The launch of any comedy show feels, like a gut check. You can dissect the jokes, tally the hits and misses, and analyze the pacing, but it boils down to a feeling. Did it *work*? The inaugural episode of Saturday Night Live UK, Sky’s ambitious adaptation of the 51-year-old American institution overseen by Lorne Michaels, largely did. It wasn’t flawless, and there were moments that stumbled, but it avoided a complete misfire, a surprisingly positive outcome given the inherent challenges of transplanting a deeply ingrained cultural touchstone.
The show, built around 11 performers and a writing team of 20 selected from over 1,200 applicants, began with a bold, if somewhat shaky, attempt at political satire. George Fouracres’ impression of Keir Starmer, the leader of the UK Labour Party, attempting to “fix” Donald Trump (“I can change him!”) felt, as one reviewer noted, capable of draining the energy from any room. The sketch quickly gave way to the monologue, delivered by Tina Fey, a veteran of the original SNL and creator of the acclaimed series 30 Rock. Fey’s appearance, like much of the episode, started tentatively, with a cameo from Nicola Coughlan that didn’t quite land, but gained momentum thanks to a playful pop quiz with Graham Norton focused on British slang.
Finding its Footing: Sketches That Soared and Those That Sank
One of the stronger sketches centered around “Undérage,” a skincare range with a darkly humorous premise: its effectiveness is so complete, “everyone will think your husband is a nonce!” (a British slang term for sex offender). The sketch, featuring a brand struggling with the fallout from its founder’s scandal – “He’s lost his record deal, and some, but not all, of his fans” – leaned into uncomfortable territory, a hallmark of the original SNL. While it, like many sketches, perhaps ran a little long, it demonstrated a willingness to push boundaries.
A particularly bizarre, yet memorable, sketch reimagined David Attenborough’s nature documentaries as a Last Supper scene with resurrected historical figures. Jack Shep’s portrayal of Princess Diana was a standout. This was followed by two sketches that found a more consistent rhythm. Hammed Animashaun shone as an unflinchingly honest film critic, unable to comprehend why a movie wasn’t “fucking sucked. All the way through.” He too appeared in a sketch about a team dedicated to making the internet “as terrible as it can possibly be,” a darkly relevant commentary on the current digital landscape.
Not every attempt connected. A sketch involving a woman giving birth to an attention-seeker was widely considered a misstep, feeling labored and lacking a clear comedic throughline. However, the show recovered with a solid “Weekend Update” segment, anchored by Ania Magliano and Paddy Young. The segment delivered genuinely funny jokes, including a pointed line referencing German Defence Minister Boris Pistorius and Iraqi dictator Saddam Walliams, a joke about David Beckham, and a surprisingly sharp observation about the musical adaptation of the Channel 4 drama It’s a Sin, which addressed the AIDS crisis in 1980s Britain. As The Guardian noted, the update managed “what felt in this frightened, cowardly age like some proper jokes for grownups.”
Navigating British Sensibilities and Finding a Voice
The show also tackled uniquely British comedic territory. A Shakespeare sketch, capitalizing on the nation’s fondness for colorful language, proved more successful than a sketch involving Paddington Bear, though both felt inevitable. A sketch about a woman getting fitted for a bra fell flat, while a rapid-fire segment featuring George Fouracres cycling through variations on “What kind of Irish is your grandad?” provided a bracing burst of energy.
Musical performances by Wet Leg were described as underwhelming by some, but the focus remained firmly on the comedic performances. The show’s willingness to attempt such a significant adaptation of an American format is noteworthy in itself. The UK comedy scene is thriving, but often leans towards more understated and character-driven humor. SNL UK, by contrast, embraces the broad, sketch-based approach of its American counterpart.
A Promising Start, With Room to Grow
The show’s success isn’t simply about individual sketches; it’s about establishing a tone and a rhythm. As the cast and writing team settle in, and as the audience becomes more familiar with recurring characters and running gags, the show has the potential to find a more consistent voice. The initial episode felt like a proof of concept, demonstrating that the SNL format can work in a British context.
The show’s producers have a significant task ahead: building a loyal audience and establishing a unique identity. The UK has a rich tradition of sketch comedy, from Monty Python’s Flying Circus to The Speedy Show, and SNL UK will need to carve out its own niche. But the initial response suggests that there is an appetite for this kind of ambitious, large-scale comedy. The show didn’t fail, and in the coming weeks, it has the potential to build towards genuine success.
Sky has not yet announced a date for the next episode of Saturday Night Live UK, but further episodes are expected. Viewers can find clips and updates on the Sky Comedy website. Sky Comedy
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