They say it couldn’t be done. (And maybe some say it shouldn’t be done.) But we got to the 50th season.

Season 50 debuted with high expectations, given the historic anniversary. While some hoped for each episode to be hosted by past cast members and filled with nostalgic callbacks, the reality was more conventional. Although it featured a star-studded anniversary special and brought back several past SNL icons—including Dana Carvey, Mike Myers, Alec Baldwin, and David Spade—the season overall did not radically deviate from SNL’s recent trajectory.

Three new cast members joined—Ashley Padilla, Emil Wakim, and Jane Wickline—while Punkie Johnson, Chloe Troast, and Molly Kearney departed. Ashley Padilla, in particular, was praised for her impressive rookie performance and potential to take on a larger role if veterans like Chloe Fineman or Heidi Gardner leave.

A prominent feature of the season was its reliance on recycling. Sketch concepts, characters, and even formats were reused or reinterpreted. For example, a successful sketch from Season 49 featuring Nate Bargatze as George Washington was revived, albeit with diminished surprise. Similarly, a sketch mimicking the old Chris Farley–Mike Myers Japanese game show setup reappeared in new form, highlighting the season’s tendency to “resurface” material.

Political sketches were frequent, if uninspired. Dana Carvey reprised his Biden impression, Maya Rudolph played Kamala Harris, and James Austin Johnson returned as Donald Trump. Many of these sketches were described as “political cosplay”—faithful reenactments of real events with little added satire or perspective. This dynamic was most evident in cold opens that simply replayed political moments from the week with minimal comedic insight. One notable exception was a post-election cold open that subverted expectations by mocking SNL’s own history of over-earnestness after political losses.

The overuse of celebrity cameos sometimes came at the expense of the current cast. Christian and Scot observed that cast members like Sarah Sherman and Ego Nwodim were overshadowed. Bowen Yang was heavily featured early in the season, but both hosts argued that he lacks the range to carry that much weight, often playing variations of himself. Conversely, James Austin Johnson was underused outside of his Trump impression, despite being one of the show's most versatile performers.

One of the season’s breakout sketches, “Domingo,” which revolves around a chaotic wedding reception, became a viral hit—especially among millennial women. While the hosts didn’t find the sketch particularly strong, they acknowledged it struck a nerve with a specific demographic, showing how the show’s appeal can vary widely depending on cultural context.

Ultimately, Bertram and Schneider conclude that Season 50 of SNL didn’t reinvent the wheel but encapsulated the modern SNL experience—safe, familiar, and intermittently excellent. It wasn’t a triumphant landmark season, but it did enough to suggest the show remains relevant, if uneven, as it enters its second half-century.

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