Segments are rated on a scale of 1-5 stars
HEALTHCARE.GOV MEETING
Barack Obama (JAP) seeks social media virality to promote HealthCare.gov
— Yikes. The (very pointless) audience applause that usually occurs whenever someone starts speaking at the beginning of cold openings of recent years seemed to be completely miscued on a timing delay tonight, leading Jay to awkwardly pause for a few seconds while waiting for the obligatory applause, then when we finally do get the applause, only about 20% of the audience do it, which then leads Jay and Taran to awkwardly break out into a giggle, then pause a little longer before finally going on with the script. Oof. All of this just shows how pointless and annoying it is for SNL to have the audience applaud at the beginning of every cold opening. For the life of me, I will NEVER understand why SNL made that a requirement.
— Even though she’s just playing a normal character, Noel is reminding me of Zooey Deschanel here, probably partly because of the hairstyle.
— Even with no lines, Brooks is doing very funny physical acting as Harry Styles.
— Funny delivery from Kyle as the pope.
— Some amusing sob stories from Taran, especially the heart-literally-made-of-gold one.
— Ah, the return of Kate’s hilarious Justin Bieber impression that debuted earlier this season.
STARS: ***½
MONOLOGUE
host does stand-up about existence of God & existence of God’s wife
— Didn’t care for that “white noise is noise for white people” opening joke, which was surprisingly hacky for a Louis C.K. joke. Thankfully, he just treated it as a quick throwaway joke and immediately moved on to another topic.
— I love the “I’m, like, literally starving” voice Louis does.
— A very solid bit about men being worse than women, especially Louis analyzing the “She got her feelings hurt” comment that he quotes from someone.
— I like Louis getting further mileage out of the ditzy, lispy voice that he used earlier during the “starving” bit by now using it as an example of how he can’t do impressions.
— I wonder if that’s a real audience member who, while off-camera, answers some of Louis’ questions in a short back-and-forth exchange Louis is having with her. When the camera finally does briefly cut to that audience member (after she’s already finished speaking), there’s no lighting on the portion of the audience we see (the second above screencap for this monologue), which I kinda like, as it gives this audience interaction of Louis’ a raw, genuine feel, like something you’d see in one of his stand-up specials.
— This God/heaven material is fantastic, and feels a little in a George Carlin vein, which I love.
— Yet another very strong bit, this time with Louis questioning the logic behind giving the name “wifebeater” to a certain type of shirt.
STARS: *****
BLACK JEOPARDY!
white contestant (host) questions tenor of game show
— The debut of this well-liked recurring sketch.
— I love Kenan smugly introducing himself as “Alex Tre-BLACK!”, then lightheartedly laughing and saying “Nah, I’m just playin’. I’m Darnell Hayes.”
— Solid black-centric humor here. While the humor feels very stereotypical, it’s working here, especially with how it and Louis’ whitebred answers comically contrast with each other. Plus, the fact that a black person (Michael Che) co-wrote this sketch helps the stereotypical aspect of the humor come off more acceptable.
— A huge laugh from Michael Vick being Louis’ answer to the dogs question. Even funnier that the actual answer turns out to be Sarah McLachlan.
— When Louis’ answer to the question from the “White People” category is revealed to be correct, Kenan gets a great line towards Louis: “The truth is, we would’ve accepted ANY answer.”
— Solid ending.
— While this overall Black Jeopardy debut doesn’t measure up to some of the later installments (particularly the well-loved installments with Tom Hanks and Chadwick Boseman), this was still strong.
STARS: ****
BABY BOSS
Mr. Patterson’s employee (host) spoon-feeds his resignation to his boss
— Beck is still great at this body-of-a-baby routine, as well as his ability to seamlessly go back-and-forth from doing wild baby mannerisms to acting like a straitlaced, mature boss, but they didn’t have to put this character in the exact same office setting that he previously appeared in in his debut. This seems like a character that would be better off having a different occupation in each installment. Lots of comedic potential there.
— Great bit with spit-up coming out of Beck’s mouth after Aidy compliments him on being a handsome man.
— Love the part with Louis and Beck demonstrating their old fraternity handshake.
— Despite my gripes towards SNL reusing the office setting from the first installment of this sketch, this follow-up installment is still turning out very funny, and they’re managing to make this routine still come off fresh.
