logo
How SNL 50 Paid Tribute to Late Saturday Night Live Cast Members

How SNL 50 Paid Tribute to Late Saturday Night Live Cast Members

Yahoo17-02-2025
Originally appeared on E! Online
Saturday Night Live is bidding farewell to some of its most beloved cast members.
During SNL 50: The Anniversary Special—a three-hour program marking the 50th anniversary of Saturday Night Live—the sketch show honored several of its past stars who have died.
Phil Hartman, Norm Macdonald and Chris Farley were among the late comedians recognized in Adam Sandler's touching tribute song on the Feb. 16 show, which aired on Peacock and NBC.
While playing guitar on stage, Sandler shouted out how many years various cast members were a part of the show, saying the world got "8 of Hartman 'The Glue,'" referring to the nickname of the funnyman, who died in 1998 at age 49.
"Six years of our boy Farley, five of our buddy Norm," Sandler sang. "Fifty years of the best times of our lives."
Macdonald—who died of acute leukemia in 2021—was also honored during Michael Che's "Weekend Update" segment.
More from E! Online
SNL Fans React to Bill Hader's Absence From 50th Anniversary Special
SNL 50: Blake Lively Reacts After Ryan Reynolds Jokes About Justin Baldoni Scandal
SNL 50 Red Carpet Fashion: See Every Celebrity Arrive
"Since the 40th, we've lost the late great Norm Macdonald, who hosted 'Weekend Update,'" Che shared, "until he was fired for making jokes about OJ Simpson."
"And he's obviously one of my heroes," he continued, before quipping, "so if you're watching up there, I just want to say, we love you OJ."
Adam Sandler's Song: 50 Years #SNL50 pic.twitter.com/tACkE3xNiJ— Saturday Night Live - SNL (@nbcsnl) February 17, 2025
In addition to honoring the late cast members, the landmark show reunited several former SNL stars from over the years.
Molly Shannon, Seth Meyers, Adam Sandler, Amy Poehler, Andy Samberg, Kate McKinnon, Kristen Wiig, Chris Rock, Fred Armisen, Jason Sudeikis, Maya Rudolph, Tina Fey and Will Ferrell all returned to Rockefeller Center for the occasion, as did Kenan Thompson, the longest-running cast member in history.
And while SNL has been a TV staple for decades, it didn't start out that way.
"It was a little dinky late-night show," creator Lorne Michaels told People in 1989. "It wasn't going to change anything."
In fact, he admitted that the team was "making it up as we went along, but people seem to have the impression that it sprang full-blown from Zeus's thigh."
Season one star Chevy Chase added that the cast only started to recognize the impact of the show when fans called out to them on the streets of New York, quoting the previous night's most hilarious sketches.
"We were up all night all the time, always working, always on a high, always feeling that we had something new and that people couldn't wait to see it," he told the outlet. "We didn't really know if it was good or not, just that we had plenty of ideas."
To see which celebrities attended SNL 50: The Anniversary Special, read on.
(E!, SNL, NBC and Peacock are all part of the NBCUniversal family.)
Blake Lively and Ryan ReynoldsKim KardashianMiley CyrusPete DavidsonDakota JohnsonLady Gaga and Michael PolanskyScarlett Johansson and Colin JostJackie Sandler and Adam SandlerKenan ThompsonTom Hanks and Rita WilsonSabrina CarpenterMeryl StreepEddie MurphyEmma Stone and Dave McCaryAlexander Edwards and CherBad BunnyAmy PoehlerTina FeyMaya RudolphMiles Teller and Keleigh Sperry TellerDrew BarrymoreZahra Rock and Chris RockWill FerrellChris Fischer and Amy Schumer
For the latest breaking news updates, click here to download the E! News App
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Stars' Children Who Love Or Hate Their Parents' Work
Stars' Children Who Love Or Hate Their Parents' Work

Buzz Feed

time32 minutes ago

  • Buzz Feed

Stars' Children Who Love Or Hate Their Parents' Work

I would imagine that for celebrities, their kids would be super gung-ho about their work, but it seems no matter how world-famous, talented, or wealthy they might be, they're just as humbled when it comes to being a parent. For example, when asked if their children have ever seen their work, surprisingly, the answers weren't all a resounding yes. But I suppose I would have my reservations about seeing my parents on screen covered in blood or simulating sex, jumping off buildings, etc. Here are 19 takes of celebrity kids who have seen their parents' work and loved it, and those who refuse or remain unimpressed by it: Macaulay Culkin shared with E! News, that the young sons he shares with partner Brenda Song, Dakota and Carson, are fans of his father's iconic Home Alone movie. In fact, Dakota got so immersed that Macaulay said Dakota thought he was Kevin, the main character in the movie, the role Macaulay played. "I'm like, 'Do you remember going down the stairs on the sled?' He's like, 'Mmhmm, yep. Sure do.'" Jessica Simpson's kids are cheekily supportive and love looking up Newlyweds clips. "My kids love looking up the YouTube clips of Newlyweds or of anything that I've done. [They'll search,] 'Jessica Simpson embarrassing moments.' I'm like, 'Really guys?'" she told ET. "They love to do that." "We've gone on a YouTube Newlyweds binger and they really just love to see my parents super young and married and they love to see Ashley," Jessica said. "They definitely laugh at me. They just want to make fun of me, I think."

