All good points. The only real consistent criticism of season 1 was how relatively little attention was paid to Ron and Nicole as people, and how their families were affected. It seems they took that criticism to heart and leaned more into humanizing the victims, which in the case of David and Jeff, they did very…

Since so much is unknown about his true motivations or really most of what he was shown doing in the finale, I was wondering if they would do almost a Rashomon style telling of different people’s theories. Maybe getting into the media frenzy / manhunt aspects of it as a way to highlight just how much is still not…

Hader was so consistently funny in other ways that you sorta forgave him for laughing, whereas Fallon seemed to only consistently get laughs by breaking.

There’s no wrong way to hate Fallon.

Yes to this. He wasn’t afraid to make music about his struggles being a Christian, which is far more relatable than the majority who are “saved” or “born again” and just want to preach to you from a holy place. I’d much rather listen to a seeker than one who claims he’s found it all “and so can you if you just…

You’re not my supervisor.

When Darren Criss got out of the car at his high school, they should have used the Howard Stern voiceover from Private Parts about how he knows he doesn’t look like a college kid, but just go with it.

His campiness is pretty off-putting, and not in the ways they’re intending. I get that it’s a difficult character because we’ll never truly know Cunanan’s motivations, but this feels like a community theater Patrick Bateman.  

I just can’t not see Enrico Colantoni. Even more after learning he actually played Versace in a TV movie about this.

At first I couldn’t decide if I disliked Criss’ acting or if it’s just the character is so awful. But the more he’s set against better actors it seems clear that he’s not necessarily a bad actor, but he’s acting still as if he’s on stage like they didn’t tell him it’s a TV show.

“GOTCHA, SUCKAS!!!”

Those screen test sketches are worst when it’s just clearly “who can you do?” regardless of whether it makes sense. It’s best when the actors aren’t just repeating “hey remember that role they did??” but commenting somehow, like Hader’s Harvey Fierstein in the Top Gun one. If you’re gonna trot out a piss-poor Pee Wee…

Nor recogizing the clear issues in not only changing the character to straight, but having Straight White Man replace a Hispanic woman with 11 years of experience. And the turnabouts in attitude from Perez and others towards him are so abrupt and unearned that it feels like this was a movie script with key scenes cut…

A truly inspiring teacher can get the kids excited about shows like Penzance and don’t need “edgy” shows to show how artistic they are.

I hate the relatively recent trend of adding weird projections or set pieces to the musical acts. I like having all of them on the same SNL set regardless of music genre.

God, his Eddie Vedder had the desperate awkwardness of a high school talent show.

Glad I’m not alone in this. I was wondering how I’d missed that trope as an Irish-American well-versed in hack stereotypes after years of watching terrible comedies from the 80s. I guess we should thank SNL for not trotting out the drunken or leprechaun stereotypes by ... inventing a new one?

After the reign of Fallon and Sanz, Lorne largely gave up on the “no breaking” edict of the early days. Hell, Debbie Downer seems to be reprised so much only in hopes of recapturing the breaking that made the first sketch so popular.

The Keillor (EDIT: nope, not Keillor. It was Spaulding Grey) riff he did on Documentary Now was brilliantly spot-on, as is everything on that show.

Took me awhile to warm up to it, mostly because Mark McKinney’s voice is so off-putting here. It’s still not a must-see for me, but is pleasant enough to binge in the background as I’m doing weekend chores.