For half a century, Saturday Night Live (SNL) has been a staple of American television, shaping and reflecting pop culture. For a television show to stay running—and culturally relevant—for 50 seasons is almost miraculous, but its success was never a matter of luck. SNL is a group effort, the collective product of talented, passionate individuals.
This is the underlying truth presented in “SNL50: The Anniversary Special,” which honored the contributions of performers, writers, crew, and more in a star-studded, three-hour special (which ironically aired on a Sunday night), packed with live sketches, musical performances, and pre-recorded digital shorts. A mixed bag of old and new, funny and sentimental, good and so-so, “SNL50” honored SNL’s legacy and celebrated just how far it’s come since its premiere in 1975.
The night kicked off with a performance of Simon & Garfunkel’s “Homeward Bound” by Sabrina Carpenter and Paul Simon. Though the two were certainly unexpected as a duo, their vocals blended beautifully—Simon led the duet as Carpenter softly harmonized, giving merit to the Dolly Parton comparisons she is often awarded. The pairing acted as a thoughtful bookend, as Simon was the host and musical guest of SNL’s second-ever episode while Carpenter did the same in Season 50.
The opening performance set the tone for the rest of the night as SNL veterans gathered with contemporary stars in Studio 8H. Everyone was there: Steve Martin, Chevy Chase, Will Ferrell, Eddie Murphy, Ayo Edebiri, Jenna Ortega, and even Kim Kardashian, for whatever reason. Surprisingly, Blake Lively and Ryan Reynolds made their first public appearance since their legal troubles with Justin Baldoni.
Fitting of its character, SNL did not shy away from poking fun at itself, especially through the big names in the crowd. Amy Poehler and Tina Fey hosted an audience Q&A that, as Seth Meyers put it, was mostly an excuse to give airtime to celebrities who weren’t in other parts of the show. But, they took the time to give a shoutout to longtime costume staffer Donna, who has, according to Fey, “seen every celebrity here in their underpants.”
One of the special’s grandest moments was “New York 50th Musical,” the latest installment in Georgetown alum John Mulaney’s ongoing series about not-so-fantastic eats and where to find them. This time, after Pete Davidson attempted to order a hotdog and cocaine from a sketchy 1970s food stand, Mulaney gave a musical history lesson on the various eras of New York City—from the days when Gerald Ford supposedly told the city to “drop dead,” to today, when e-bikes haunt the city streets. The sketch concluded with one final plea: to look past the chaos of the city and not turn their backs on it, urging New Yorkers to give their home “one day more,” punctuated by a sign reading, “New York to Ford: Who’s Dead Now?”
Another standout segment was The Lonely Island’s “Anxiety,” a digital short in which Andy Samberg sang an 80s new-wave-style song about how “everyone that ever worked at SNL had anxiety” (and, apparently, IBS). While much of the night maintained an affectionate tone amidst all the jokes, the sketch aired out some complaints over the more grueling parts of working on fast-paced live television. Samberg even hyperbolically confessed that working on SNL—specifically working with Lorne Michaels—is more stress-inducing than working in a coal mine. Even so, the sketch concluded on a more positive note, expressing how their love for the show overpowers its demanding workload; or as Samberg put it, “it burns so good.”
The special also included a series of highlight reels showcasing SNL’s wide range of comedy styles. “Physical Comedy” was a supercut of falls, dance moves, spills, blood, and an unexpectedly high number of decapitations while “Commercial Parodies” reminded viewers of the show’s long tradition of satirical television ads, such as “Xanax for Gay Summer Weddings,” “The Love Toilet,” and “Wells for Boys.” But, the boldest segment of the night was the third highlight reel, “In Memoriam.”
