Will Ferrell dressed as a Native American for SNL's Thanksgiving episode, and it gets worse.
With Thanksgiving around the corner, 'tis the season for Saturday Night Live to feature skits depicting the potential awkwardness surrounding our family dinners.
During his fifth turn as an SNL host, Will Ferrell was the centerpiece of a skit entitled "First Thanksgiving." He portrayed a grumpy, skeptical man meeting his granddaughter's boyfriend for the first time at their family's Thanksgiving dinner. The only issues with the skit are that his family is supposedly Native American, his granddaughter is Pocahontas, and the visiting boyfriend is John Smith. Melissa Villaseñor, Beck Bennett, Maya Rudolph, and Fred Armisen also star, none of whom are indigenous. Non-Native actors in these roles causes enough concern (and, honestly, is never OK), but even more eyebrow-raising are the additional problems woven in the script.
The skit attempts to flip white supremacy on its head, as Ferrell's character—decked out in a long wig and full traditional Native attire—represents a fervent Republican, full of allusions to President Trump's white nationalist ideals and his policies. When Ferrell suggests everyone around the table share what they're thankful for, he begins: "I'm thankful for our land, and our great and mighty chief. And let's hope he finally builds that wall." When the rest of the family asks where he's been getting information on the "palefaces" invading their land, his response is plain and simple: "Fox" (but a literal fox, get it?) Then he teases Pocahontas for getting her news from "a peacock" (NBC, we presume). Pocahontas defends the European colonizers—or "illegals," as Ferrell's character so distastefully nicknames them—saying, "They're just regular, hard-working people seeking refuge."
The skit doesn't outwardly mock Native people, but in its ill-conceived analogy, it suggests that we're supposed to be on the "Republican" side of this story; white people are positioned as the "immigrants" who are bringing over "diseases and guns." Ferrell's character is supposed to be mocking Trump supporters, but he still makes valid arguments against colonization. As one Twitter user explained, it "accidentally suggested the white nationalist crowd has a point." It's a bad look to say the least.
While this skit was surely well-intended, the execution was very poorly realized. To use the exploitation of Native Americans as a vessel for jokes about right-wing ideals is extremely dangerous and offensive, however accidental. The skit made light of the genocide that decimated Native peoples, not to mention it only brushed over the massive age gap between Pocahontas and John Smith: Rudolph's character points out that Smith is nearly 30 while Pocahontas is 12—close to their real ages at the time—and everyone is just OK with it.
Ferrell attempted to redeem the skit's controversy in the end by breaking the fourth wall to give a disclaimer. "If you're anything like me, you know there's a lot of problems in this crazy, crazy sketch," he said, facing the camera under a spotlight. "I mean, white actors playing Natives? What is this, 2014?" So...you're telling me the writers knew this sketch was problematic and racist, but they just ran with it anyway? Ferrell's brief monologue didn't address the colonialism the jokes referenced, instead offering a cliche about contrasting political opinions between family members and delivering an anticlimactic punchline about bowel movements.
Making a joke of indigenous people on television only encourages other white folks to do the same, and it's deeply disappointing to see these well-regarded comedians participate in it. If SNL is supposed to exemplify peak comedy, then they should've been able to convey their intended messages without cultural appropriation; if anything, this only reaffirms why we desperately need more diversity in media. So, this Thanksgiving, please enjoy spending time with your families—but don't forget that you're stuffing your face and watching football on stolen land.
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The playwright and AIDS activist died at 84.
Larry Kramer, AIDS activist and artist, passed away today at 84.
Kramer was known for his books Faggots and The American People, as well as climate-changing plays like The Normal Heart. His close friend and literary executor, William Schwalbe, told CNN that Kramer died of pneumonia."Larry made a huge contribution to our world as an activist but also as a writer," said Schwalbe, who had known Kramer for 57 years. "I believe that his plays and novels, from 'The Normal Heart' to 'The American People' will more than stand the test of time."
This man is not well.
When Pete Davidson avoids wearing stage makeup on Saturday Night Live, it's a decision that I respect, but it concerns me.
Davidson has always rocked a sultry, exhausted, baggy-eyed look, but lately things seem to have spiraled out of control.
Whenever Davidson goes notably absent from SNL, he'll reappear with jokes about getting lost inside Stranger Things' Upside Down. He'll then emerge in his usual spot as a guest on Weekend Update alongside Colin Jost (who appears to be glowing with health in comparison, perhaps because he's married to a tree).
Throughout it all, I can never stop thinking about the sheer size and scope of the vast plum-colored shadows that surround Davidson's eyes. Like black holes or those doorways to the Upside Down, they almost resemble portals to other worlds.
Let's be clear: I'm a fan of Pete Davidson's appearance (against the majority of my better judgment). You have to admit that there's something to the super-tall, bleach-blonde, white-toothed, tattooed, I'm-clinging-to-life-by-the-smallest-thread aesthetic that he so effortlessly displays.
Or there once was. Now, Pete appears to be seriously pushing the boundaries between heroin chic and vampire who's gone vegan to save the planet. Since seeing him on the show, I haven't been able to sleep because I can't stop thinking about how little he's probably slept in the past few weeks. If anything, all this has only made my Pete Davidson obsession worse.
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Sometimes I do wonder why I and so many others are attracted to Pete Davidson and similarly bedraggled, frequently bedridden types. There's that old, mostly incorrect stereotype that argues that women are only drawn to bad boys, but even if that stereotype were true, Davidson isn't exactly a James Dean or Ted Bundy. So why do we (and by we I mean me, Ariana Grande, Kate Beckinsale, and probably you, if you've read this far) love him so much?
Pete Davidson scholarship is a growing field, so there are plenty of theories. It could be the BDE, but some thinkers propose that Davidson is so alluring simply because he seems like a genuinely nice guy. Perhaps all his frank openness about his disorders, illnesses, and marijuana addiction make him seem honest, like the kind of guy who wouldn't, say, assault women and then lie about it.
Context could also have something to do with it. Urban Dictionary defines the Pete Davidson Effect as "when women are influenced by their peers in determining if a man is attractive or not."
There's also the innate impulse I have to try to help him, an impulse that I've intellectually transcended but that still lurks in my subconscious, rearing up like a recurring dream. This is absolutely the same impulse that Bailey Gismert, the teenage girl played by Heidi Gardner who appeared later on Weekend Update, thinks she could probably "help the Joker." (Davidson even connected himself to the Joker while on Weekend Update, saying, "And by the way Colin, I don't know if you've seen The Joker, but I think you should start being way nicer to me.")
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And perhaps this impulse is connected to an even more misguided and more deeply buried belief that some of us have that says if we only find someone more messed up than we are, we will gain the empathy and understanding that we really should have given to ourselves all along.
Or perhaps it's more. Perhaps Davidson's popularity and continued resonance are indicative of some kind of existential millennial/Gen-Z exhaustion, narrowly hidden under the guise of nihilistic meme-inspired humor—or could it be nothing at all?
In the end, Pete Davidson's dark eye circles have reminded me that I cannot save Pete Davidson or the Pete Davidsons of this life (only structural healthcare reform and a new form of religion that reintegrates meaning into our existence can do that job). I can only love them from afar, write articles about them on the Internet, and convince myself that I'm only ironically listening to "thank u, next." Unless...
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