The 11 Cringiest SNL Sketches Of All-Time

As a die-hard Saturday Night Live fan, I must admit that not every episode is golden. With 90 minutes of live, unfiltered humor, it’s inevitable that some skits don’t quite hit the mark or feel a bit forced. Over the show’s impressive 50-year run in pop culture, there’s a wealth of sketches that didn’t quite land as intended, not just those associated with the show’s infamous guest hosts. Even acknowledging this reality, though, there are some truly cringeworthy, embarrassing skits hidden within the annals of Saturday Night Live on NBC.

Instead of merely being dull or awkward, these sketches seem to drag on forever like an endless comedy segment. The only way to survive such ordeals is to endure them and hope they’ll soon come to an end. Each season of “Saturday Night Live,” from the weakest to the strongest, contains these types of sketches, but some from the past 50 years are particularly noteworthy for inducing cringes. Some were due to poor hosts who shouldn’t have been leading a comedy show, while others were based on material that quickly became outdated and uncomfortable. Yet others continue to reflect problematic comedic approaches to gender and sexuality that have haunted the writing of “SNL” up until today.

Throughout its lengthy run, this show has seen numerous peaks with hilarious moments thanks to the exceptional first-time hosts on “Saturday Night Live.” Conversely, there have been 11 particularly cringeworthy instances that represent the troughs of some deep comedic valleys which “Saturday Night Live” occasionally stumbles into.

Jennifer’s Date

As a devoted fan, let me share my take on that infamous 1991 “Saturday Night Live” sketch that left many of us cringing. Some sketches elicit unintentional shivers due to their outdated content or insensitive portrayal of marginalized communities. However, one performance by that evening’s host stands out as particularly “cringeworthy.” Known for his difficult on-set behavior and adding to his controversial reputation, the iconic action star Steven Seagal etched his name in the annals of “SNL” infamy. To fully grasp the magnitude of Seagal’s lackluster performance, I urge you to watch (or avoid) the sketch titled “Jennifer’s Date.” Watching this sketch disaster is a testament to Seagal’s ineptitude, evident in his stumbling over simple lines like, “Won’t I get a call in the middle of the night saying your car broke down, won’t I?” and “I’d be here, waiting.

In a less dynamic way than expected, Steven Seagal speaks his lines consistently without much change, which hinders the humor and fails to build comedic tension. The simple premise of a father confronting his daughter’s “rough boyfriend” (portrayed by Chris Farley) lasts what feels like forever. Seagal sucks all the excitement out of the scene, even when he shows off his chest tattoo. Seasoned stage performers like Farley seem lost while working with him. When the approximately six-minute segment finishes, viewers will likely sigh in relief that this cringe-worthy content is over. Considering that a longer Seagal hosting stint involves watching more sketches similar to this one, it’s hard not to imagine enduring another 80 minutes of such material.

Wario

Viewers of “Saturday Night Live” should keep in mind that when the show is hosted by someone who isn’t a TV personality, the episode may struggle to be successful, as illustrated by the 2021 episode featuring Elon Musk. That particular installment was a comedy disaster, but the courtroom sketch titled “Wario” was particularly poor. The issue with this sketch was that it mainly repeated details from Mario lore instead of offering fresh, humorous twists on the video game series. Mentioning Waluigi or “rainbow road” doesn’t equal humor.

As a gamer, I must admit, Elon Musk’s performance on Saturday Night Live was a total flop. He tried too hard to embody an over-the-top character like Wario from the video games, but it just didn’t work. The skit took some strange turns, and by the end, when Pete Davidson appeared as Andrew Cuomo claiming he was a “misunderstood Italian American,” I couldn’t help but cringe. It was like watching a college freshman improv sketch that makes everyone want to cover their eyes in embarrassment. The fact that this aired live on NBC for millions of people is mind-boggling, especially when non-performers host SNL.

