The anticipation surrounding a UK version of Saturday Night Live was cautiously optimistic – the American institution’s humor doesn’t always travel well, but a talented team could have made it work. After this weekend’s episode, however, serious doubts have emerged.
The episode, themed around *Stranger Things*, was widely considered a disaster. Beyond a disjointed monologue from Finn Wolfhard and a baffling Harry Potter sketch, a troubling undercurrent quickly became apparent to viewers: a pervasive sense of misogyny and homophobia.
The absence of the show’s female leads was immediately noticeable, and a particularly jarring moment involved Caleb McLaughlin, in character, making a deeply uncomfortable joke about Sadie Sink’s character, Max, while discussing intimacy. The suggestion of sexualizing someone in a comatose state felt shockingly insensitive.
Wolfhard’s own monologue didn’t fare much better, drawing criticism for comparing vaginas to the monstrous Demogorgon – a comparison that landed with a thud and sparked considerable backlash. It felt like a throwback to a bygone era of crude, unfunny comedy.
Another sketch proved equally problematic, with Jeremy Culhane taking on the role of Will Byers, and seemingly mocking Noah Schnapp’s character’s emotional coming-out storyline. The scene felt dismissive and lacked sensitivity.
A tone-deaf Harry Potter parody further compounded the issues, with the punchline revolving around the idea of a romantic relationship between Ron and Harry. The inclusion of a slur and the demeaning portrayal of Hagrid as an “old queen” felt less like clever satire and more like stale, outdated internet humor.
The recent departure of Bowen Yang, an openly LGBTQ+ cast member, has highlighted a concerning lack of representation within the show. His absence is now acutely felt, particularly in light of these problematic sketches.
Adding to the discomfort, one of the show’s newest hires, Kam Patterson, recently described SNL as “gay as f*” in a stand-up routine. This statement, coupled with the episode’s content, created a jarring and unsettling dissonance.
While the *Stranger Things* actors bore the brunt of the immediate criticism, the responsibility ultimately lies with the writers. For years, the show has struggled to connect with audiences beyond America, and a reliance on tired tropes is clearly to blame.
The looming presence of Lorne Michaels, the show’s creator and executive producer, raises further concerns. While Michaels has a remarkable track record of discovering comedic talent, his hands-on approach may be stifling the show’s ability to evolve.
Even before this episode, fans have noted a decline in the show’s quality and a worrying tendency towards “sympathy for the powerful and the influential,” as one critic put it. The inclusion of controversial figures like Elon Musk and Donald Trump exemplified this trend.
Recent attempts at satire elsewhere haven’t been much better. The return of *Spitting Image* was marred by accusations of misogyny and sexism, demonstrating the difficulty of landing satirical punches without resorting to harmful stereotypes.
The key to success for SNL UK, and indeed for the American version, lies in fresh perspectives and a willingness to challenge the status quo. Satire must be intelligent and insightful, not reliant on easy targets and outdated prejudices.
There is some cause for optimism with James Longman and Suzi Aplin taking on key roles. Their experience with shows like *Never Mind the Buzzcocks* and work with outspoken comedians like Katherine Ryan suggests a potential for a more progressive and relevant approach.
The success of SNL UK hinges on finding a cast and writers who understand what resonates with a British audience – comedians who are brave enough to tackle difficult subjects with wit and intelligence, and who avoid the pitfalls of lazy stereotypes. Ultimately, satire needs to be funny to be effective.
