Warm Southern Breeze

"… there is no such thing as nothing."

“Saturday Night Live” Dying A Slow, Torturous Death

Posted by Warm Southern Breeze on Wednesday, December 21, 2022

Do you ever watch Saturday Night Live?

If not, don’t worry. Not many people do… any more.

Like millions of other Americans, I do NOT watch it, and rather, see but snippets of it online every now and then, and occasionally see it mentioned in various news items here, there, and yon.

The reason I ask, is because a thought occurred to me, which is that, even though it’s circling the proverbial drain, it is salvageable.

In fact, in this now seemingly not-so funny time, it could quite possibly rise beyond its highest ratings period, which was its heyday, and perhaps even surpass it. But, the writers now ALL need to be fired. Why? They’re… Just. Not. Funny.

The track the show’s been on is eventually going to land it in the graveyard, and that’s not where longtime producer Lorne Michaels would like it to end up. But, at this point, it seems all but certain. The post mortem would read: Died for lack of humor caused by bad writing.

More to the point, as I pondered the matter, a thought occurred to me:

I do not ever recall having seen any skits or jokes about,
or references to,
the Select Committee to Investigate the January 6th Attack on the United States Capitol.

That thought occurred to me after reading an OpEd about the committee, which lead with this sentence,

“The U.S. House’s Jan. 6 committee has performed its task with a dignity that verges on parody.”

If you’ve ever seen SNL, even once, then you have at least some passing familiarity with their style, their “brand” of humor, which includes elements of sarcasm, hyperbole, mockery, irony, absurdity, exaggeration, etc. And that is the very heart of comedy. It takes no prisoners.

Again, I’ve not seen any skits excoriating the J6 Cmte, or Democrats, for that matter. Is the J6 Cmte. a very serious matter? Why, OF COURSE IT IS! But, there’s PLENTY of material there for numerous comedy skits for years to come. But this event it time-sensitive. And the fact that they’re COMPLETELY IGNORING it, and other matters, is telling.

As some have pointed out, the Brittney Griner/Viktor Bout prisoner exchange thing was surreal — and THAT! I think, would be PHENOMENAL comedy fodder. An apparently-not-too-smart, tall, skinny, tattooed, lesbian, women’s league basketballer incarcerated in a Russian gulag swapped for a wisened, hardened, cynical, savvy, practically-minded, greedy global-gangster/arms-trader who simultaneously sold weapons of war to opposing sides… now THAT is some serious comedy fodder!

Someone portraying a Russian guard could ask Griner in a thick, faux accent, “Your gay-loving American President is taking you back home. Why? You not like the way Russian poossy taste?”

More power, by the way, to our LGBTQ brothers and sistahs! Love you! But NO ONE should get a pass when it comes to comedy!

And, while I remain firmly convinced that POTUS BIDEN’s nomination of Judge Ketanji Brown Jackson to the SCOTUS was an excellent decision, that too, could be serious fodder for jokesters. In fact, the whole damn John Roberts-led Supreme Court Jesters are clowns aplenty! And their absurd rulings? That’d be the basis for almost every skit.

The 6 Court Jesters must be oblivious to the obvious, so in her dissenting opinion in West Virginia v. EPA, Justice Kagan wrote it out plainly for those clowns:

“The Court substitutes its own ideas about policymaking for Congress’s. Whatever else this Court may know about, it does not have a clue about how to address climate change. And let’s say the obvious: The Court appoints itself—instead of Congress or the expert agency—the decision-maker on climate policy.”

If that is not absurdity, I don’t know what is.

And yet, here we are.

Truth is stranger than fiction. And often, much more hilarious, as well!

“And I still like beer.” — then-Judge Brett Kavanaugh during his SCOTUS confirmation hearing before the Senate Judiciary Committee.

Going back to Clarence Thomas’ 1991 hearing before the Senate Judiciary Committee in which Anita Hill testified that, while she worked as legal adviser for Thomas, who at the time was Assistant Secretary at the U.S. Department of Education’s Office for Civil Rights, Thomas had asked Ms. Hill, “Who has put pubic hair on my Coke?”

Why, even MSNBC host Tiffany Cross has taken to calling now-Justice Thomas “‘Justice Pubic Hair on My Coke Can,’” and “Justice Clayton Bigsby,” and referred to his White wife Virginia “Ginni” Thomas as “his insurrectionist-sympathizing, Jordan Peel ‘Get Out’-inspired wife.” She then followed up by saying about his confirmation that, “Clarence Thomas, on this very day in 1991, Justice Pubic Hair on My Coke Can was confirmed to the Supreme Court, and even though we collectively knew how bad it was then, we didn’t know just how problematic Tom would be until now.”

