This Is Why Harry Styles Was 'Devastated' By This SNL Comedian's Impersonation Of Him
Saturday Night Live comic Chloe Fineman was a viral sensation thanks to her celebrity impersonations before she was even cast on the long-running sketch comedy show.
However, it seems there's one star she's never quite been able to nail.
On the red carpet of the SNL 50th anniversary celebration over the weekend, Chloe began her interview with Amelia Dimoldenberg by delivering an impression of the Chicken Shop Date host.
'It's like I'm looking in the mirror right now,' Amelia responded, before asking the comic if there was 'an impersonation that you can't crack'.
'You just now,' Chloe quipped, before recalling that one SNL host was a little disappointed when she tried to impersonate him.
She admitted: '[My] Harry Styles is really bad. I did it [for him when] he was at the table, and he was so devastated by how bad it was.'
Chloe then slipped into her impersonation of the former One Direction singer and… yeah, we can kind of see where he's coming from, to be honest.
Watch Chloe's interview with Amelia Dimoldenberg at around the 18:43 mark in the video below:
Harry performed double duty as SNL host and musical guest back in 2019, to promote his second album Fine Line.
At the time, he received praise for his performances in the comedy sketches, with one in particular – in which he played the social media manager for the frozen dessert company Sara Lee – going viral on social media.
Chloe previously showed off her impression of Harry back in 2022, and we're going to be honest, it's not one that appears to have especially improved with time.
I love Chloe Fineman so much 😂 @nbcsnl@Harry_Styles@HSHQpic.twitter.com/886vQQD467
— Katie (@katieleechutek) September 30, 2022
21 Must-See Moments You Might Have Missed From SNL's 50th Anniversary Celebration
Ryan Reynolds Makes Light Of Ongoing Legal Drama During Saturday Night Live Special
Aubrey Plaza Subtly Honours Late Husband Jeff Baena During Saturday Night Live Special
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
2 hours ago
- Yahoo
Eddie Murphy and Pete Davidson Get Suckered Into a Casino Heist with Keke Palmer in 'The Pickup' Trailer
Eddie Murphy, Pete Davidson and Keke Palmer star in the first trailer for Prime Video's The Pickup The teaser shows Murphy and Davidson as mismatched armored truck drivers who encounter Palmer's criminal mastermind The Pickup is streaming on Prime Video on Aug. 6Eddie Murphy and Pete Davidson have met their match in Keke Palmer. The first trailer for The Pickup, released Monday, June 9, showse Murphy, 64, and Davidson, 31, as armored truck drivers who go up against a savvy thief, played by Palmer. Directed by Tim Story (The Blackening, Barbershop), the film's synopsis teases that "a routine cash pickup takes a wild turn when two mismatched armored truck drivers, Russell (Murphy) and Travis (Davidson), are ambushed by ruthless criminals led by a savvy mastermind, Zoe (Palmer), with plans that go way beyond the cash cargo." Never miss a story — sign up for to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. "As chaos unfolds around them, the unlikely duo must navigate high-risk danger, clashing personalities, and one very bad day that keeps getting worse." Along for the action-packed ride are Eva Longoria, Marshawn Lynch, Joe 'Roman Reigns' Anoa'i, Andrew Dice Clay and Ismael Cruz Córdova. While on The Jennifer Hudson Show, director Story said lots of "craziness" goes on in the film. Also during the talk show appearance, Murphy said he was a fan of Davidson's before doing the film as costars. "Yeah, I thought he was funny. I watch the show all the time, Saturday Night Live, and I always thought he was funny, absolutely," he said. Added Palmer, "[Davidson] looked up to Eddie a lot too. It was really cool to see y'all two together." The Pickup is on Prime Video Aug. 6. Read the original article on People
Yahoo
2 hours ago
- Yahoo
Movie review: 'Materialists' incisively takes down big dating services
LOS ANGELES, June 9 (UPI) -- Materialists, in theaters June 16, is a scathing indictment of both Hollywood romances and the real-life industry that has sprouted around dating. Singles who have been preyed upon by such services will feel seen. In the film, Dakota Johnson stars as Lucy, a woman working for the fictional Adore matchmaking service. She is responsible for nine marriages but is determined to remain single herself. At one wedding, the groom's brother, Harry (Pedro Pascal), asks Lucy on a date, which she initially accepts to try and land him as a client. At that same wedding, she reconnects with her ex, John (Chris Evans), who is working as a waiter. Just watching Lucy work shows how she turns human beings into commodities. They are a collection of assets she can move around to set up on dates, thus keeping both clients on contract, or marry off to raise her success rate, improving her own business. And yet, she still objectively misjudges her clients. When introducing one potential match, she genuinely thought the man would be open to a 39-year-old businesswoman and that the woman would accept his height and receding hairline, let alone other clients who have minimum salary requirements for partners. Lucy expects her clients to be more open-minded, and yet she's selling them on the idea that their perfect match is out there, and that she'll find them. If she was realistic in her sales pitch, most clients would probably opt to keep dating on their own. This is an issue inherent with turning dating into business. When a customer is paying for a service, they do have a right to set some criteria for their purchase. Capitalism is ultimately incompatible with humanity. Yet matchmaking services have a high enough success rate to stay in business. Everyone seems to know someone who met their partner through a service like this. Materialists makes incisive observations about the seemingly petty reasons people really connect. There is some validity to them, however. One flashback shows John and Lucy arguing over whether to park at a $25 lot in New York. $25 is a significant amount for a struggling couple, so it compromises their other plans and then makes Lucy feel guilty for resenting how much hinges on the amount. Money would render that problem moot but it wouldn't address the root of the issue -- if a couple can't solve problems together, they're not very compatible. Even if Lucy finds a wealthy suitor like Harry appealing, other problems will arise and put their relationship to the test. So Lucy assigns people value based on their careers, their income and their looks because everyone is already doing it. She's just created a mathematical formula. Being this honest, warts