STARS: ****
JOS. A. BANK
disposable Jos. A. Bank clothing is suitable to replace paper towels
— A very funny random use of Jos A. Bank suits.
— I particularly love the suit dispenser that Vanessa demonstrates.
— Vanessa is absolutely perfect as the spokesperson.
STARS: ****
MUSICAL PERFORMANCE
musical guest performs “Stay With Me”
WEEKEND UPDATE
Stephen A. Smith (JAP) is a close friend of March Madness principals
— (*groan*) Another one of Jay’s one-note Stephen A. Smith commentaries. I’m so tired of this routine, which wasn’t funny the first time.
— Even the audience is barely laughing at Jay-as-Smith’s angry rants tonight.
— Oof, Cecily has some really corny jokes tonight. Some absolute groaners, almost comparable to ones that Charles Rocket and Gail Matthius regularly received in the dire Weekend Updates from season 6. Not helping the horrid jokes that Cecily’s been stuck with tonight is her forced and hammy delivery of them (as seen in the first and fourth above screencaps for this Update). Colin is actually faring much better than Cecily tonight, despite still being a pale shadow of his future, more-developed Update persona.
— That’s it? That’s the whole Update? Wow, an unusually short Update. Sure could’ve used an actual good guest commentary to give this very weak Update a much-needed boost. Some of Colin’s jokes were the ONLY thing keeping this Update from receiving the lowest rating I gave to an Update since the dreadful Fey/Poehler era of this segment.
STARS: **
MR. BIG STUFF
passerby (host) rejects women’s musical appellation of “Mr. Big Stuff”
— An interesting and entertaining format to this.
— Throughout the song, I’m really liking Louis’ detailed objections to being called “Mr. Big Stuff”. And after the song stops, I especially love his big monologue about his unappealing personal qualities.
STARS: ****
DOCTOR’S OFFICE
doctor (MOB) verifies that butts don’t contain Darth Vader action figures
— Good execution of a juvenile premise.
— Speaking of sketches with a well-executed juvenile premise, Kenan is playing the same janitor character that he played two episodes prior in the Elevator sketch from the Jim Parsons episode, at least according to SNL Archives (seen here), presumably because both sketches feature Kenan wearing the exact same janitor uniform with the “Reggie” nametag (side-by-side comparison a little below), which is probably just an example of SNL cutting corners by reusing the same costume rather than the writers intending for Kenan’s janitor character in both sketches to be the same person.
— Funny visual of Kenan mopping carpet.
— Mike is a solid straight man here, further proving how much more in-his-element he is in short films than in live sketches (the latter of which he does not appear in tonight).
STARS: ***½
PRIVATE EYES
detective (host) & partner (VAB) gaily negotiate pajama-clad sex
— When the loud background music first kicked in during the middle of a conversation Vanessa and Louis are having, I worriedly thought for a second that we were getting ANOTHER musical sketch tonight, which I certainly didn’t need a second helping of (as much as I liked the Mr. Big Stuff sketch). Thankfully, it turns out that the background music in this sketch didn’t lead to singing.
— A very strange concept and approach to this sketch. I am liking Louis’ intentionally stilted delivery of his lines, just because it’s Louis, of all people, delivering it.
— As this sketch progresses, the very odd dialogue and approach is really growing on me. And in addition to the funny novelty of seeing Louis, of all people, delivering lines like this, this sketch is also helped by Vanessa’s charming and solid performance.
— Bobby’s (who’s surprisingly making his first appearance all night here) brief scene adds to the intentional weirdness and stilted-ness of this sketch.
— Speaking of weirdness, we get a noteworthy unscripted bit at the end, where, after reading the strange-sounding line “I love you, no” off the cue card, Louis openly drops character and asks an amused “What?!?” in response to the oddness of the line he just read. I have absolutely no idea what in the world that was all about (did he misread “I love you, no” off the cue card, or did they put “I love you, no” on the cue card at the last minute to intentionally throw Louis off, because they knew it would get a funny reaction from him?), but it was certainly amusing.
STARS: ***
DYKE & FATS
Chicago policewomen Dyke (KAM) & Fats (AIB) embrace their salient traits
— A famous and highly-regarded piece.
— Hilarious reveal of the Dyke & Fats title, as well as the full names of the Dyke & Fats characters: Les Dykawitz and Chubbina Fatzarelli.