Calling him an Uncle Tom! And a Black White Supremacist! What hutzpah! How utterly hilarious! (Thank you, Dave Chappelle!)

Now, let’s do a Scarlett O’Hara “Gone With The Wind” type skit in which Ginni Thomas is the central character, and then appears her slave, who happens to be… Justice Thomas! In part one of a dual role-reversal, SHE rejects Rhett Butler vis-à-vis, “Frankly, my dear, I don’t give a damn,” instead of vice versa, and then… up walks her slave… Clarence!, who naturally takes a subservient role to her as a slave. Then, for part 2 of the role reversal, she strips off that atrociously hideous green velvet costume of a dress, to reveal… a leather dominatrix costume, complete with knee-high black leather boots, whip/riding crop, and she’d be the dom, while, well… Clarence, with a collar still on his neck would be her BBC sub — who would also be wearing logo gear with the BBC emblem on it.

“Whistle Dixie, for me, boy!,” she’d loudly demand of Clarence, as she pulled a Confederate battle flag out from under her black leather hat adorned with the Nazi SS emblem in front.

“Yes, mistress…,” Clarence would whimper as he groveled before her, while she put her spiked heel on his shoulder, and cracked the whip.

“I love Bush,” Clarence would moan as she pushed him down (referring to POTUS GW who nominated him).

“MY bush, boy!,” Ginni would exclaim.

Then, up walks Anita Hill with a Coke can, and asks, “Who put the pubic hair on my Coke can?,” then takes a long swig from a very obviously very hairy can.

“I like Bush two,” Hill would say immediately afterward, as she turned and nods toward Ginni, and raises the can to toast her.

Ginni would then say, “The majority knows Biden and the Left is attempting the greatest Heist of our History. I can’t see Americans swallowing the obvious fraud. Just going with one more thing with no frickin consequences… the whole coup and now this… we just cave to people wanting Biden to be anointed? Many of us can’t continue the GOP charade.”” — which are text messages she sent to Mark Meadows about attempting to overturn the election.

In walks a J6’er (the “QAnon Shaman,” aka Jacob Chansley, who was bare-chested, wore a furry hat with horns, and carried a flagpole with a spear finial), who stands opposite Ginni with Clarence on his knees between the two, and the J6’er asks, “Care for an Oreo?,” and extends a plate toward her.

Comedian Al Franken, a former member of the Saturday Night Live comedy troupe, who appeared for 11 seasons from 1977–1980, 1986, and 1988–1995, appeared on a USO tour with Leeann Tweeden, and others, in December 2006 in Iraq in the Army’s Hope and Freedom Tour in Camp Arifjan, Kuwait, on December 14, 2006. In this later-widely-distributed unofficial image made in a military transport aircraft, Tweeden appears to be feigning sleep, as Franken reaches toward her flak jacket as if to grope it. (He did not.) Franken is smiling and looking directly at the camere precisely because it was a joke, and Tweeden, whose name is written on the tape across the helmet’s front, participated in the skit by closing her eyes. Funnyman Franken is not wearing a flak jacket, and the man seated to Tweeden’s LEFT is nonchalant. The photo was a spoof on a skit in the USO tour in which Franken tells Tweeden that a woman her age should get regular breast exams. If Franken had genuinely fondled any part of her upper torso, it would have been the flak jacket, not her bosom. And the absurdity of pretending to grope a bosom OVER a flak jacket is precisely what made it absurd.

When the image came to light, Franken was forced to deal with its negative fallout, and eventually resigned as the U.S. Senator from Minnesota — much to his later chagrin, and would have much rather preferred to have the matter brought before the Senate Ethics Committee to determine if the matter was specious (it was) — and issued this statement, which read, “The first thing I want to do is apologize: to Leann, to everyone else who was part of that tour, to everyone who has worked for me, to everyone I represent, and to everyone who counts on me to be an ally and supporter and champion of women. “There’s more I want to say, but the first and most important thing – and if it’s the only thing you care to hear, that’s fine – is: I’m sorry. “I respect women. I don’t respect men who don’t. And the fact that my own actions have given people a good reason to doubt that makes me feel ashamed. “But I want to say something else, too. Over the last few months, all of us – including and especially men who respect women – have been forced to take a good hard look at our own actions and think (perhaps, shamefully, for the first time) about how those actions have affected women. “For instance, that picture. I don’t know what was in my head when I took that picture, and it doesn’t matter. There’s no excuse. I look at it now and I feel disgusted with myself. It isn’t funny. It’s completely inappropriate. It’s obvious how Leann would feel violated by that picture. “And, what’s more, I can see how millions of other women would feel violated by it – women who have had similar experiences in their own lives, women who fear having those experiences, women who look up to me, women who have counted on me.”

