Devin walks me through a therapy session as we unpack the current state of Saturday Night Live.
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- Political satire (0:00 – 19:30)
- Alec Baldwin (19:30 – 27:00)
- Weekend Update (27:00 – 38:00)
- Pete Davidson (38:00 – 46:00)
- Mark’s theory on hosts (46:00 – 50:00)
- Why we keep watching (50:00 – End)
Some sketches we discussed:
Each day this month (assuming I don’t get busy or bored!), I’ll reflect on a tiny sliver of pop culture that I enjoyed or appreciated this year — scenes, shots, gestures, verses, sights, sounds, moments. Today: Leslie Jones triumphs over the haters by being who she is.
The first monologue of this current season of Saturday Night Live began in fairly typical fashion. Host Margot Robbie looked ecstatic as she smoothly navigated her first few jokes and an appearance by Kenan Thompson, who joked that he’s been on the show for so long that he “slept like a baby” the night before the premiere. (Actually, I doubt that was a joke. Side note: I hope Kenan never leaves SNL. He’s a treasure.)
Then Leslie Jones arrived onstage, and the crowd exploded.
Fall TV is upon us, and the broadcast networks still exist! I watched two Fox shows and two ABC shows that premiered this week. Here are some thoughts, from favorite to least favorite.
As I wrote when The Late Show with Stephen Colbert premiered last Tuesday — was it really such a short time ago? — late-night shows are evolving creatures. To judge them on their first episode is the equivalent of evaluating a new employee on his first day of work. To judge them after two weeks still isn’t entirely fair, but the nine Late Show episodes that have aired so far give a slightly more accurate picture of what the appeals and setbacks of this show are, might be and could become.
The standard caveat with the analysis that follows: The Late Show with Stephen Colbert will almost certainly look very different in six months’ time. Many of the people involved with making the show likely already have a sense of its flaws, even if they haven’t come up with practical fixes yet. These opinions are subject to change without warning.
Bojack (left, voiced by Will Arnett) and Diane (right, voiced by Alison Brie) in Netflix’s “BoJack Horseman.” Photo courtesy of Netflix.
BoJack Horseman is about BoJack Horseman, the washed-up star of a popular 90s sitcom who lives in Los Angeles, spending his days grappling with the reality of his dwindling fame and chronically minimal self-esteem. He has a cavernous home, a loyal roommate, an enterprising agent, no friends, inconsistent job prospects and a streak of self-destructive behavior that keeps his closest acquaintances and confidants at a remove. He’s sad, lonely, bitter, sarcastic, self-serving, unfaithful and deeply, painfully, perpetually depressed.
If he were the subject of a live-action comedy or drama, you might find him deplorable, or at least unwatchable. But the key is, he’s not just a man. He’s also a horse. And the show around him is a horse of a different color.
Judd Apatow’s filmmaking style is either generous or lazy, depending on your vantage point. To a one, his movies run too long, with individual scenes stretching past their comedy expiration time, zany supporting players and celebrity cameos filling out (or overstuffing) the ensemble, ideas and themes and conventions and subversions jockeying for space. You leave one of his movies feeling sated – sometimes satisfyingly so, but other times like the feeling you get when you eat a little too much, a little too fast.
This comedy of excess makes for an awkward fit with the simultaneous goal of launching a young up-and-comer’s career as a movie star. The rise of Amy Schumer – as an actress, a character, a persona and a brand – is one of the big stories of Trainwreck, Apatow’s fifth directorial feature.
This week on the M&M Report, Devin and I welcomed returning guest Kevin Werner to discuss the fourth season of Veep, which ended its ten-episode run on HBO this past Sunday at 10:30.
We talked about the highs (Jonah and Richard, the cult of Tom James, the plight of Catherine Meyer) and the lows (fuzzy electoral math, overly dense finale plots) of this season, and we touched on our expectations for the next one, the first under replacement showrunner David Mandel.
The show’s creator Armando Iannucci is moving on from the show. He explained why in an interview with the Hollywood Reporter. Another piece worth your time: former senior adviser to the president Dan Pfeiffer argues on Grantland that Veep is America’s most realistic show about politics.
Last time Kevin joined us, we talked House of Cards (or rather, Kevin and Devin talked House of Cards while I frowned in the corner).
Devin and I last discussed Veep during its third season in 2014.
Note: Devin and I are testing out a new M&M Report approach: one topic per episode. This week’s entire podcast is about Veep, with spoilers aplenty. Tune in next time for more.