Saturday marked the third time this season that Saturday Night Live has had a sketch lampooning TikTok. "The sketch, which uncannily replicated the wormhole-like experience of TikTok, was immaculately produced, though the level of postproduction required to send up lo-fi content carries a certain kind of irony," says Amanda Wicks. "But by being so on the nose with its imitation, SNL failed to say anything particularly meaningful. Like cast member James Austin Johnson’s eerily accurate Trump impression, it was clever but lacked insight." Wicks adds: "In taking aim at TikTok users, SNL is swiping at an audience whose attention it’s competing for. Although SNL became the overall top entertainment program in the coveted 18-to-49 age bracket last season, ratings for the current season premiere dropped by 35 percent compared with its predecessor. Metrics aside, SNL is far, culturally, from its high-water mark during the lead-up to the 2008 presidential election, when its sharp-toothed political commentary and Tina Fey’s uncanny take on Sarah Palin regularly claimed the spotlight. Since then, as social-media apps have shifted the speed with which viewers consume information, and as attention spans have narrowed, the show has struggled to keep pace in the way that other, more viral-friendly platforms can. The amount of time it’s dedicated to TikTok this season could be viewed as an attempt at staying current, but it has come off more like jealousy instead." As Wicks points out, SNL's pandemic episodes two years ago revealed how similar the show is to TikTok, with cast members doing what TikTok users do -- perform in front of the camera at home.
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Lizzo's SNL episode wasn’t just a miss, it was alarmingly bad on some very basic levels: "If skulls don’t necessarily need to be cracked, there should be some serious Zoom meetings about reorienting the ship before the show returns on May 7 with Benedict Cumberbatch as host," says Michael Martin. "If I were that guy’s agent, I’d be sweating right now...What the hell happened this week on the production side? Did a Batman villain drop in and surreptitiously disperse a talent-zapping gas into Studio 8H?" Martin adds: "Lizzo works overtime to please. Unfortunately, SNL’s writing staff didn’t bother to show up for her episode this week. What’s worse: Wherever the writers were, they apparently took the technical staff along, as this episode of SNL committed the cardinal sin of making a talented musical guest look distinctly ungreat in performance."
Lizzo was terrific in a truly entertaining SNL episode: "There’s pretty much no question in my mind that Lizzo is going to go into acting—and be very good at it," says Dennis Perkins. "Yeah, she read some cue cards, but SNL actively and historically discourages performers from memorizing the ever-changing lines, and if every host wrung as much joy from her lines as Lizzo, SNL would be very happy, indeed. And, sure, she was prone to break throughout, but there’s breaking and then there’s Lizzo breaking, which seemed utterly spontaneous and born of genuine, and contagious, joy at being there. There was nothing self-satisfied about it (cough—(Jimmy) Fallon and (Horatio) Sanz—cough), which makes all the difference. And Lizzo was really funny. The Lizzo rom-com, when it comes, is going to be similarly buoyed by a performer who simply has the stuff. Tonight was all about tempo, too, as each sketch seemed to have a running motor a lot of sketches this season have lacked. SNL can be a monster of a gig for anybody, never mind a first-time host also pulling double-duty as musical guest, and Lizzo was great."
The cold open was a parade of bad impressions: "(James Austin Johnson's) Trump and (Chris) Redd’s (Eric) Adams aside, these are among the worst, most obnoxious, and straight-up laziest impressions in the cast’s repertory," says Zach Vasquez. "The writing sinks to match them on several fronts, from the hypocrisy of lampooning (however lightly) Musk less than a year after the show gave its entire platform over to him, to the softening of (Marjorie) Taylor Greene by portraying her as a harmless kook, to the attempt to have it both ways by pointing out how useless New York’s law enforcement while simultaneously parroting their 'rising crime' talking point."