'Mr. Robot' Has Only Gotten Better With Time
'Mr. Robot' Has Only Gotten Better With Time

Time​ Magazine

time2 hours ago

  • Time​ Magazine

'Mr. Robot' Has Only Gotten Better With Time

Starting today, the USA Network drama Mr. Robot is available to stream on Netflix. It's a great time to introduce a new wave of viewers to the series; between 2015 and 2019, it was one of the most prescient, anti-capitalist shows on TV. At the tail end of the network's optimistic 'blue sky' programming era, this was a techno thriller with prestige-drama aspirations, injecting its core character study with trenchant social commentary. But despite creator and showrunner Sam Esmail's success in airing four seasons of his passion project with little intervention from the network, Mr. Robot never quite took off to the same extent as many of its peers, including critical darlings like FX's The Americans and HBO's The Leftovers. Following a universally acclaimed first season, the show got weirder, bolder, and marginally less gripping on an episode-by-episode basis, at least during a polarizing second season that appeared on far fewer year-end 'best TV' lists than the first. Today, though, the show's occasional missteps feel like part of its charm—integral pieces to a grand vision that Esmail executed with confidence. Time will be kind to Mr. Robot; don't let anyone tell you otherwise. Here's what to know before you dive in. What is the show actually about? Rami Malek stars as Elliot Alderson, a young, clinically depressed man working as a cybersecurity engineer at a company called Allsafe. At night, Elliot moonlights as a cyber-vigilante—and his hacking skills attract the attention of one Mr. Robot (Christian Slater), the enigmatic leader of a hacktivist group called fsociety determined to cancel all consumer debt and take down the massive corporation E-Corp (or 'Evil Corp,' as Elliot's brain interprets it). Sounds very Fight Club… Esmail wears his influences on his sleeve, and Fight Club is one particularly obvious one, from the anti-consumerist setup to the Tyler Durden-esque title character. (Taxi Driver is another, evident from Elliot's voiceover narration and the me-versus-society mentality that leads him into several deranged rants.) But Mr. Robot feels like its own specific cocktail of sci-fi and thriller ingredients, and Esmail isn't afraid to directly reference his inspirations—as when he borrows the Pixies' 'Where is My Mind,' iconically used in Fight Club, near the end of Season 1. It's also not much of a spoiler to acknowledge that Elliot's fracturing identity is a consistent throughline of Mr. Robot. What's going on in Elliot's head is just as important as the latest heist to hurt E-Corp. (In fact, the last couple episodes of the show are basically devoid of hacking.) The sooner you make peace with that focus, the more you'll enjoy the show's many flights of fancy: beginning, perhaps, with the fourth episode, a harrowing and hallucinatory dip into his consciousness as he experiences drug withdrawal. That one feels straight out of David Lynch. Just how weird does the show get? Season 1 of Mr. Robot is the most grounded, and Esmail only directed three of the episodes, though his distinct style—with faces isolated at the bottom edge of the frame as if to emphasize the characters' alienation—was present from the beginning. But he takes over as full-time director from Season 2 onward, dialing up the experimental episodes: a 15-minute '90s sitcom parody; an entire installment presented as a single shot during a riot; a hostage situation with high personal stakes, structured like a five-act play. The show also flirts with science fiction as it goes on, teasing the possibility of time travel and alternate dimensions. That flexibility when it comes to both genre and tone—the show can be funny, suspenseful, heartbreaking, and terrifying—makes it memorable. Does it ever get bad? Most people would agree Mr. Robot is at its worst in Season 2, especially with one key Elliot-centric storyline dragging on much longer than it should. And while the show is filled with interesting supporting characters—from Elliot's morally compromised childhood friend Angela (Portia Doubleday) to the slimy E-Corp brownnoser Tyrell Wellick (Martin Wallström) to a trans cyberterrorist named Whiterose (BD Wong) operating as the Minister of State Security with her birth name—not all of their arcs get the same time to develop and wrap up in satisfying fashion. But the show's occasional lags in pacing are much more bearable on a binge, where you can inhale a whole stretch of slower episodes rather than waiting a week and praying for plot movement each time. Besides, the majority of the dips in quality derive from Esmail prioritizing stylistic playfulness and experimentation over the relatively straightforward, linear storytelling of Season 1. In many ways, Season 2 is easier to admire in retrospect, but it's still a good time if you go in with an open mind. Is the ending satisfying? The show's viewership took a huge hit in Season 2 and never really recovered despite a solid, improved Season 3 and a genuinely rich, fascinating Season 4. In fact, watching back Mr. Robot after knowing where it's all going, the occasional bumps in the road feel beside the point; the show sticks the landing in a way that reframes the entire series in a surprisingly moving way. Credit Esmail, whose projects since include the podcast adaptation Homecoming and apocalyptic-thriller novel adaptation Leave the World Behind, for sticking to his vision for the series—and never straying far from the journey of its unique and oddly relatable protagonist, the heart of the series. Credit should also go to Malek, whose work as Elliot led to starring movie roles like his Oscar-winning turn as Freddie Mercury in Bohemian Rhapsody and his casting as a Bond villain. His stellar vulnerable breakout performance anchors the entire show. It's immediately evident, just from watching the pilot episode, when Elliot Alderson first invites us into his world. Once you're in, you won't want to leave.