— A very fun and amusing opening credits sequence. This mid-2010s SNL era seems to be really good at recreating the look and spirit of the opening credits of 1970s/80s cop shows (one of my favorite TV genres), as the following season has that great “Blazer” pre-tape (where Taran plays a rogue cop who always goes out of his way to only punch black people).
— An actual very funny and well-done approach to spoofing lesbian and overweight stereotypes, and this is definitely one of SNL’s best uses of Kate and Aidy’s chemistry.
— Excellent twist with the negative, offended reaction Dyke & Fats have to Louis referring to them by their nicknames, and how that abruptly turns out to be the end of this sketch. And the “Created by Kate McKinnon & Aidy Bryant” closing credit, as well as the fact that this Dyke & Fats episode itself turns out to be far shorter than its lengthy opening credits sequence, gives this an Astronaut Jones feel.
STARS: *****
MUSICAL PERFORMANCE
musical guest performs “Lay Me Down”
CHRIS FITZPATRICK FOR ASB PRESIDENT
Chris Fitzpatrick (KYM) presents his high school class president platform
— Another trunk piece that Kyle has brought to SNL from his YouTube days.
— This perfectly captures the spirit of “edgy” teens, in that always-funny, intentionally stilted, low-budget Kyle Mooney way.
— I love the use of disturbing stock footage during the scene transitions. There’s an especially funny detail of one of the car crash clips having a GettyImages watermark.
— Lots of funny personal qualities that Kyle’s Chris Fitzpatrick is disclosing about himself.
STARS: ****
ROMANTIC SPEECH
crazy talk pervades (host)’s reconciliation with ex-girlfriend (AIB)
— Louis’ extremely random, insane non-sequitur lines to Aidy are cracking me up. I’m enjoying the absurdist approach to this sketch.
— One part I’m “meh” about is the running bit with Louis pronouncing “man” as “mang”, as it’s not making me laugh anywhere near as much as the rest of his oddball lines.
STARS: ***½
GOODNIGHTS
— A particularly generous and very sweet goodnights speech from Louis, even namedropping Phil Hymes (SNL’s lighting director for many years) at one point when complimenting Hymes’ great work on the lighting of the studio.
IMMEDIATE POST-SHOW THOUGHTS
— Easily the best episode since the first third of this season. SNL is now 2-for-2 in damn strong Louis C.K.-hosted episodes. Two solid hosting stints in, and Louis is becoming more and more comfortable AND comforting as a host, and I always find it fun on SNL to see him occasionally attempt something way out of his element, such as the Private Eyes sketch tonight and that Polish immigrant play from his later 2017 episode. It’ll be interesting to see if the streak of Louis C.K.-hosted episodes being strong continues after this. I recall loving his aforementioned 2017 episode, but I’m kinda having a hard time remembering half of the stuff from his 2015 episode off the top of my head.
MY PERSONAL CHOICE OF “BEST OF” MOMENTS FOR THIS EPISODE, REPRESENTED WITH SCREENCAPS
RATED SEGMENTS RANKED FROM BEST TO WORST
Dyke & Fats
Monologue
Jos. A. Bank
Black Jeopardy!
Mr. Big Stuff / Chris Fitzpatrick For ASB President (tie)
Baby Boss
Romantic Speech
Doctor’s Office
HealthCare.gov Meeting
Private Eyes
Weekend Update
HOW THIS EPISODE STACKS UP AGAINST THE PRECEDING ONE (Lena Dunham)
a big step up
My full set of screencaps for this episode is here
TOMORROW
Anna Kendrick
6 episodes in to Sasheer’s tenure and we see exactly why having a cast this diverse pays off. Black Jeopardy is a sketch the show never could have done before (ok, they could have done it with Kenan, Finesse and Maya) and is, in my opinion, easily one of the best recurring sketches of the 2000s.
IIRC, the “I Love You, No” blooper was meant to be written as “I Love you…Now” on the cue cards. So either Louie mis-read the card, or the card may have been cut off.
Dyke and Fats is a particularly great short. As someone in the community myself (shout out my Bs), I have to say, I know she’s not required to do anything like this, but I love the explicitly critical of homophobia moments Kate slips in. As I said, she shouldn’t feel pressured to, but she is the first LGBT cast member to really become a star on the show, and moments like “Dyke and Fats” and her criticizing Hillary to her face about how long it took her to support gay marriage feel special to me. I know the Hallelujah Open gets a lot of shit, but I’ll even admit to getting choked up every time I hear her sing “love is not a victory march.”