Once Daily Esto-Maxx

In simpler terms, transgender women are frequently the subject of jokes in mainstream humor, with “Saturday Night Live” being no exception as they’ve produced numerous sketches that mock this group. One particularly offensive example is a 2011 sketch called “Once Daily Esto-Maxx.” This sketch was presented like a medicine commercial, with cisgender heterosexual male cast members portraying trans women to promote the benefits of Once Daily Esto-Maxx for quickly achieving one’s gender goals. The humor in this sketch primarily revolved around jokes about men in dresses being funny and cisgender male actors discussing large nipples.

As a fan, I can’t help but feel that the humor in shows like “Ace Ventura” has been overused, with jokes that seem too nitpicky and repetitive. Shows like “Saturday Night Live,” featuring talented actors like Bill Hader and Bobby Moynihan, don’t do justice to trans women characters, lacking the specificity and empathy needed to make these sketches feel less awkward. Furthermore, the abundance of medication commercial parodies on “SNL” makes it hard for a segment like “Once Daily Esto-Maxx” to stand out from its peers. The formula and visual style of the segment don’t seem to offer anything new or unique, making it blend in with similar sketches.

From its initial airing, “Once Daily Esto-Maxx” faced criticism from LGBTQIA+ groups for accusations of containing transphobic content. Over the years, this sketch has been harshly criticized due to its repetitive and insensitive humor, which is a common issue but particularly pronounced in this case. This type of humor, unfortunately, is not exclusive to “Once Daily Esto-Maxx,” but it is a notable instance where it is overused.

Rock Band

The idea for the sketch titled “Rock Band” seemed peculiar from the get-go. To truly bring this quirky premise to life, it required the offbeat humor of someone like Tim Robinson or Andy Samberg. This particular scene revolves around a rock band (as suggested by its title) with a disgruntled member who feels overlooked because he’s stuck playing the laser harp.

Regrettably, the creative potential of this sketch took a significant hit when the laser harp player turned out to be host Donald Trump. Similar to Elon Musk, Trump lacks proficiency in live performances and acting for comedy. In this live performance, Trump stumbled over his lines, failed to create a harmonious interaction with his co-stars, and missed delivering even a single successful comedic punchline. The end result was an uncomfortable experience that wasn’t enjoyable in the slightest.

The sketch wasn’t particularly eye-catching, as Trump was often alone against a black backdrop during the segment on Saturday Night Live. When lines were botched, there was little else visually engaging to distract from the awkwardness. Even the outfits of the other band members were basic. Overall, the 2015 episode of SNL, where Trump only appeared for 12 minutes, lacked excitement, and his performance in “Rock Band” was just one example of this lackluster quality. It’s easy to understand why they tried to minimize his screen time due to his unpolished and cringeworthy performance in that segment.

Japanese Game Show

Having Mike Myers and Chris Farley perform a Saturday Night Live skit should have been a guarantee for immediate hilarity. However, the infamous “Japanese Game Show” sketch demonstrated that not even this dynamic duo could salvage a fundamentally flawed concept for humor. This specific sketch satirizes the perceived danger of Japanese game shows, with Myers portraying an enthusiastic host who metes out gruesome punishment to an American contestant played by Farley.

Instead of finding it amusing, the depiction of Myers and other “Saturday Night Live” actors, including Alec Baldwin, in yellowface imitating overused Japanese accents is disappointingly unoriginal. Regrettably, the skit leans heavily on generic stereotypes about Japanese culture being “wacky.” Compared to numerous other skits that showcase Farley’s physical comedy, this particular scene lacks the charm and character typically found in those performances.

In my perspective, his actions in the “Japanese Game Show” closely resemble weaker “SNL” content, stripping this specific sketch of any opportunity to offer unique insights or commentary. A significant part of its humor stems from SNL performers mimicking Mickey Rooney’s portrayal of Mr. Yunioshi in “Breakfast at Tiffany’s.” This stereotypical representation feels uncomfortable rather than funny, aiming for cringeworthy moments instead of genuine laughter. Myers and Farley had numerous triumphant moments during their SNL careers, but their antics in the “Japanese Game Show” were certainly not among them.

