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 of offensive material quickly became apparent to viewers.
The most jarring moments centered on deeply problematic jokes. A character casually suggested sex with a comatose person, referencing a storyline from the original series with shocking insensitivity. This wasn’t an isolated incident.
Another sketch directly mocked a pivotal coming-out scene from *Stranger Things*, reducing a character’s emotional journey to a punchline. The absence of the show’s female leads was also noted, adding to the sense of imbalance.
Adding fuel to the fire, host Finn Wolfhard’s monologue included a crude and unsettling comparison, further alienating audiences and sparking immediate backlash. The episode felt shockingly out of step with modern sensibilities.
The issues extended beyond specific jokes. A Harry Potter parody relied on tired and offensive tropes, including a slur and a dismissive portrayal of a beloved character. It felt less like clever satire and more like outdated internet humor.
The recent departure of Bowen Yang, an openly LGBTQ+ cast member, has heightened concerns about representation within the show. His absence was acutely felt, particularly given the episode’s problematic content.
Ironically, one of the show’s newest writers publicly described SNL as “gay as f*” just last week. This juxtaposition only amplified the criticism surrounding the episode’s insensitive material.
The responsibility for this failure doesn’t lie solely with the actors. The writers are the key, and their work revealed a disturbing lack of awareness and sensitivity. The question now is whether this reflects a broader issue within the show’s creative process.
For years, SNL has been dismissed by some as simply not translating to British audiences. But the hope for a UK version rested on the promise of local talent and relevant humor. This episode casts doubt on whether those in charge truly understand what makes British comedy work.
Lorne Michaels, the show’s long-time executive producer, is set to oversee the UK iteration. While his track record is impressive, his hands-on approach may be detrimental if he doesn’t address the clear issues within the current writers’ room.
Even before this debacle, the show had been facing criticism for declining quality and dwindling viewership. Some critics have even labeled the show “bad, actually,” citing a tendency to sympathize with the powerful and influential.
This pattern of questionable choices isn’t unique to SNL. A recent revival of *Spitting Image* faced similar accusations of misogyny and sexism, ultimately sacrificing sharp satire for easy laughs.
The key lesson is that satire must be intelligent and insightful, not simply offensive or lazy. Punching down or relying on tired stereotypes is a surefire way to lose an audience.
There is some cause for optimism. The appointment of James Longman and Suzi Aplin, both with experience in successful British comedy shows, suggests a potential shift in direction.
The success of the UK version hinges on finding a cast and writers who can deliver genuinely funny and thought-provoking material. Fresh perspectives and a willingness to challenge the status quo are essential.
Satire is more vital than ever, but it must be done right. It requires courage, intelligence, and a deep understanding of the audience. The future of SNL, on both sides of the Atlantic, depends on it.
