adventures in Wonderland

This was a live action show about Alice and her daily adventures when she steps through her looking glass/mirror. There were cheery songs, dances, cheesy jokes, and life lessons. Every character was played by an actor in makeup and costume, including the White Rabbit, Mad Hare, and Catepillar. The Catepillar was especially creepy, but it was a fun show.

5. In a Heartbeat

This show has unfortunately been forgotten by too many. It’s such a shame because it was really great. Inspired by real teens, it was about a group of teenage EMTs as they balance high school and saving lives after school. It was like ER for kids. It was Disney’s first and last attempt at a drama series that aired in 2000. Unfortunately it only lasted one season, and Disney shifted to sticking to teen comedies.

4. Ocean Girl

Ocean Girl was acquired by the Disney Channel from Australia and aired for several years in the 90’s. It’s about a girl who lives on a deserted island in the middle of the ocean. She can swim at great depths holding her breath for long periods of time without any apparatus. It’s a little cheesy, but it was so good. It had elements of fantasy, sci-fi, suspense, romance, and comedy. It also taught about the importance of protecting and preserving the ocean. It would be great if Disney could somehow get the rights to this show and stream it again.

3. Kids Incorporated

Kids Incorporated aired on the Disney Channel from 1986 to 1994. It was about a group of kid performers who would sing and dance onstage at a club after school. All the kids did their own singing and were crazy talented. Several of them went on to become big stars, like Fergie, Jennifer Love Hewitt, and Mario Lopez (pre-A.C. Slater).

2. The All-New Mickey Mouse Club (MMC)

The show that started the careers of Britney Spears, Christina Aguilera, Justin Timberlake, Ryan Gosling, JC Chasez, and Keri Russell. Ever wonder why Justin Timberlake was so good in all his SNL appearances? This is why. MMC was a variety show that ran from 1989 to 1994. All the kids acted in comedy sketches and sang and danced to popular songs in front of a live audience. They also recorded their own music videos and had a spin-off show for teens. It featured regular celebrity guests including TLC, Boyz II Men, New Kids On the Block, Jodie Sweetin, Tia and Tamera Mowry, and so many more. This show is a pot of gold and Disney’s just sitting on it. They already put up the 50’s version. Now Disney needs to do some digging and put the 90’s version back up pronto!

1. Flash Forward

I cannot believe Flash Forward isn’t on Disney Plus! It was the Disney Channel’s first original series. It was about two best friends and next door neighbors (Ben Foster and Jewel Staite) as they go through junior high. Ryan Gosling also appeared in a couple episodes. It’s a fun, hilarious, and very sweet show. I am seriously waiting for Disney Plus to stream this. If they’re going to add Even Stevens and The Proud Family, they need to add this one too. It’s too good to miss!

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Supercorptober 2020 Day 4 - Dogs

✨established supercorp fluff and humor featuring all the good canon ships. tw: alcohol and xanax mention✨

Saturday game nights tended to follow the same script. By eleven, Alex was always too drunk to coherently play any board game; by eleven fifteen, Lena always reached that state where she was just tipsy enough for her game playing ability to be impaired, while her ego remained only strengthened.

As such, Nia adapted. Not wanting to deal with Lena waxing poetic for fifteen minutes about the philosophical merits and statistical data of Clue, she deemed it best that they put a halt on the board game-ing for that night and watch some SNL re-runs. The plan was simple enough, and it would surely elicit some laughs from Kelly that would make drunk Alex swoon and make a hilarious fool of herself. It was a win win.

At Nia’s request, Kara hooked up the Apple TV and shuffled Nia’s SNL Favorites YouTube playlist. The first sketch to play was “Xanax for Gay Summer Weddings.”

The skit was funny enough, and visibly well-done. The premise was cute and simple: gay summer weddings are so perfect that you have to take Xanax to survive your feelings of inadequacy while in attendance. But it was the last fifteen seconds that had Alex howling, nearly spitting out her wine.

“That’s literally you!” she said, breathless from laughter, as she pointed dramatically at Kara.

AO3 link to keep reading in the reblogs (so tumblr will show this in the tag!)