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Snl I Muffed It Up Again

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Emily Blunt & Bruno Mars Saturday Night Alive, October 15, 2016

Emily Blunt & Bruno Mars Saturday Night Live, October 15, 2016

Published Oct 16, 2016

Saturday Nighttime Live has been on a tear already, with 2 strong episodes to kicking off its 42nd flavor. How did Emily Blunt and Bruno Mars fare last night? Let'southward take a look at everything that happened.

The Common cold Open

In that location was no way this wasn't going to be an election sketch. Writers had a lot to work with after last week'due south second Clinton/Trump debate and its fallout, but they even so drew jokes from other platforms. Playing the moderators, Alex Moffatt tried his hand at a pocket-sized Anderson Cooper impression while, in a greater effort, Cecily Strong captured the no-horseshit gruffness of Martha Raddatz.

They opened with a great couple of lines, expressing resignation well-nigh even going through this mockery of a debate; "Can nosotros say this now?" Raddatz asks Cooper, who gives the go-ahead to introduce one of the nominees as "President Hillary Clinton." The performative interplay between Kate McKinnon as Clinton and Alec Baldwin as Donald Trump is still a dynamic chemical romance, and writers made hay of the rise and fall of Ken Bone and Trump's recent Ballot Mean solar day agenda deficiencies by having him suggest voters show upwards on an odd day.


The best bit was Trump lurking behind Clinton, coming in and out of the shot like a horror movie villain with his appearances punctuated by spooky music, like the theme from Jaws. A great, hilarious thought… that Funny or Die already executed ameliorate earlier in the week, with an assist from composer Danny Elfman.

So, yes, this was funny merely not for whatsoever detail innovation by the show. On the plus side, at to the lowest degree one other glum schmuck watching terminal night thought information technology missed the mark.

The Monologue

Emily Edgeless was a game and skilful host overall and, afterward asserting her British superiority with a quick quip, she engaged in the daring tradition of doing a musical number in her monologue. To fight the doom and gloom of the world at big, she engaged the audience in a rendition of "Go Happy," with bandage members showing up to offer warm, fuzzy, wholesome gifts to the audience. It was mostly all sight gags, with recipients accepting cookies, puppies, massages, a cake and hugs from their ain moms. Nada edgy hither (accept for Pete Davidson's horny massage clarification) merely maybe a note viewers needed to hear during this wretched, gross point in time.


The Escorts sketch

This strange choice for a pb sketch, when information technology was clearly a 12:55 number, had some pacing bug and Leslie Jones script miscues but, to be off-white, it didn't ever seem bound for glory. Moffatt and Mikey Solar day played young, rich guys who hired escorts played by Blunt and Jones, whose weird ground rules misfile the men. The terms are nonsensical just, other than Blunt corpsing twice, both while reciting a function playing phrase, "Oopsy Doopsy, I muffed it up again," this wasn't notable or good.

The Melaniade sketch

The most ambitious digital curt was a send-upwards of Trump in the fashion of construction of Beyoncรฉ's "Sorry."

Potent plays Melania Trump and every woman currently in the Donald'due south orbit (Ivanka, Tiffany, Kellyanne, Omarosa, etc.) takes function in putting him down for the fashion he'due south treated them. Even Brook Bennett, as Mike Pence, files a grievance against the human, and writers throw in a dainty dig at Melania'south plagiarism of gifted black women's words.

Totally absurd concept and artfully rendered in the style of Queen Bae but, as exhibited by the in-studio audience's desultory, sparse laughter, the piece was more angry and bleak than consistently funny.


The Ann Arbor Short Flick Festival sketch

Easily the funniest segment of the night, this satire of contained short films was a fleck inside but also totally relatable. Blunt is the star of an artsy short chosen "qua," which is screened at a festival. When the moderator announces a filmmaker Q&A, the entire cast and crew leave their seats, leaving a graphic symbol played by Vanessa Bayer in the stands, as the just audience member nowadays and not involved in the product of the film. She's then put-upon to come up upwardly with interesting questions about the film, which leaves her increasingly exasperated as the big ensemble treats every answer like a precious child they've raised with pride. Totally smart takedown of pretentiousness, loserdom, and delusion that worked well.


