Josh O’Connor: Why ‘SNL’ Struggles to Capture His Unique Appeal as an Internet-Favorite Soft Boy
Josh O’Connor, making his debut as host on Saturday Night Live, initially captivated viewers despite expressing anxiety that he rated a “10 out of 10” in the week leading up to the show. His opening monologue showcased his ability to balance self-deprecating humor with playful nods to his public persona as a “soft boy,” quipping, “No, I am not the mouse from Flushed Away” and humorously portraying himself as “an average 65-year-old woman” involved in activities like embroidery and gardening.
The monologue took a lighthearted turn when O’Connor addressed fans urging him to portray Alfredo Linguini in a live-action remake of Disney/Pixar’s beloved Ratatouille. He referenced creative officer Pete Docter’s rejection of the idea, saying, “Do you know how it feels to be publicly rejected from a job I didn’t even want? For the record, I don’t even want a live-action Ratatouille,” before interjecting, “Sorry, sorry, for what it’s worth: I would kill as Linguini.”
However, O’Connor’s talents often felt underutilized throughout the evening, with sketches that did not fully capitalize on his whimsical charm seen in roles like his performances in Emma and The Mastermind. He often appeared sidelined in a series of sketches that failed to highlight his comedic abilities.
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In an early segment titled “Let’s Find Love,” O’Connor played a dating show contestant who quickly found himself overshadowed by 84-year-old contestant Ashley Padilla, whose outlandish antics generated early laughs but eventually grew repetitive. Later, a sketch revolving around deleted scenes from The Wizard of Oz, featuring O’Connor as the Tin Man along with Sarah Sherman as Dorothy and Bowen Yang as the Wizard, also fell flat. The humor relied heavily on a simple joke surrounding the Lion’s wish for a “big ole thing,” underscoring a lack of substantial comedic content.
O’Connor’s absence was notable in a well-received pre-taped sketch spoofing Spotify’s popular wrapped playlist, which could have showcased his comedic strengths. The night’s closing sketch, featuring O’Connor as an awkward dad, lacked the initial energy needed for a memorable finale, instead relying on a series of break-the-fourth-wall moments that felt disjointed.
The standout moment of the night came from the sketch “Bachelorette Party Strippers,” where both O’Connor and Ben Marshall portrayed highly sensitive strippers. Highlights included a lo-fi rendition of Ginuwine’s “Pony” and lines focusing on feelings of self-worth, which unexpectedly piqued the interest of Padilla’s bride-to-be, creating an intriguing dynamic between the characters.
While the episode included reboots of popular sketches, such as Yang’s Dr. Please character, which relied heavily on Padilla’s performance, the comedy did not quite resonate with audiences. A second animated short, part of the “Brad and His Dad” segment, felt more like filler than engaging content.
On Weekend Update, co-anchor Colin Jost delivered sharp jokes regarding Donald Trump, poking fun at his remarks about Venezuelan President Nicolás Maduro and a proposed Netflix merger. The segment shifted gears toward the peculiar return of Jane Wickline, whose offbeat keyboard songs humorously tackled contemporary issues, including a warning about child stars of Stranger Things potentially seizing political power.
The night concluded with a surprise guest appearance by Dakota Johnson during Lily Allen’s second performance of “Madeline.” Revealed as the voice behind the spoken lines, Johnson greeted Allen affectionately, adding a memorable touch to the show.