Anything with It’s Pat

In every recurring character on “Saturday Night Live”, no matter how renowned they might be, there are some performances that fall flat among their numerous appearances. Not every “Wayne’s World” or “MacGruber” segment became an enduring hit still remembered today. It’s remarkable when a “SNL” character manages to generate little humor over the course of its long tenure. Such is the case with Pat, a character portrayed by Julia Sweeney in the ’90s, who was based on only one joke: people couldn’t tell whether Pat was male or female. These sketches often wasted the time of esteemed celebrity hosts like John Goodman and Catherine O’Hara, as they played confused characters trying to understand Pat’s gender identity.

The sketches consistently portray new characters looking at Pat with disdain, making it evident that he is a subject of ridicule rather than the one laughing. Sketches such as “It’s Pat: Pat Goes to the Gym” exploited cis people’s preoccupation with transgender individuals using specific bathrooms, with characters played by Linda Hamilton and Tim Meadows in a frenzy over which restroom Pat chooses. These insensitive jokes have left an unsettling cultural impact, particularly for non-binary individuals. Given the flawed concept behind “It’s Pat,” it’s challenging to single out just one sketch as the most cringeworthy; they all warrant recognition for this distinction.

Directors on Directing

When tuning into “Saturday Night Live,” viewers anticipate only one amusing spectacle: Quentin Tarantino discussing his alleged romantic escapades with the actresses he’s directed, but this is a joke because no rational person would wish for such a scene. However, that’s precisely what unfolded in the 1995 sketch titled “Directors On Directing.” The incident took place during Tarantino’s hosting stint following the success of “Pulp Fiction.” The absurd sketch, more foolish than any scene from an actual Tarantino movie, featured Tarantino portraying himself, with Tim Meadows as Spike Lee, David Koechner as Oliver Stone, and Mark McKinney as Gus Van Sant. The panel discussion on “filmmaking” soon veered off course as Tarantino accused his fellow directors of having romantic relationships with their leading actresses.

The conversation concludes with Tarantino, in response to a question about his on-set relationships with Uma Thurman during the filming of “Fiction,” becoming agitated and exclaiming, “I slept with every actress on that set! If you ever hire me for one of your movies, I’ll do the same with everyone here!” As viewers familiar with Tarantino’s acting style can attest, a small dose of his brashness goes a long way. Allowing him to dominate this segment was an unfortunate choice. Instead of coming across as humorously bold, he simply irritates. Furthermore, the segment’s casual portrayal of directors abusing their power sexually is unsettling. This segment embodies every critic of Tarantino’s worst fears.

Melanie Babysits

In a similar vein to the Sketch on MySpace more than a decade past, “Melanie Babysits” relies on a single, uncomfortable joke: predatory behavior by older men towards teenage girls. The key character here is Chris Elliot as Dr. Henderson, who leers at and ultimately assaults Mark McKinney’s Melanie. This forms the core of the sketch. The segment starts on a concerning note with jokes about Dr. Henderson’s wife’s weight and describing her as repulsive. This sets a troubling tone for the sketch, encouraging viewers to see the world from Dr. Henderson’s perspective and even empathize with his actions.

As the story progresses, Dr. Henderson takes babysitter Melanie home but not before getting her to drink too much Zima and then sexually harassing her. This segment unfortunately presents a problematic portrayal of predatory behavior in an attempt at comedy.

In simpler terms, “Melanie Babysits” is a sketch on an NBC comedy show that many people might find deeply offensive or disturbing, rather than funny. This segment, which concludes with a character, Dr. Henderson, shouting about repeating questionable actions from behind bars, seems to rely heavily on portraying predatory behavior in a way that some viewers may perceive as humorous, particularly when it involves a man dressed up as a young girl. However, this sketch appears to lack any humor or attempts at jokes, and instead comes across as ill-advised and distasteful. After viewing “Melanie Babysits,” one might feel the need for a good cleaning due to its persistent unpleasantness.