Color me shocked that you enjoyed the Private Eyes sketch, because in your original review, you tore that thing to bits.
He also didn’t like Black Jeopardy or Dyke & Fats, so it might be safe to say Stooge was just plain not in the right mood for these episodes at that point.
@Joseph Morgan and Anthony Peter Coleman, the difference between most of my original 2009-2012 & 2013-14 reviews and my current 2009-2012 & 2013-14 reviews is almost like night and day. Quite frankly, I was a salty fucker back in the days when I did those original 09-12 and 13-14 reviews. In my current One SNL A Day project, I try to be much more fair and objective in my reviews. SNL’s 09-12 and 13-14 periods aren’t great, but certainly aren’t as bad as I made them out to be in my original reviews of them. In my current SNL project, I’ve gained a lot of appreciation for quite a number of things I bashed back in my original reviews. It helps that there’s been a long gap between the original airing of these episodes and my current reviews of them, thus meaning it’s easier for me to now give the material a fair assessment than when I originally reviewed that material when it was newly-aired. (There’s something about the nature of SNL fandom in general where some things on the show aren’t fully appreciated until they’re looked back on in hindsight years later.) With Black Jeopardy and Dyke & Fats, for example, I’ve now had years to gain appreciation and respect not only for the sketches themselves, but also for the resonance and impact I’ve witnessed those sketches make in the SNL fandom. It also helps that I’m now older and more mature than I was when I wrote those original reviews.
While I’m proud of what I accomplished in my original 14 years (2000-2014) as a reviewer, and without those original 14 years of reviews, I never would’ve started this current One SNL A Day project, part of me is now a little embarrassed to look back on some of those original reviews, as a lot of my opinions back then do not hold up at all in proportion to my current opinions. I think my more fair-and-objective approach in my current reviews has kinda spoiled me, because when I now look back at some of my original reviews, I feel I come off cold, grumpy, and unfair. That assessment itself is probably unfair of me, because, like I said earlier, SNL fans sometimes need hindsight to appreciate certain things about the show.
Interesting hearing your thoughts on this Stooge. That’s fair about your old reviews, and I would say you’ve become one of the more fair and balanced SNL reviewers I’ve found. You’ve been far kinder to this season than I have a lot of the time.
I believe the reason for the laughing to start off the show is to get the audience in a good, jolly, having-a-good-time mood for the episode, however rough it is.
“I believe the reason for the laughing to start off the show is to get the audience in a good, jolly, having-a-good-time mood for the episode, however rough it is.”
Did you mean to say “clapping” instead of “laughing”, or are you referring to the laughter that we usually hear the end of at the very beginning of every cold opening when the screen fades from black? If it’s the latter, I wasn’t addressing that in my review. I was addressing the audience applause that happens right after a performer starts speaking at the beginning of each cold opening.
Black Jeopardy is a great recurring sketch–this is a great entry, and some of the later ones (particularly Tom Hanks and Chadwick Boseman) are bonafide classics. For a while, I was worried that the one-joke premise of a fish out of water white person was going to be the only joke in these sketches, but they really went in creative directions. Louis’ answer of Michael Vick never fails to crack me up.
DRESS CUTS
Cold Open – Mystery Of Flight 370
~ CNN anchor Don Lemon (Pharoah) interviews people about the missing Malaysian Airlines flight. First guest is “the closest we have to an aviation expert, Sky Mall editor Scott Callahan” (Bobby). Scott is sleeping on a pillow from the catalogue. Crimean woman Natasha Svevchenko (?) (Cecily) comments as well. (don’t remember much about what these 2 said.) Ashleigh Banfield (Vanessa)’s theories: aliens stole it, cloud ate it, reboot of “Lost”, reboot of “Frasier”, plane simply just shy. Courtney Love (Kate) is the next guest for some reason. She made her own search map: picture of a black cloud with red markings on it: the word “oil”, 3 arrows/“Plane?”, signed “CL” for “Crazy Lady”. Pic pulls back to reveal it’s on the moon. Lemon throws to Wolf Blitzer (Beck) testing out new flight simulator, which actually simulates BEING a plane. Wolf wears a motion capture suit and screams “I AM the plane!”
~ Beck was on his stomach with arms out on a raised green platform in front of a green screen, with the sky in the background
~ Pharoah/Lemon LFNY,iSN!
