Miles Teller Shines but SNL Struggles to Ignite Again

Miles Teller, known for his roles in “Whiplash” and “Top Gun: Maverick,” returned to Saturday Night Live with an enthusiasm that previously yielded one of the show’s standout cold opens. His “Miles Teller SNL performance” once again placed him front and center, delivering an impression of former New York Mayor Andrew Cuomo during a sketch centered on the upcoming mayoral election. Despite his evident commitment, the episode overall lacked the energy and urgency fans longed for, marking a continuation of Season 51’s uneven run.

Teller’s cold open performance highlighted his ability to embrace not only humor but also an intense character portrayal. However, the episode, broadcast amid widespread cast changes and behind-the-scenes uncertainty, struggled to sustain momentum. With mixed sketches and an apparent retreat from sharp or controversial commentary, the show felt more like a typical mid-season episode prematurely aired rather than a reinvigoration of the series. While Teller’s presence translated well to live television, the surrounding segments rarely matched his energy.

Highlights from the Episode’s Sketches and Performances

The most memorable sketch on a relatively subdued night was the police press conference scene, featuring James Austin Johnson and Miles Teller as mustachioed officers responding to questions about a serial killer. The event satirically shifted focus when reporter Andrew Dismukes persistently sought advice about his superhero creation, Gar-Girl, described as

“She’s a half gargoyle, half girl, all justice—a crimefighter with the powers of a gargoyle and the problems of a teenage girl.”

Dismukes’s deadpan delivery and the escalating absurdity, with lines such as

“So do you think they want a rewrite?”

and

“He was excited to be alive.”

helped build a uniquely quirky tone, especially when Ashley Padilla’s reporter grew frustrated with skeptical officers, lending the sketch a refreshing, loosely structured comedic energy.

Conversely, the newsroom sketch attempted a new format showcasing live broadcast employees struggling to maintain composure amid background chaos. Anchors Chloe Fineman and guest expert Kenan Thompson explained the concept while comedic mishaps unfolded subtly behind them. Unfortunately, the isolated nature of these gags and the lack of cumulative momentum rendered the sketch flat. Unlike previous seasons where similar premises worked better, this outing fell into routine and underscored the season’s current struggle to invigorate its material consistently.

Andrew Dismukes and Ashley Padilla had another strong showing as exaggerated commercial directors in an NHL community service campaign spoof. Their characters clashed with Miles Teller’s NHL player, who repeatedly disrupted the shoot, declaring,

“Did you get an avail check to AD a Justin Long Chobani commercial?”

Although the central joke about the Nashville Predators’ team name felt predictable, the performers’ sharp delivery and chemistry elevated the sketch beyond its premise’s limitations.

Recurring Themes and Missed Opportunities in the Comedy

One notable weakness was the tendency to underline obvious jokes rather than trusting the audience’s understanding. For example, Teller’s character repeatedly reminded others that his testimonials as a Nashville Predator were problematic, stating lines such as

“As a Nashville Predator, I work in hospitals to make sure sick kids feel touched.”

Meanwhile, a child calling Teller

“the Predator that forever changed the course of my life”

added a layer of irony. These beats, however, lacked subtlety, reducing their impact and reinforcing the season’s broader issues with lazy comedic choices.

The episode took aim at America’s fascination with streaming true crime documentaries via a Netflix parody. Teller, Kenan Thompson, and Ben Marshall portrayed hapless husbands narrating their wives’ disappearances, only to reveal self-centered misunderstandings about mundane events like business trips or family visits. Kenan’s delivery shined, particularly when his character reacted to two small men demanding dinner and speculated awkwardly that his wife might have run off to “the boob store.”

The game show sketch opened the episode but failed to excite. Hosted by Kenan Thompson, it featured three hungover contestants attempting to recall their Halloween activities. The premise felt tired, though some callbacks, such as Veronika Slowikowska’s cat lady biting behavior in hidden footage, added moments of interest. Despite a competent production, the sketch lacked an essential spark to justify its position as the show-opener.

Colin Jost and Michael Che’s Treatment of Current Events

Saturday Night Live’s Weekend Update anchors, Colin Jost and Michael Che, maintained their familiarity, handling difficult news with their signature blend of sarcasm and levity. Che’s joke about Donald Trump’s newly renovated Lincoln bathroom, while avoiding the harsher implications of budget cuts to food assistance, invited mixed reactions but succeeded in generating the expected gasps and groans. His references to potential SNAP program reductions and a gun being the “hungry peoples’ plan B” sparked timely, if discomforting, humor.

Che also addressed Kid Rock’s use of an ableist slur by turning the insult back on the singer himself, demonstrating the duo’s tendency to avoid heavy political engagement for punchlines focusing more on individual behavior. Jost, meanwhile, illustrated Trump’s White House trick-or-treat antics, highlighting both absurdity and alarm in his whimsical but ultimately superficial approach. While some viewers defend their style, the anchors skimmed over the urgency of political crises in favor of lighter fare.