Tom Hanks introduced the tribute solemnly: “As we celebrate the achievements of the past 50 years, we must also take a moment to honor those who we’ve lost.” By that, of course, he meant the past comedy bits that do not hold up to today’s standards. What followed was a four-minute montage of sketches and characters that employed racial stereotypes, body shaming, and other outdated humor. Some aired decades ago. Others? “[Not] as long ago as you’d think,” the montage noted. It even called out some of the most problematic celebrity guests and hosts that have (dis)graced the SNL stage, such as Sean Combs and OJ Simpson—curiously, the current sitting President and a certain Tesla CEO weren’t included in the list. Choosing to highlight these moments was certainly a gutsy move, but a better one than pretending these bits weren’t part of the 50-year history being celebrated.
Balancing the bad with the good, homage was also paid to SNL’s most iconic sketches. “Weekend Update” saw the return of Drunk Uncle (Bobby Moynihan) and Girl You Wish You Hadn’t Started a Conversation with at a Party (Cecily Strong). Other classic characters got their callbacks as well, with Debbie Downer, the Maharelle sisters, and Sally O’Malley (who, like SNL, is proudly 50 years old!) making their iconic returns. Domingo (Marcelo Hernandez), who made his debut in the beginning of Season 50, also made an appearance alongside Carpenter— whose song “Espresso” was parodied in the original—Pedro Pascal, and Bad Bunny in a chaotic third installment of the sketch. Unfortunately, it didn’t have the same nostalgic punch as the other sketch sequels of the night. Domingo’s first appearance on the show was entertaining, the second was somewhat solid, but three—especially in the same season—is pushing it. Then again, running a joke into the ground is a time-honored tradition at SNL.
Rounding out the night were a couple of musical performances. Lil Wayne and the Roots performed a 5-song medley, with “Mrs. Officer” being a highlight. Paul McCartney concluded the night with a performance of “Golden Slumbers,” “Carry That Weight,” and “The End,” a marvelous sendoff honoring the greats of the past and creating a full-circle moment—the show started with “Homeward Bound” and ended with, “Once there was a way to get back home.”
Unfortunately, not every musical choice landed quite as well. Miley Cyrus and Brittany Howard’s performance of “Nothing Compares 2 U” was vocally stunning, but the song choice itself raised a few eyebrows. Though written by Prince, the song was largely popularized by singer and activist Sinéad O’Connor—who famously faced backlash after protesting the Roman Catholic Church on SNL in 1992. After her musical performance, O’Connor ripped a photo of Pope John Paul II and proclaimed, “Fight the real enemy.” The following week, SNL host Joe Pesci joked during his monologue he “woulda gave her such a smack.” Cyrus and Howard did perform Prince’s version of the song, but with SNL’s fraught history with O’Connor, the choice to perform this song is an odd one at best. It can’t help but prompt audiences to wonder, was the performance an apology to O’Connor? Or was it in poor taste?
By far, the most touching moment of the night belonged to Adam Sandler’s “50 Years,” an homage to the show from the perspective of those who lived through it. The song reminisced on late-night pizza and the many nepo babies who earned internships after their parents sat down with Michaels—a combination of sincerity and humor. It was an honest and heartwarming tribute—so much so that it could, and maybe should, have been the final number, instead of McCartney’s performance.
Having reached the milestone of 50 seasons, the obvious question is: what’s next for SNL? Many viewers wonder about the eventual retirement of 80-year old Lorne Michaels, marking an imminent, colossal shift in the course of the show. The issue of succession is at the forefront of the conversation. Some argue that Tina Fey, being former head writer at SNL and a seasoned producer, is the best choice to take the reins, while others point to Kenan Thompson, the show’s longest-tenured cast member; though, he is notably a performer, not a writer.
No matter who steps in when the time comes, “SNL50” made one thing clear: Saturday Night Live is a cultural tour de force, and its 50-year history doesn’t slow the show down—it makes it stronger.
Best of the night: Weekend Update, 50 Years, Anxiety, New York 50th Musical
Worst of the night: Domingo: Vow Renewal, Chad in 8H, Lawrence Welk