Earth Guy Art
https://www.nbc.com/saturday-night-live/video/cut-for-time-space-encounter/2768621
~ Louis got a final make-up touch-up in front of the crowd on home base; strange choice for his set because the male pictures were easily visible to the audience before the sketch began = reveal less effective
Big Brother
~ Mother (Vanessa) leaves for the evening, thanking Greg (C.K.) for babysitting on such short notice because her usual sitter “is a flake & a slut”. Mom says the kids can’t watch television and soon leaves. Greg introduces himself to the two children: big brother (Mooney) & little sister Chelsea (Nasim). Big bro asks Chelsea what’s bothering her: “That man, I don’t know who he is.” Bro leaves Chelsea on the other side of the couch and approaches Greg sitting in a nearby chair. Greg introduces himself as Mr. Ladderhammer. Bro tells him he should chill out because lil sis “had a big day with gymnastics and playing with shapes”. Greg asks him his age. “Eight & change, sir.” Big bro reports back to sis. Sis wants Dino Nummies. Bro asks Greg to turn on the stove. Greg declines and suggests they play a game. Bro & sis invite Greg to play pretend. “Welcome to pretend! This is the Imagination Box. Remember to make fun creative choices for the little one.” Bro & sis use objects to become fantastical creatures. They give Greg a basketball. Greg pretends to be Pete, a basketball coach. “That doesn’t work in our world that we created.” Greg gives up: “Listen, I don’t care! I don’t love you! I love my kids, but I don’t love you and a lot of adults don’t! The only adult that loves you LEFT!” He calms down and turns on the TV; he’ll explain to their mother later. Bro to sis: “Do you know what this means?” “We don’t have to deal with that man anymore”
Update – Gov. Chris Christie (Bobby)
~ Christie details the report on the George Washington Bridge scandal, titled “You’re Good, Bro”. Jost calls into question the use of his own staff in the investigation. Chris claims it went through the most reputable law firm in New Jersey: Christie, Christie, & Christie. The report calls him “unbiased and very approachable, with a presidential demeanor” & “Bruce Springsteen’s hero”. Another page states “New Jersey is the best smelling state”. The report also “talks to teachers”, with a voice chip shouting “You people are idiots!” ….”like one of those $11 Hallmark cards!” Christie yells “Go trash!” after Jost exits him off
Update – Jaime Davidson, selfie expert (Vanessa)
~ With the selfie craze in full swing, Jaime recommends poses for one’s own selfie collection, like “Sexy Dork”: holding your hand out in an unnatural position. (“A book goes there”) Cecily asks about selfie ideas for men. 3 quick ones: “Not much”, lists more for women. Jaime says she and Cecily are “besties” now. Cecily reminds her that they just met. “But nobody’s ever listened to me talk that long before”
Sucked One Once
~ airs in 2 weeks: Rogen replaces C.K., Taran replaces Beck, Beck now appears as the “sucked on” character who was mentioned but not seen in this version
~ Nasim had a few minimal lines and was crunchin’ on chips the whole time
TIDS & BITS
Obamacare Social Media moved to top of the show ** Original Ending: during the kiss, the frame freezes, and the pic features on a front page with the headline “O’Bieber” and a comically high number of people signing up for Obamacare
monologue twice as long in dress; wish I could remember everything, but here’s one: Which do you think is worse: farting on a baby accidentally…. or eating a live kitten on purpose? With the baby, it’s like he doesn’t even know what’s going on. I say “he” because I would never fart on a girl baby. A boy baby is going to do something someday to deserve it ** audience girl 21 years old in dress as well; not sure if she was the same as on air because the camera didn’t cut to her
Dyke & Fats credits roll, then Detective TV programming block segues into the next show…. up next: Jillian & Brock, Licensed Detectives: “private eyes pajama party” plays out with a “Jillian & Brock” bug in the lower right corner for the whole sketch ** ends with scrolling credits: “A Rodger Brush Production”, a reference to Fred’s polarizing character ** Louis was indeed supposed to say “I love you now” at the end, funny to see him blatantly question the wording on air ** aired in reverse order in live show, sadly without the segue; format-breaking is a part of many dress rehearsals in recent years but too often trimmed from the live show. Before I die I crave access to SNL’s servers of every show and dress rehearsal ever
Stephen A. Smith said “women’s figure skating” in this annoying high-pitched screechy voice, even a second time later on ** after his commentary, both anchors look unsure of what comes next. Jay -in character- mockingly asks “Are you gonna say anything?” Cecily quickly starts the sign-off
Mr. Big Stuff: at the beginning, Aidy said that if her man mouthed off, she’d tell him to “Shut yo’ butt up!” ** Louis eats FOUR meals of eggs, not three (a funny lil touch they should’ve kept in)
romantic speech: Robbie (Bobby) was blind because he masturbates by punching his eyes, which he did at the end instead of hugging
Chris Fitzpatrick: “Not everyone’s a Johnny All-Star in sports”, so instead of gym class, he proposes “band class” where “you & your band can go & play music”
Additional Sketch by Sam Means (Daily Show, 30 Rock, Parks And Recreation, Unbreakable Kimmy Schmidt, The Onion, A Practical Guide To Racism, The New Yorker) cut. He’s a guest writer next episode, too
Mike O’Brien didn’t appear in any stage sketches in dress. Usually everyone has something to do for the 8:00 show. Love him as a writer and sometimes-performer, but can’t help but picture Tim Robinson being much better in every role Mike played all year (exceptions: Bird Bible, What’s Poppin’)
DRESS RUNDOWN
Flight 370 (CUT)
monologue
Black Jeopardy!