Strong Chemistry and Character Work Amid Content Gaps

The partnership between Andrew Dismukes and Ashley Padilla was a standout, especially in

“Two People Who Just Hooked Up,”

a sketch loosely referencing the ongoing government shutdown and its political implications. The duo convincingly portrayed a post-coital couple sharing quirky, humorous moments, notably fixating on their favorite trysting spot being a surprising office door. Their authentic performances provided one of the episode’s most engaging segments despite underlying political commentary falling by the wayside.

In the cold open, Teller’s Cuomo, Ramy Youssef as Zohran Mamdani, and Shane Gillis as Curtis Sliwa enacted a mayoral debate underscoring tensions in New York’s election. Gillis’s portrayal of Sliwa, a polarizing GOP candidate with a fringe reputation, juxtaposed with Mamdani’s progressive stance, reflected real election dynamics. However, except for a few moments of satire, the sketch missed an opportunity to address Cuomo’s increasingly bitter and racially charged rhetoric or the larger stakes of the race, including Trump’s threats to withhold city funds if Mamdani won.

Local and National Politics Skewed Toward Safe Satire

The episode’s political satire leaned heavily on lightweight impersonations and sidestepped deeper critiques. While James Austin Johnson’s Donald Trump impression included some trademark absurdity, such as a Phantom of the Opera-style closing number, it avoided confronting Trump’s “rapacious” and violent policies directly. Instead, the cold open atmosphere felt disjointed and lacking urgency, especially given the fraught atmosphere surrounding both New York’s elections and the national political landscape.

A pre-recorded sketch featuring the Property Brothers humorously envisioned Trump demolishing half of the White House. Here, Johnson’s Trump and Chloe Fineman’s Melania plotted the destruction amidst critiques of gaudy excess and authoritarian tendencies. The metaphor of destroying a symbol of democracy resonated with viewers, amplified by unsettling touches such as Trump’s frustration over the rounding up of non-white day laborers by secret police. This portion of the show conveyed a darker tone and hinted at the broader societal stakes, contrasting with many lighter or unfocused skits.

Noteworthy Impressions and Emerging Talents Amid a Crowded Cast

Bowen Yang returned as George Santos, the notoriously untrustworthy Republican representative, portraying his pathological lying and petty theft with sharp comedic timing. The addition of a prison phone prop allowed Yang to riff on Santos communicating with controversial figures like Diddy, Ghislaine Maxwell, and Luigi Mangione. Despite the humor, the sketch skirted over the heavier implications of pardons and political corruption.

Ashley Padilla has emerged as a significant comedic presence, frequently partnering with Andrew Dismukes to produce memorable performances. Many have called for her promotion to a more prominent cast role, given her ability to carry sketches, a rarity the show hasn’t enjoyed in recent seasons. Meanwhile, newer cast members, including Jeremy Culhane and Kam Patterson, had limited opportunities, reflecting the typical challenges faced by fresh performers.

Marcello Hernandez made a brief late appearance as one of two Italian waiters, humorously sparring with Chloe Fineman’s diner patron. Despite the rushed timing, the pair’s banter, featuring lines like

“some purple stuff that I found,”

added a light, pun-filled moment as the episode drew to a close, though arguably the sketch about Gar-Girl would have been a stronger finale.

Season Trends and Cultural Commentary Amid Entertainment

Saturday Night Live’s Season 51 continues to struggle with finding its footing amid cast changes and creative shifts directed by Lorne Michaels. Efforts to appeal to younger viewers through controversial figures like Shane Gillis and Kam Patterson risk alienating audiences, with some fearing a downhill turn if figures like Joe Rogan become involved. The show’s cautious approach to topical issues further contributes to its uneven tone.

Musical guest Brandi Carlile delivered one of the evening’s most emotionally resonant moments, particularly during her mid-song spoken-word segment on “Church & State.” Her poignant lyrics, including lines like

“They’re not gonna live forever/Burn tomorrow, never say/They’re here today, then they’re gone forever,”

offered a contrast to much of the program’s lighter fare. Supported by the Hanseroth twins on guitar, her performance underscored the episode’s intermittent seriousness.

Looking Ahead: Next Week’s Host and Prospects for Improvement

Episode four of Season 51 earned a B-Minus grade, reflecting both flashes of promise and prevailing shortcomings. Miles Teller continued to demonstrate why his live television presence resonates, but the overall effort left much to be desired in terms of comedic energy and topical edge. The political content felt diluted, and certain sketches suffered from overly obvious punchlines and sluggish pacing.

Next week’s episode will feature host Nikki Glaser, accompanied by musical guest the all lower-case sombr. Fans will be watching closely, hoping for a more focused episode that successfully blends humor with the pressing social and political realities the show often struggles to address.