Ching Chang In Love

Dana Carvey’s tenure at Saturday Night Live was marked by numerous recurring characters, one of which was Ching Chang, a character who was an Asian-American man with a fixation on his chickens and Broadway. The humor in this character mainly stemmed from Carvey wearing yellowface and portraying a highly exaggerated accent, perpetuating harmful stereotypes about Asian-American men. This character appeared a staggering three times between January and May 1987 alone (out of seven total appearances), with the “Ching Chang in Love” sketch being one such instance, featuring guest host Valerie Bertinelli. All the Ching Chang sketches were offensive, but the “Ching Chang in Love” sketch stands out as particularly distasteful because it ridiculed the idea that Asian-American men could be sexually active or attractive by making fun of romantic pursuits.

Although Carvey infused his characters like The Church Lady and Garth with an irresistible appeal and intricate details, his portrayal of Ching Chang is distressing to watch, particularly in “Ching Chang in Love”. No amount of Bertinelli’s talents could rescue a sketch with such an unsettling foundation, let alone one that relied on just one awkward joke. Despite the fact that “Ching Chang in Love” was perhaps the lowest point in this recurring character’s TV existence, it wasn’t his last appearance on “Saturday Night Live”. Remarkably, even as late as 2000, Ching Chang made a comeback on the show. If you believed that “The Master of Disguise” was Carvey’s most humiliating performance, then take a look at “Ching Chang in Love”.

Happy Holiday Tales: Mickey the Dyke Comes Out for Christmas

In December 1996, Cheri Oteri portrayed her character Mickey the Dyke on an “SNL” Christmas-themed sketch titled “Happy Holiday Tales: Mickey the Dyke Comes Out for Christmas.” The story follows Mickey’s return to her family home on a motorcycle during the holidays, where her family mistakenly believes she is straight despite her butch lesbian appearance. The revelation of Mickey’s true identity involves help from Santa and a puppet rat dressed in leather bondage gear. This sketch, as evidenced by the muted reaction of the live studio audience, may have been somewhat awkward, especially given the casual use of “dyke” by many straight people in a seemingly light-hearted context.

The humor in a Saturday Night Live skit about Mickey Mouse being gay was unacceptable and offensive. The ending, where Ferrell’s character implies that only a “real man” could change Mickey, is an outdated stereotype that suggests queer women are merely going through a phase. This closing line was not only embarrassing in its portrayal of queerness, but also predictable and unoriginal. The writers had the opportunity to explore more creative and thought-provoking endings for “Happy Holiday Tales,” but instead chose this cringeworthy conclusion.

Commie Hunting Season

If you randomly select any top list of poorly received “SNL” sketches ever made, chances are high that “Commie Hunting Season” will be among them. This sketch, a misguided attempt to address the recent Greensboro Massacre, depicted Greensboro’s governor (portrayed by guest host Malcolm McDowell) instructing rednecks on how to hunt communists. The three-minute sketch was broadcast live with no laughter from the audience, relying heavily on exaggerated Southern accents and a concerning number of instances where white “SNL” cast members used the N-word.

Four decades later, revisiting “Commie Hunting Season”, it’s striking how little humor there seems to be. The sketch’s attempt at comedy, by contrasting simple meeting protocols with white supremacist agendas, is so faint as to be non-existent, making the dialogue and pacing feel monotonous. Instead of providing relief or amusement, viewers are left watching unsavory characters brandish guns, discuss “legality”, and hurl slurs without any humor or satire to counterbalance their offensive content.

In the end, even if a member of the hate group accidentally kills McDowell’s governor, it doesn’t advance the storyline; instead, “Commie Hunting Season” concludes weakly. At times, grim events can serve as a backdrop for witty humor. However, “Commie Hunting Season” was not an example of this.

If you or someone you’re acquainted with have faced sexual assault or hate crimes, please reach out to the following resources for support:

[Resource 1]
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This way of phrasing keeps the original meaning while making it more approachable and easier to read.

Please explore the RAINN (Rape, Abuse & Incest National Network) website or reach out to their National Helpline by dialing 1-800-656-HOPE (4673).
Check out the RAINN website for more information or call their toll-free helpline at 1-800-656-HOPE (4673) when you need assistance.
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2025-01-12 20:31