and all, about people's romantic needs also contradicts the most popular Hollywood romances. Hollywood movies love to sell people on romantic destiny, such as Sleepless in Seattle or While You Were Sleeping. Another trope is platonic friends falling in love like in When Harry Met Sally or Reality Bites. Certainly friends can become more, but movies like that overlook the reasons the pair made a conscious decision not to start dating in the first place. Lucy does the math on herself too, which speaks to an internalized self-loathing that matchmaking services prey upon. Based on firsthand experience, a lot of them seem to expect that if you're paying to find a date you must be desperate enough to accept whoever they present to you. Materialists gets even more serious about the pitfalls of taking money to introduce strangers in an intimate setting. When Lucy misjudges one male client, she puts a female client in a precarious situation. This is the inevitable peril of such a business and Adore alludes to a legal department, which must exist for real-life services to address such risks. But, Lucy's math can't even get middle-aged men to accept dating 30-year-olds, so how can she really screen out possible abusers when abusers are deceptively capable of appearing safe? Lucy starts to see the flaws in the system and calls out some of her clients. She astutely points out that as a matchmaker, she is forced to deal with clients' racism, ageism, body shaming and other qualities to which even their therapists may not be privy. One issue with Lucy's math is that she only sees people's potential. What it doesn't show her is people's nature, and that is the foundation of relationships. Materialists is a cynical movie and yet one that desperately wants to have hope. The film, as with its heroine, is hard pressed to ignore the reality of human behavior. Writer-director Celine Song seems nonjudgmental about the people who run Adore and the people who pay for their services, assuming their intentions are sincere despite their blind spots. And what is the alternative, swiping profiles on apps? Ideally, the alternative should be being kind and friendly, spending time getting to know each other and not looking at phones. Alas, the difficulty of that created a void for businesses like Adore to fill. Song lets her actors perform long, uncut scenes of dialogue together, or listen to each other's monologues and react subtly. The roles let Johnson and Pascal let their guard down at times, and Evans' role is always vulnerable. Materialists is presumably a date movie but it is likelier to lead to arguments, hopefully constructive ones. For singles navigating the oppressive selling of relationship services, it is especially validating, and poignant for anyone trying to rationalize the intangibles of love. Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.
San Francisco Chronicle
3 hours ago
- San Francisco Chronicle
Review: ‘Materialists' brilliantly exposes the price of desire
The lighting says everything in Celine Song 's films. Through most of 'Materialists,' the director and screenwriter's follow-up to 2023's ' Past Lives,' the camera casts its luxurious settings in a golden sheen. This is the world of a successful, high-end matchmaker in New York City. Responsible for nine marriages, Lucy (Dakota Johnson), as her boss crows during a sparkling office celebration, possesses 'razor-sharp instincts and one hell of an eye.' It's a line that could also describe Song, who has spoken publicly about how 'Materialists' is inspired by her own past experience as a professional matchmaker. Here, the filmmaker once again enlists the talents of Shabier Kirchner, the cinematographer with whom she worked on 'Past Lives,' to shed light on the self that Lucy presents to the world and the one she keeps close to her chest. Early in the film, Lucy carefully lines her lips in a tasteful rosy shade and selects inoffensive jewelry as the warm sunlight of her apartment is refracted in her many mirrors. Her voice is a finely tuned, silken purr. These are all elements of the persona that Lucy has meticulously crafted based on the keen sharp observational skills that serve her so well as a matchmaker. Practically a human calculator, she is a woman who uses her gaze to constantly assess the marketability of each potential match, from income to education to looks (including height) and so on. Part of what makes Lucy so good at her job is that she herself is dying to claim a life defined by the finer things. Then, at one of her client's weddings, she meets Harry (Pedro Pascal), the impossibly wealthy and handsome 'unicorn' of a man who just might deliver for her. But there's a moment toward the middle of 'Materialists,' when the camera flips jarringly from the expensive glow of Lucy's present to the harsh, daylight glare of her past. In this flashback, the view shifts through the grimy windshield of a beat-up Volvo to Lucy quarreling with her past love, John (Chris Evans). It's Lucy and John's five-year anniversary, and for once, these two broke, young New Yorkers are trying to celebrate with a meal at a nice restaurant. It's an outing they can't afford, a fact they argue about while struggling to find parking. 'I don't want to hate you because you're poor,' she says to him with a ragged edge to her voice. Severe light emphasizes the lines of her face which, importantly, remains lovely despite its imperfections. It's one of the realest moments of the film for Lucy, who ends up reconnecting with John while he's cater-waitering at the very same wedding where she meets Harry. By Lucy's calculations, Harry is perfect on paper, and he couldn't be embodied by a better heartthrob than Pascal. He speaks her language, noting that she markets her professional services as a 'luxury good' and describes her smarts as 'intangible assets' that are 'good investments that don't degrade.' These are 'Shark Tank'-worthy lines that could come across corny but twinkle when performed by an actor with such charisma. But there's a troubling opacity to Harry. Why is he single? Who is he, really? These are questions that Lucy must answer before the film's dreamy, poignant conclusion. Marketed as a romantic comedy, 'Materialists' is a sharper, more thoughtful film than its genre would suggest. This is a story about perceived value and what its pursuit costs its characters — emotionally, physically and materially. For those who pay attention to the light, though, it's clear by the end what Song values as this film's storyteller. The credits roll against a setting resplendent with a honeyed glow, revealing a depth and sweetness that just might be the warmest light in the entire film. Hannah Bae is a freelance writer.