“Only if they’re reverse Oreos,” she’d reply.

Now THAT is comedy!

Once again, truth is stranger than fiction, and exceedingly more hilarious!

But SNL eschews it, and leaves the good stuff to the news, and Trevor Noah, Stephen Colbert, and others, who are are FAR MORE FUNNY than SNL has been in its nearly-50-year history.

But again, as I recall, I’ve NEVER seen, heard, or read about any jokes at Justice Jackson’s expense — or at the POTUS’s expense, for ANYTHING. Even GOPers made hay with her response when Banana Republican and Tennessee hillbilly hayseed-hick Marsha Blackburn asked her, “Can you provide a definition for the word ’woman’?”

Then-Judge Jackson demurred, and replied, “No, I can’t.”

Shocked, hayseed Blackburn said, “You can’t?”

To which Jackson responded, “Not in this context. I’m not a biologist.”

THAT was hilarious!

Senator Hayseed should’ve just asked her how she cooked waffles and fried chicken, because that’s how much sense such an inane question made. It was completely off-topic, and utterly inappropriate for the setting.

And it could still be fodder for comedy routines, in which, for example, someone portraying Jackson would sarcastically retort, “Didn’t you learn that in Tennessee grade school, Senator? Or, do they not teach science there anymore since the Scopes Monkey Trial, starring Clarence Darrow?”

Or, maybe Judge Jackson could have even been forthright and straight-laced with Senator Hayseed and said, “Senator, I will NEITHER dignify NOR validate such a baiting entrapment inquiry, and therefore respectfully decline — foremost to preserve the dignity and solemnity of this hearing, and respecting the gravity of the Federal judiciary — to participate in such cheap political shenanigans.”

That would’ve shut up that obnoxious hayseed hick, and demonstrated that she’s NOT fun and games in the court, as Senator Hillbilly was demonstrating herself to be.

And what could be better than a very obviously trans Ron DeSantis in drag talking about his “Don’t say ‘gay'” bill, but instead call it “Don’t say ‘straight.'”

THAT kind of stuff would be a scream!

But when it comes to allegedly “picking sides,” it seems SNL’s alleged “comedy” writers have not only lost their touch, but have chosen sides, and that’s largely to target GOPers and other hootenannys, and largely leave Democrats untouched, unscathed.

I mean, is that DISCRIMINATION FOR Democrats, or not — to give them a free pass on being the butt of jokes, or the central characters in any comedy skit, or routine?

Why is that?

Comedy is supposed to be an equal opportunity discriminator.

As a matter of fact, I rarely recall seeing, hearing, or reading about any Democrats who’ve been the butt of jokes in quite some time — not even when Minnesota Senator Al Franken, himself a SNL alum, was accused of “fondling” the flak jacket of a Leeann Tweeden who was on a USO comedy tour with him, and others. The timing of her accusations is now widely thought to be scurrilous and a deliberately manipulative move to increase attention to herself and a new job position, by taking advantage of the the-rapidly-emerging Me Too movement, which is purposed to draw attention to the massive number of widespread unreported and un-prosecuted cases of sexual crimes against women. At the time of the movement’s ascension in 2017 with the hashtag #MeToo, she had begun a new career as morning news anchor at TalkRadio 790 KABC in Los Angeles, California. Almost immediately thereafter, she began to appear on numerous national telecasts, television talkshows, and in news interviews.

But SNL comedy…

In recent years, the show has been on a steady death spiral, circling the proverbial drain as it deteriorates further into obscurity.

The numbers tell the story.

The show’s most recent ratings for last Saturday, 17 December 2022, are dirt poor. They’re worthless. Utterly worthless.

And, it’s little doubt why.

The writing stinks.

It’s. Just. Not. Funny.

[NOTE: Article continues below the ratings chart.]

Demo = demographic, i.e., collective viewer characteristics, sex, age, etc.

