42x16 Scarlett Johansson with Lorde

[7.6/10] ScarJo is a pro, and an SNL vet, so that means she knows how to blend in with the cast for a bit, stand out when she needs to, and overall feel like an integrated part of the proceedings. That gives her appearances a boost and a familiarity that buoys an episode like this. But this was also an odd episode, where the political material was a mixed bag, the recurring sketches were complete duds, but the new sketches hit that right blend of zany and clever that the whole feels greater than the sum of its parts.

Let’s start with the political material. “Trump vs. Alien Invasion” had its moments, but was basically a recapitulation off all the show’s usual Trump bits in an Independence Day-esque setting. That’s fine enough, but nothing particularly noteworthy. By the same token, “Complicit” has a clever premise of framing Ivanka Trump’s conflicting roles as feminist and Trump administration surrogate via a perfume ad, but doesn’t get any synergy from it, the ad just being a vehicle for pretty on-the-nose points.

Weekend Update was almost wholly political, getting in some good lines (calling the new travel ban “just a bunch of brown color swatches”), but mostly soaring when they go for the sillier material (the portmanteau of J-Lo and A-Rod). Kate McKinnon has found yet another brilliantly bent take on a real life politician with her mendacious, homespun take on Jeff Sessions, whose interactions with Moffat as Al Franken are the high point of update. And Pete Davidson once again does David Spade’s “Hollywood Minute” bit except for politics, to diminishing returns.

But in a move that portended where the night would go, the funniest political sketch was probably the least political. In the runner-up for best sketch, ScarJo plays a scientist who’s created a device that turns doggie thoughts into speech, only to discover that her beloved pup is a dye-in-the-wool Trump supporter. The dog (voiced by Beck Bennet) voicing pro-Trump talking points in a disdainful tone is chuckle-worthy for its absurdity more than any political points actually scored. And the live animal on set creates some of that “I Married a Monkey” live TV magic where Johannsson had to react to the dog trying to get the “transmitter” of its head. It’s an out there sketch, but one that brought a lot of laughs from the novelty of the Trump-supporting thoughts coming from a canine, the real dog doing a little improve, and the room’s reactions.

That would go for the rest of the sketches too. The funniest ones tended to be the most timeless, founded on silly humor that worked from the commitment of the performers. The best of the night for me was the fake Olive Garden ad, which relied on Johannsson, along with Mikey Dey, Leslie Jones, and Kenan Thompson, making ridiculous faces and the contrast between the goofy pantomimes they were coached to do and the otherwise anodyne quality of restaurant ads. Beck Bennett as the eccentric director did his part well, and absurd bits like Kenan with his face in the pasta made this a winning bit of goofiness.

The same goes the “Zoo Photographer” mixup sketch, which has such a dumb premise, but makes it work by leaning into it, offering double entendre after double entendre. The monologue takes a similarly random tack, with Johansson introducing clips of her prior appearances that all seem to feature Kenan (eventually including a clip from his Fat Albert movie), which isn’t especially novel, but it lands nicely. And the “Fire Island” pre-taped bit has a similarly simple, semi-cheesy premise (older lesbians lead duller lives than young gay men!) but it’s short and punchy enough to get by.

The real doldrums hit after Update. Shud the mermaid wasn’t funny the first time, and trotting it out again was a recipe for mehs right from the gate. (Though I did appreciate McKinnon and Johannsson singing the theme to The Simpsons.) Similarly, the Leslie Jones as a Ninja sketch was middling at first blush and didn’t call for a repeat engagement, repeating the same gags and getting nothing more out of them. And the 10-to-1 sketch, about club bangers being played at an otherwise milquetoast man’s funeral, got some minor mileage from Aidy Bryant’s specific commentary, but fell flat otherwise.

The one good sketch after the break was “A Sketch for Women” a wonderful “tribute” in the wake of international women’s day that plays on the amusing irony of Kyle Mooney and Beck Bennett’s characters (Jake and Ace) talking about how marginalized and underserved women are, while giving them next to no lines in the sketch, only speaking to thank the two guys. It’s a simple but clever bit.
Overall, not the show’s best outing, but a couple of really great sketches and a handful of solid ones make it a good, if not superior episode.