The Chonk ad

This is merely a solid takedown of women'southward fashion and the mixed messaging that some companies employ to encourage all of united states to assert ourselves. Over a cheery, positive sentiment designed to bolster women's confidence about their appearance, nosotros occasionally hear the ambiguously unflattering name of the retailer: Chonk. The previously smiling women go increasingly troubled by the abrasive voiceover, none looking as comically taken ashamed equally the gifted Aidy Bryant. Well done.


The Bruno Mars performances

Redefined as a supercharged funk-pop dynamo afterward breaking through with "Uptown Funk," Bruno Mars was undeniably cool in his two performances this evening. For "24K Magic," he started the song in his dressing room, the cameras tracking his hyper but slick, patient stroll to the phase. He and his male person back-upwardly singers, all clad in throwback sports uniforms (a Hashemite kingdom of jordan Bulls "45" will likely exist a sought-after detail now), immersed themselves in dancing members of "the audience," earlier ascending to the phase, which few performers exterior of Bono and Kanye e'er dare to step foot from while performing on SNL. After on, "Chunky" was more than conventional but all the same a blazing sonic and visual statement from a young man tapped into the flavour of James Brown, Michael Jackson and Prince.

Weekend Update

Colin Jost and Michael Che accept a veritable news cafe to re-fill their plates with these days and they did an admirable job this week. They trashed Trump as a serial groper, even of the air around him, and fifty-fifty took down Julian Assange, suggesting that Admission Hollywood might have more political ascendancy than Wikileaks. They fifty-fifty looked elsewhere for provender, including a skilful deport sex joke and a harmless, though technologically mired riff about Bob Dylan'due south Nobel Prize victory (instead of the usual accompanying graphic past Jost's head, the screen was simply blank).

Though Russian federation's increasingly in the news, McKinnon's hard-done-by Olya grapheme, while steadfastly performed and well-written, feels more and more like a time suck on "Update." Just hit i idea over and over again for three minutes doesn't serve the segment well. That said, Vanessa Bayer's Laura Parsons, a Disney-fied child star who obliviously sing-songs her way through gruesome news headlines, presumably for some kind of educatee piece of work placement, is ane of the funniest desk panelists always. And Bayer was in top form tonight.

The whole show post-Weekend Update

Every week, SNL strikes a weird balance between 12:15 and the end of the show. It's ordinarily a mixed bag of daring, ambitious conceptual stuff and half-baked ideas that get put on their legs merely to come across what happens. On this episode, everything thrown at the wall in this timeframe pretty much slid correct off. The totally nonsensical Burger King bulldoze-thru bit initially seemed like a callback to Larry David'due south '80s reprobate, Kevin Roberts, with a series of colourfully surreal characters messing with Pete Davidson's hapless BK window bellboy. It was dumb for the sake of existence dumb, merely that's about as far equally it went.


There was the artful short almost a sink not understanding its purpose, which was actually quite strong in its randomness.

At ane bespeak, malfunctioning, food-serving robots harassed people at a presentation about Honda's A.I. capabilities; Melania Trump returned for a brief, starkly melancholy piece in which she contemplates trading places with a look-alike maid; and a British Bake-Off competition show featured Blunt and Stiff playing vile, Brexit-supporting English trash. Most of these light-headed things stank and burned.


If annihilation salvaged the evidence's dorsum end, it was the baroque yet fascinating noir drama involving a boy, played by Kyle Mooney (who, along with his close collaborator Bennett, more often than not revels and thrives in the weirdness), and his intense hamsters, who, as a pair of couples, are not getting along. In fact, they detest each other in a most familiar way.

This matter was oddly compelling and darkly funny, with a conviction and execution that wasn't always evident on this strange, uneven episode.

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Source: https://exclaim.ca/comedy/article/emily_blunt_and_bruno_mars-saturday_night_live_october_15_2016

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