Audience Rating = sometimes abbreviated “AR,” a figure based on statistical sampling indicating what proportion of the total listening and viewing audience tune in to a specific program or network, as the average size of an audience on a minute-by-minute basis throughout the length of a particular program or advertising break broadcast on television, used specifically to determine how many viewers see the advertising on the program, which helps establish sales prices of time, i.e., advertising rates.

Interpretation = P is persons, + is age up, audience are raw numbers of viewers, rating is percentage share of available market, typically the adults age 18-49 demographic range, which is the most highly desirable, because they have the most disposable income;
• A 0.68 rating means that 0.68% of people in 18-49 age group were viewing;
• One percentage point in 18-49 demographic group equals approximate 1.28 million people, which is an expression of the total number of people in that age group;
• Share refers to percentage of a given group (demographic age range) who are watching TV at that timeand– are tuned into a given program;
• Ratings are NOT a comprehensive measure of every person watching TV in America, but are based upon statistical samples of households with televisions, of which Nielson says there are 120.6 million, but a smaller statistical sample is taken of that group (about 46,000) from which interpretations and extrapolations are made.

A concrete example is illustrated as follows:
Variety magazine (since 1905, the most renown, and comprehensive trade publication of the entertainment industry) reported that in the 2018-2019 season, the highest rated television network series was “This Is Us” which had an average 3.8/16 rating share in the most important 18-49 demographic. In other words, 3.8% of all households with TV watched “This Is Us” on a given night –and– was 16% of all people actively watching TV during that time slot.

Saturday Night Live Ratings

Demographic breakdown of the most recent historical ratings of Saturday Night Live on NBC as of Saturday, December 17, 2022.

Saturday Night Live (SNL) is a U.S. television program broadcast on NBC since Saturday, October 11, 1975. Saturday Night Live is currently the seventh most popular show on NBC and 31st overall on TV, watched by a total number of 4,358,000 people (1.4% rating, down -14% from last week) as of the daily audience measurement on .

Saturday Night Live Daily Ratings 2022
Date Demo Audience Rating
2022-Dec-17 P2+ 4,358,000 1.40
P18-49 888,000 0.68
P25-54 1,240,000 1.02
2022-Dec-10 P2+ 5,062,000 1.62
P18-49 1,110,000 0.85
P25-54 1,519,600 1.25
2022-Dec-03 P2+ 3,994,000 1.28
P18-49 927,000 0.71
P25-54 1,264,300 1.04
2022-Nov-26 R P2+ 2,117,000 0.68
P18-49 427,000 0.33
P25-54 583,500 0.48
2022-Nov-19 R P2+ 2,231,000 0.71
P18-49 436,000 0.33
P25-54 571,400 0.47
2022-Nov-12 P2+ 4,751,000 1.52
P18-49 1,177,000 0.90
P25-54 1,568,300 1.29
2022-Nov-05 P2+ 4,321,000 1.38
P18-49 1,037,000 0.79
P25-54 1,385,900 1.14
2022-Oct-29 P2+ 4,125,000 1.32
P18-49 985,000 0.75
P25-54 1,373,700 1.13
2022-Oct-22 P2+ 2,296,000 0.74
P18-49 522,000 0.40
2022-Oct-15 P2+ 3,719,000 1.19
P18-49 858,000 0.66
P25-54 1,142,800 0.94
2022-Oct-08 P2+ 3,764,000 1.21
P18-49 955,000 0.73
P25-54 1,240,000 1.02
2022-Oct-01 P P2+ 4,022,000 1.29
P18-49 949,000 0.73
P25-54 1,264,300 1.04
2022-Sep-24 R P2+ 1,897,000 0.61
P18-49 300,000 0.23
P25-54 462,000 0.38
2022-Sep-17 R P2+ 2,101,000 0.67
P18-49 362,000 0.28
P25-54 523,200 0.43
2022-Sep-10 R P2+ 1,883,000 0.60
P18-49 332,000 0.25
P25-54 462,300 0.38
2022-Sep-03 R P2+ 1,849,000 0.59
P18-49 388,000 0.30
P25-54 535,300 0.44
2022-Aug-27 R P2+ 1,837,000 0.59
P18-49 348,000 0.27
P25-54 523,200 0.43
2022-Aug-20 R P2+ 1,869,000 0.60
P18-49 342,000 0.26
P25-54 523,200 0.43
2022-Aug-13 R P2+ 1,992,000 0.64
P18-49 348,000 0.27
P25-54 486,700 0.40
2022-Aug-06 R P2+ 2,244,000 0.72
P18-49 450,000 0.35
P25-54 632,700 0.52

