The hosting by an alum on “Saturday Night Live” is a code word for old home week. And like college reunions taking place across the country, Saturday’s new episode hosted by Will Ferrell meant that Ana Gaseyer and Will Forte also returned.
Both were more notable than Ferrell, who seemed to be hosting despite (or maybe because of) a lack of current outside projects, who sleepwalked through his Bush impersonation (to pursue the absurd cold opening suggestion that he is a kindred soul of petulant Joe Biden).
Gasteyer was his equal or better as the square in-school singing duo with a singing act (they were doing an LGBT dance because that’s been in the news, and so they could do a joke about an LGBT BLT).
Forte was even better as the clueless ESPN sportscaster co-host in a sketch notable for its ridiculous taglines for Stay Free Maxi Pads. The Ferrell contribution to the sketch – as a sportscaster covering the O.J. Simpson chase “because this is 1994” was a throwaway at best.
Andy Samberg’s digital video celebration (it’s 100th supposedly; counting from what? His contributions? Certainly not the beginning of the show) gave him an excuse to sing another bleeped euphemism for penis that the immature will love, and to bring back a slew of filmed celebrities who have been featured in them, from the Justins Timberlake and Bieber to Natalie Portman and Michael Bolton. Having them in a film instead of being there live makes a difference.
The movie star live on the show was Liam Neesen, on the Nic Cage segment on “Weekend Update.” This is the way “SNL” accommodates movie stars who want to appear on late night to plug a new movie: Get them on Weekend Update as an unannounced but unnecessary surprise.
Usher got to sing and appear in a sketch, and still Ferrell didn’t quite seem to kow who he was.
It’s already made a mint on direct internet sales at $5 a pop, and a comedy award earlier this month in New York. Now “Louis C.K.: Live at the Beacon Theatre” (FX, 10 p.m.) makes its television premiere.
In a week when gay partnership is central in the news, with declarations by Joe Biden, the historic ‘evolutionary’ statement by Obama, the voting action in North Carolina, here comes a USA Network series that pushes the buddy film relationship of detective partners to such a degree that they have to go to couples therapy.
The one finalist who received the most criticism in Monday’s show got the boot, though Hollie Cavanagh by all accounts would make a strong “American Idol” – a cute blonde teen with a powerful voice, the criticism was that she was singing too big when it came to singing Bonnie Raitt’s “I Can’t Make You Love Me.” How could she sing this if she didn’t have any experience? the judges asked.
The discussion began when a friend with whom I had often shared enthusiasm in music sent another friend and me a note out of the blue regarding the reconstituted Beach Boys and their new song “That’s Why God Made the Radio”:
The best films open a window to a world you’d otherwise never know and give you a glimpse inside. That’s certainly the case with the fascinating “Summer Pasture,” which follows the lives of a single nomadic family in eastern Tibet.
Here’s something new in the 24
As in “The Big Chill,” it is a death of an old friend that brings the old gang together. In this case, it’s a bunch of roommates in swinging London, circa 1965, when drugs, free love and radical politics were all part of the heady mix.
Also On Sunday: ‘Survivor’ Finale, More Sherlock
In many ways, what’s transpired is due to the orchestration of Kim, but can her winning be so preordained. Five remain as the finale starts tonight.
The second in the series of “Sherlock” on “Masterpiece Mystery” (PBS, 9 p.m., check local listings) is an update of “The Hounds of Baskerville.” In the updated version, it concerns secret government labs doing genetic engineering to make giant animals for military use.
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