bb boss
JOS. A. BANK
Earth guy art (CUT)
Sam Smith #1
Update
Chris Christie (CUT)
selfie expert (CUT)
Stephen A. Smith
Mr. Big Stuff
Obamacare social media
DYKE & FATS
Jillian & Brock, Licensed Detectives
sucked one (CUT)
STUFF IN BUTTS
big brother (CUT)
Sam Smith #2
romantic speech
FITZPATRICK ’14
goodnights
Stooge, I was reading your 15th anniversary notes back in the comments of your season 15 review where you explain your decision not to review the three anniversary specials as they are mostly clip shows with music and intros.
As we are not coming up on season 40, I’d really like to encourage you to consider reviewing the 40th anniversary special, as it’s something unique — it actually is mostly new sketches unlike the 15th and 25th, and I really would love to see your thoughts on the vast convergence of 40 years of cast members performing in all new material. It’s really not like the other two specials at all.
Just a thought. I know you’ve made up your mind back when you started this but I hope you reconsider!
I’d also add that it’s an important moment in SNL history, and one of the last non political things the show did that genuinely caught the zeitgeist (I remember the ratings being HUGE)
I echo the above thoughts – although it’s your blog, your choice, of course.
SNL 40th Anniversary special even had red carpet preshow. I have never known of something like that for a comedy special.
Always bothered me how Chris Fitzpatrick on SNL is nothing like how he is on YouTube. On YouTube, he’s pretty much the same, but instead of an awkward loser, he’s an over-confident douchebag. Portraying him like this makes him a bit too similar to the Inside SoCal guy, which (imo) I think could’ve hurt Kyle. Chris is such a role you wouldn’t expect Kyle to play, but by making him all uncomfortable in front of a camera, Kyle could’ve portrayed himself as a one-trick-pony.
“I want to set up a film club, where we watch actually good movies like ‘Pop, Lock’ and ‘Kids'” is one of my hardest laughs of the season, however.
@Mickey That’s a really good point. Kyle’s pre-SNL videos as Chris Fitzpatrick are some of my favorite things he’s done, but on SNL he’s basically an amalgam of all Kyle’s characters. I think Chris’s last appearance on SNL is just another awkward man-on-the-street segment too, which is still funny, but kind of diluted from what that character started out as.
Love this website.
Damn shame as to what Louis became bc he was phenomenal host in all his appearances.
@CJ he was still that guy when he hosted, to be fair
The only great episode of this season. I was MUCH less into the open than Stooge (felt like one of those, “lets throw every story that happened this week in here” opens that I generally can’t stand), but starting with the monologue every sketch was at the very least interesting, and most of them above average. Before we got here I honestly would say Fey’s had the best episode of the season so far, but this blows that one out of the water. As I said, easily my favorite of this season.
“Chris Fitzpatrick’s” school appears to be the John Marshall High School in LA, used as a location for literally hundreds of TV shows and movies.
From Vanessa Bayer’s Reddit AMA: “His cue card was supposed to say ‘I love you now,’ but it said, ‘I love you KNOW.’ It was so funny that I kept the cue card, and it’s now in my dressing room.”