See also:
SNL season premiere bombs: Lowest ratings in 47-year history
by Luke Gentile, October 7, 2021

See also:
‘SNL’ kicks off new season with huge drop in ratings

By Alexandra Steigrad, October 4, 2021

See also:
Why Was Last Week’s “SNL” Premiere the Lowest-Rated in Its 47-Year History?
by By Bonnie Stiernberg, October 7, 2021 11:39 am

See also:
Severely Low Ratings Saturday Nights Signal Deeper Issues In Broadcast TV
by Tom Nunan, Contributor, January 31, 2021, 05:36pm EST
“I cover the entertainment industry from an insider’s perspective.”

Saturday Night Live Ratings 1975-2017

by Jessica Boggs, Sunday, January 19, 2020

“Saturday Night Live made its debut on NBC on October 11, 1975 amidst NBC’s first ratings depression from 1975-84.  It had seen its share of ups and downs in its 43 seasons, with the 1985-86 season viewed as a creative lull.  However, like Grey’s Anatomy, SNL manages to reinvent itself as creative powerhouses come and go.
“The first 5 seasons featured continual growth, peaking at its Household Ratings Peak.

“Please note data throughout this rich time capsule varies, with only Household Ratings being tracked from 1975-87.  Beyond that, 1988-2008 featured only live data, and from 2008-present, this data is Live+7 DVR viewing.  Follow the color bars, as the purple bar follows the pre-election years and the salmon color highlighted years with elections.

“This, along with other diverse entries of ratings data can be found in the TVRG Ratings Library, located at the following link: http://www.thetvratingsguide.com/2018/01/tvrg-ratings-library.html 


  1. http://www.thewrap.com/snl-40-saturday-night-live-tv-ratings-nbc-lorne-michaels/
  2. http://www.vulture.com/2017/05/saturday-night-live-ratings-this-season-are-unprecedented.html
  3. http://variety.com/2015/tv/news/saturday-night-live-premiere-ratings-miley-cyrus-1201609711/
  4. https://www.yahoo.com/tv/saturday-night-live-flexes-post-election-ratings-muscle-193450560.html


In conversation with a friend, the topic of SNL’s drastically obviating humor emerged and I enquired within about SNL viewership.

One thought was that “there’s something or someone there suffocating them artistically.”

MadTV was always one of my favorites, and from the moment I first saw it, thought it superior in every way to SNL.

Another thought emerged, which was that comedy should “take no prisoners,” that “nobody [should be] safe” from lampooning, and that among the various styles of comedy, anarchic comedy — wacky, nonsensical, such as with Monty Python, a style that widely utilizes jokes and visual gags often in a non sequitur type manner that eschews narrative for sheer absurdity — is a highly preferred type.

I’ve long thought the Brits had a far more keenly wicked sense of humor in that regard, as evidenced not only by John Cleese in the “Fawlty Towers” series which ran in ’75 and ’79 and portrayed a bumbling proprietor/hotelier in a constantly-breaking down 2-story B&B type operation in the countryside, to the “Are You Being Served” series that ran from ’73 to ’85, which was most definitely cutting-edge with point-blank double entendres in which the character Mrs. Slocombe frequently made about “my pussy,” in oblique reference to her pet housecat. And the gay gent character Wilburforce Humphries provided endless guffaws with his effeminate behavior, while Miss Brahms portrayed a ditzy blonde, whom was frequently chased by Mr. Lucas, a constantly-broke, money-strapped junior salesman in the men’s department. And then, there was the horny old owner of the Grace Brothers department store in which the series was set, “young” Mr. Grace, who had practically no end to a bevy of scantily clad buxom beauties performing any variety of humorously mundane tasks for him simply so he could ogle them, particularly while they were bending over — from front, and rear.

It was good, even excellent, comedy, all around. And no one was spared.

Of course, I also happen to think that SNL is presently missing a veritable GOLD MINE of humor by overlooking the obvious, which is to portray former SNL heavy-hitters (Chevy Chase, Gilda Radner, John Belushi, Dan Ackroyd, Jane Curtin, Gilda Radner, Bill Murray, et al), and then, to have them make a cameo appearance during the skit(s) — which I think would be THE BOMB!

That is, to mock, and make fun of them.

