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Lizzo Is a Force in Total Saturday Night Live Takeover

From pinning her retirement hopes on Beanie Babies to, yes, twerking with her flute, the Grammy winner was on point as both host and musical guest.
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SATURDAY NIGHT LIVE -- “Lizzo, Lizzo” Episode 1823 -- Pictured: (l-r) Host & Musical guest Lizzo with Kenan Thompson during promos in Studio 8H on Thursday, April 14, 2022 -- (Photo by: Rosalind O’Connor/NBC)NBC

SNL Lizzo

There is no question that Lizzo is a multi-talented artist. She’s been showered in Grammys, NAACP Image, and BET Awards. She held her own in Hustlers opposite the likes of Jennifer Lopez. She’s proven her talent for comedy in countless tweets and TikToks. As of last month, she’s a reality TV star; as of this week, she’s a size-inclusive shapewear magnate.

Lizzo had already appeared on Saturday Night Live as a musical guest (with host Eddie Murphy) in 2019—but last night, she did double duty as both host and musical guest. The episode’s lineup of sketches gave her plenty of opportunities to show her comic talents, and the immediate social media consensus seemed to be that hers was a high point for the season. I can’t disagree. But I’m probably the only commentator you’ll read on this episode who came to it not with a record deal or a Grammy, but with a decade’s experience playing the flute and several trophies from regional band competitions in the Canadian province of Saskatchewan. As such, I have to give Lizzo some very specific feedback: her flute playing in this episode was merely okay.

We first see Lizzo pull out her instrument in “About Damn Time,” her first of two musical numbers. Granted, most flute instructors will not advise that you try to play immediately following a fairly athletic dance routine. But her tone was a little breathy in the few quick lines of her solo.

The flute returned in the night’s penultimate sketch: the DeVry Symphony Orchestra is mere hours away from a performance of Beethoven’s Ninth Symphony, better known as “Ode To Joy,” but the ensemble’s flautist is MIA. Enter T. Ony Banks (Chris Redd), who may be styled like ’70s Shaft, but who manages the greatest flautist of her generation: Beverly Gags (Lizzo). The conductor (Mikey Day) is dubious about her skills, but in desperation agrees to let her audition. The problem? She can only play competently whilst twerking. The other problem, in my opinion? She’s kind of flat.

My nitpicks with her flautistry aside (and…obviously I’m kidding. Who am I, the late Jean-Pierre Rampal?), Lizzo shone in every sketch that featured her, starting with the first one after the monologue: the game show spoof Guess That!

Contestants Tracy (Ego Nwodim) and Kenny (Redd) are quick to give correct answers to the trivia questions posed by host Clint LaTaurus (Kenan Thompson). But Nicole (Lizzo) starts badly, guessing that the transportation hub named in honor of the country’s 35th president is Robert Kennedy Airport. She then proceeds to argue with Clint — her theory is that if she gave Kenny half the answer, she should get half his money — before threatening to quit the show, complaining that Clint is a “classic gaslighting narcissist,” and challenging him as Mayor of Gametown. Turns out her combative energy is infectious!

This was also an episode in which not just Lizzo but veteran cast members were breaking in nearly every sketch — starting with this trip back to Interscope Record Studios on April 16, 2008. Why is this an historic date? Two producers (Lizzo and Aidy Bryant) are working with the Black Eyed Peas to flesh out what is sure to be their next hit. The words “Boom Boom” were intended to be placeholders; the band was supposed to supply some actual words. Will.I.Am (Thompson) does his best, but the rest of the band — the fragile Taboo (Bowen Yang); Fergie (Cecily Strong), unable to improvise a place where people might be listening to their track; and apl.de.ap (Redd), not 100 on the spelling of his own name — don’t contribute much.

Confirmed: the “MAZEL TOV!” in the middle of “I Gotta Feeling” will be funny forever.

With a TikTok superstar like Lizzo in the building, it would be a shame not to do a sketch that highlights the platform. I really enjoyed how low-concept this one was, a re-creation of what it’s like to flick through your FYP page while dodging nagging texts Mom trying to make sure you’re studying for your test tomorrow. Lizzo and Sarah Sherman’s take on Miranda Cosgrove’s viral sound is a gift to the world, and it has probably already been a viral TikTok sound for hours by the time you read this.

Lizzo’s crush on Chris Evans is so well known at this point that she even had to reference it in her monologue. But after this episode, observant fans are also going to wonder what’s up with Lizzo and SNL featured player Andrew Dismukes. The two first share the screen in the latest video from Please Don’t Destroy. Lizzo tells the guys that she’s supposed to go rehearse her new numbers and she hasn’t written anything, so she needs them to come up with her next “Black woman anthem.” Increasingly threatening interruptions by Dismukes, as himself, only make everyone more anxious and less confident, which is not the vibe Lizzo wants to create.

And, okay, sure, the PDD video seemed like it was hinting at Lizzo low-key thirsting for Martin Herlihy—until we got to the first post-Update sketch, in which Strong and Yang play stage managers for the weekly orgy of an Egyptian god-king. As they run through all the roles required for such an event — snake guy; man playing loud, abrasive music; old woman caked in makeup with rotten teeth — they light upon “the sensuous woman and her tender boy,” played by Lizzo and Dismukes. The sensuous woman reclines on a divan and asks whether the stage managers want her to caress his face with grapes or spank him. I have to agree with the stage managers: they both feel right.

In the episode’s final sketch, Lizzo and Dismukes play Annette and Steve. The latter has just quit his job because, thanks to his investments, he doesn’t have to work. Steve pompously lectures his guests about his investing prowess, and how important it is to let your money work for you and not the other way around, ending at a cabinet that contains the investments themselves: a trove of Beanie Babies. His guests (Day, Yang, and Heidi Gardner) carefully tell Steve that Beanie Babies actually have not held their value, leading to a joint panic attack from Steve and Annette.

Going by the kicker to that sketch, Chris Evans should start looking for another lady to have his imaginary baby. Lizmukes forever!

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