Celine Song Says Audiences Are ‘Scared' of Taking Rom-Coms Seriously Due to ‘Misogyny'
Celine Song Says Audiences Are ‘Scared' of Taking Rom-Coms Seriously Due to ‘Misogyny'

Yahoo

time2 hours ago

  • Yahoo

Celine Song Says Audiences Are ‘Scared' of Taking Rom-Coms Seriously Due to ‘Misogyny'

Celine Song is speaking out on how rom-coms are written off by critics and audiences alike. The Oscar-nominated filmmaker was asked by the Southampton Playhouse Artistic Director Eric Kohn why there are fewer rom-coms made today (although Song's sophomore film 'Materialists' is decidedly not one of them). Song told the Southampton Playhouse that the lack of romance genre films is in part due to 'misogyny,' specifically by deeming the features merely 'chick flicks.' 'There has been this diminishing of the genre by calling them 'chick flicks,'' Song said. 'I think about this in terms of what I'd consider the middle class of movies. Either you can make a movie for so much money that you have to make so much money back, or the movie is being made for festivals under $2 million where it's for some people and the goal is to go through the journey of accolades and all those other things.' More from IndieWire Ari Aster Says 'We Have No Say' in How AI Will Impact the World: It's 'Already Too Late' How Victoria Mahoney's Groundbreaking 'Star Wars' Directing Gig Guided Her Work on 'The Old Guard 2' She continued, 'Generally speaking, there are so few movies that fit into whatever category mine is. It's a theatrical film, not for streaming. It's an R-rated romantic dramedy and not based on a book. It's an original story. It has these great actors in it and the genre has been historically dismissed as chick flick.' That dismissal is in part due to the patriarchal undermining of films that are largely written and directed by women; Song also stated that people are also fearful of examining their own relationship to the idea of love, which is at the (literal) heart of the rom-com genre. 'A few reasons, one of which is misogyny. But there's another part of it. Romance is something that we're all embarrassed to be obsessed with,' Song said. 'OK, fine, it's a chick flick. That's often said as if it's not a serious movie. I always think, well, that's sad in a couple of ways. You're saying chicks are not serious people. Secondly, it's not the concern of serious people to think about love and dating. But serious people do it, too. They're very troubled by love and dating. Ask any serious person. And so it's a genre that is dismissed. People are scared of it. […] True love is a difficult thing for people. When I say it, adults look at me like I'm Santa Claus. But true love is the only thing that is real. I don't know why true love is any less real than a Birkin bag or a Maserati. True love has endured throughout time. It's a thing that is so ancient.' Song cited how the American way of looking at (and for) love is starkly different from other cultures' approaches to courtship and self-worth. 'As a Canadian, as a bit of an outsider, I see the way that Americans think of themselves as merchandise that is built into the DNA of the country,' Song said, with the theme of people as 'merchandise' being throughout the aptly-titled 'Materialists.' 'My actors were so beautifully attuned to this,' Song said of the cast, which consists of Dakota Johnson, Pedro Pascal, and Chris Evans. 'Who [better] understands 'I'm not merchandise, I'm a person' than Chris, Dakota, and Pedro. Pedro gets treated like he's 'The Mandalorian' and Chris gets treated like Captain America. He's a different person. Dakota was in '50 Shades of Grey.' Talk about objectification!' She added, 'They wanted to do this movie not because it's a fun rom-com. They get offered rom-coms all the time. They wanted to make this particular movie with me because they wanted to talk about the way we brutalize ourselves and don't treat ourselves like real people. Only when we're people are we actually capable of love.' Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store