As the now-late renown comic Robin Williams said in his appearance on the penultimate episode of the “Tonight Show with Conan O’Brien,” “Fuck the bastards if they can’t take a joke!” One hallmark of a good comedian is the ability to TAKE a joke, as well as make one.

And what if a skit of Eddie Murphy’s role (another power hitter from SNL’s repertoire, from ’80-’84) in the motion picture “Dolemite Is My Name” (which was based upon a REAL person, Rudy Ray Moore, the inventor and producer of the so-called “blaxploitation” genre movies), had a cameo by Garrett Morris, another original SNL cast member?

Of course, one must NEVER forget Redd Foxx (stage name of John Elroy Sanford (1922-1991)), whose dark, dark blue humor was cutting edge before there was an edge. And by “blue,” I mean his appearances at comedy venues were ALWAYS punctuated with jokes of a sexualized nature, some even to be point of being raunchy. Foxx may perhaps be most renown for his role as Fred G. Sanford in the NBC sit-com Sanford and Son — a series which ran from ’72-’75 and was the creative genius of Norman Lear, based on the BBC series Steptoe and Son — who portrayed a crotchety, cranky old bigoted Black junkyard owner in the Watts precinct of Los Angeles, a high-poverty, high-crime, predominately minority populated area. Race-related jokes on Blacks and Whites, the elderly, cops, and ALL OTHERS, were always abundant.

And then, there are the numerous “Batman” movies… THAT would similarly provide a TREASURE TROVE of material. Which, by the way, I’ve NEVER seen any of that motion picture franchise, nor have any desire for it. Didn’t much care for the television series as kid, either. Those radically twisted camera angles were wretchedly distracting, the story-telling was atrocious, and the dialogue was subpar.

And since it’s all but been confirmed that Batman, Robin, and other characters in that franchise are gay, or bisexual — albeit in the series, B&R remain closeted, fearing public retribution and negative social repercussions, for which reasons the characters must masquerade themselves outwardly as heterosexual — and for seem to be, for all practical purposes, as non-sexualized characters, per se, insofar as relationships, particularly romantic, are absent in the story-telling. Or so casual observers would say. Yet the intimate workings of the same-sex relationship with Batman (an adult) and Robin (a young teen) are its centerpiece, the very foundation, upon which the entire franchise is established.

It’s rife with oblique innuendo — the Bat Cave “man cave” a dark, secret, underground place where they both regularly venture together, a “secret” locale hidden in plain sight, though unsuspecting, where their secrets are known but to them; the Batmobile, an exotic two-seat automobile of particularly unique design & construction which transports them to their heroic destinations where together they fight evil; their penchant for disguise in form-fitting leotard-like tights, and capes, no less!

And then, in the ORIGINAL paper cartoon series, their relationship is even more openly shown, such as them awakening after sleeping in the same bed overnight, and lying nude beside each other on massage tables, with only small towels covering their nether regions, with heating/tanning lamps alongside each. It’s undeniable. And it is RICH fodder for humor!

And then, there’s Tyler Perry, creator of the Madea character, and an undisputed comedy master! Good heavens! An appearance by him on SNL in ANY WAY would boost ratings no telling how much!

And, what if Mike Myers, and Dana Carvey — both SNL former cast members who went on to increase their comedy renown with the “Wayne’s World” films which developed from their recurring SNL sketches — were to portray Lorne Michaels (longtime SNL producer), who would oversee a sketch portraying development of the WW skits with David Spade (portraying Mike Meyers) and Tina Fey as a transgender man portraying Dana Carvey’s role in WW?


And why tease the upcoming shows, to tell the public WHO will be hosting?

SURPRISE THEM! They MUST WATCH to find out who the host is!

And for crying out loud! They MUST participate in at least ONE skit!

Yeah… there’s just TOO MUCH being overlooked.

And a “What If…” type of recurring skits?

For a blast from the past, what if Dana Carvey’s “The Church Lady” character were to give advice to Hillary Clinton, who in turn, sought fellatio instructions from Monica Lewinsky… BEFORE ML “serviced” Bill Clinton in the “Oral Office”? What would history have been like if…

The possibilities are endless!

But the show MUST BREAK FREE from the coffin which they’ve made for themselves, and the grave into which it’s already been put.

And if that means removing Lorne Michaels, so be it. He’s had his 15 minutes of fame, and its painfully obvious that SNL under his direction, has withered on the vine.

Again, they can… if they have the will.

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