Maya Rudolph as Harris and Dana Carvey as Biden Open the 50th Season of ‘Saturday Night Live’

Maya Rudolph. (AP)
Maya Rudolph. (AP)
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Maya Rudolph as Harris and Dana Carvey as Biden Open the 50th Season of ‘Saturday Night Live’

Maya Rudolph. (AP)
Maya Rudolph. (AP)

"Saturday Night Live" began its 50th season with a parade of former co-stars, including Maya Rudolph as Vice President Kamala Harris, Andy Samberg as her husband Doug Emhoff and Dana Carvey as President Joe Biden.

"We've got to stay focused," Rudolph-as-Harris said at a mock rally in the show's cold open. "If we win, together, we can end the drama-la and the trauma-la and go relax in our pajama-las."

After bringing out running mate Tim Walz, played by comedian and actor Jim Gaffigan, she invited Samberg-as Emhoff to the stage and then, almost as an afterthought, Biden, played by the oldest of the group, the 69-year-old Carvey.

"A lot of people forget I’m president, including me," said Carvey, best known on the show for playing President George H.W. Bush in the late 1980s.

Rudolph and Carvey jointly delivered the "Live from New York, it's Saturday night" that launched season 50 of the sketch comedy institution.

Rudolph's return to play Harris — she won an Emmy for playing her previously — had been reported, but it was not certain when she would appear. The guest spots from Carvey, Samberg and Gaffigan were all surprises.

"Designing Women" star Jean Smart, fresh off winning her sixth Emmy for her lead role in "Hacks," was host, a role the 73-year-old has somehow never played in a four-decade career.

"I remember watching the first episode of ‘SNL’ and thinking, ’someday I’m going to host that show," Smart said in her opening monologue. "And this is the first Saturday that fit my schedule."

That first episode came on Oct. 11, 1975, with Lorne Michaels at the helm, just as he is now.

George Carlin hosted and the nation got its first dose of the Not Ready for Prime Time Players: Chevy Chase, John Belushi, Gilda Radner, Dan Akroyd, Jane Curtin, Laraine Newman and Garrett Morris.

There were two musical guests — Billy Preston and Janis Ian — playing two songs apiece, the norm in the early days.

The country singer and rapper Jelly Roll had the music role to himself Saturday, singing his songs "Liar" and "Sober." Like Smart, he was a first-timer.

Smart introduced Jelly Roll with her "Hacks" co-star Hannah Einbinder, the daughter of original cast member Newman.

That debut show is documented and reenacted in the newly released Jason Reitman film "Saturday Night," part of a wave of reflection and celebration the show is getting on the cusp of its 50th anniversary.

Despite the showy guest stars on this Saturday night, regular cast members took on the bulk of the show, which quickly settled into its regular routine.

James Austin Johnson was back playing Donald Trump at his own rally, saying he wanted Biden as an opponent instead of Harris.

"We miss Joe Biden, folks," Johnson's Trump said. "What we wouldn’t give to have him stand next to me and be old."

Colin Jost and Michael Che returned for another season of the mock-news "Weekend Update."

"There were so many insane political stories this summer and everyone kept asking, ‘Are you are you so bummed you aren’t on the air right now?" Jost said to open the segment. "And I was like, ’I have a feeling there’s going to be more that happens when we get back.'"

Rudolph, Carvey, Gaffigan and Samberg joined Smart, Jelly Roll and the cast on stage for the traditional sign-off.

Upcoming episodes are scheduled to feature host Nate Bargatze with musical guest Coldplay, Ariana Grande with Stevie Nicks, Michael Keaton with Billie Eilish and John Mulaney with Chappell Roan.

Those shows will lead up to a three-hour primetime special on Feb. 16 that will serve as the official 50th season celebration. It's sure to feature a wide range of the many stars the show has spawned, including Bill Murray, Eddie Murphy, Billy Crystal, Julia Louis-Dreyfus, Robert Downey Jr., Mike Myers, Adam Sandler, Chris Rock, Tina Fey, Amy Poehler and Will Ferrell.



‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
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‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)

“Joker: Folie à Deux” is the No. 1 movie at the box office, but it might not be destined for a happy ending.
In a turn of events that only Arthur Fleck would find funny, the follow-up to Todd Phillips’ 2019 origin story about the Batman villain opened in theaters nationwide this weekend to a muted $40 million, according to studio estimates Sunday, less than half that of its predecessor. The collapse was swift and has many in the industry wondering: How did the highly anticipated sequel to an Oscar-winning, billion-dollar film with the same creative team go wrong?
Just three weeks ago, tracking services pegged the movie for a $70 million debut, which would still have been down a fair amount from “Joker’s” record-breaking $96.2 million launch in Oct. 2019. Reviews were mixed out of the Venice Film Festival, where it premiered in competition like the first movie and even got a 12-minute standing ovation, The Associated Press reported.
But the homecoming glow was short-lived, and the fragile foundation would crumble in the coming weeks with its Rotten Tomatoes score dropping from 63% at Venice to 33% by its first weekend in theaters. Perhaps even more surprising were the audience reviews: Ticket buyers polled on opening night gave the film a deadly D CinemaScore. Exit polls from PostTrak weren’t any better. It got a meager half star out of five possible.
"That’s a double whammy that’s very difficult to recover from," said Paul Dergarabedian, the senior media analyst for Comscore. “The biggest issue of all is the reported budget. A $40 or $50 million opening for a less expensive movie would be a solid debut."
“Joker: Folie à Deux” cost at least twice as much as the first film to produce, though reported figures vary at exactly how pricey it was to make. Phillips told Variety that it was less than the reported $200 million; Others have it pegged at $190 million. Warner Bros. released the film in 4,102 locations in North America. About 12.5% of its domestic total came from 415 IMAX screens.
Internationally, it's earned $81.1 million from 25,788 screens, bringing its total global earnings estimate to $121.1 million. In the next two weeks, “Joker 2” will also open in Japan and China.
Second place went to Universal and DreamWorks Animation's “The Wild Robot,” which added $18.7 million in its second weekend, bringing its domestic total to nearly $64 million. Globally, it's made over $100 million. Warner Bros.' “Beetlejuice Beetlejuice" took third place in weekend five, Paramount's “Transformers One” landed in fourth and Universal and Blumhouse's “Speak No Evil” rounded out the top five.
The other big new release of the weekend, Lionsgate's “White Bird,” flopped with just $1.5 million from just over 1,000 locations, despite an A+ CinemaScore.
Overall, the weekend is up from the same frame last year, but “Joker's” start is an unwelcome twist for theater owners hoping to narrow the box office deficit.
Phillips and star Joaquin Phoenix have said they aspired to make something as “audacious” as the first film. The sequel added Lady Gaga into the fold, as a Joker superfan, and delved further into the mind of Arthur Fleck, imprisoned at Arkham and awaiting trial for the murders he committed in the first. It’s also a musical, with elaborately imagined song and dance numbers to old standards. Gaga even released a companion album called “'Harlequin,” alongside the film.
In his review for The Associated Press, Jake Coyle wrote that “Phillips has followed his very antihero take on the Joker with a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was.”
The sequel has already been the subject of many think pieces, some who posit that the sequel was deliberately alienating fans of the first movie. In cruder terms, it’s been called a “middle finger.” But fans often ignore the advice of critics, especially when it comes to opening their wallets to see revered comic book characters on the big screen.
“They took a swing for the fences,” Dergarabedian said. “But except for a couple of outliers, audiences in 2024 seem to want to know what they’re getting when they’re going to the theater. They want the tried and true, the familiar.”
It has some high-profile defenders too: Francis Ford Coppola, who last week got his own D+ CinemaScore for his pricey, ambitious and divisive film “Megalopolis,” entered the Joker chat with an Instagram post.
“@ToddPhillips films always amaze me and I enjoy them thoroughly,” Coppola wrote. “Ever since the wonderful ‘The Hangover’ he’s always one step ahead of the audience never doing what they expect.”
“Megalopolis,” meanwhile, dropped a terminal 74% in its second weekend with just over $1 million, bringing its total just shy of $6.5 million against a $120 million budget.
Deadline editor Anthony D’Alessandro thinks the problem started with the idea to make the Joker sequel a musical. “No fan of the original movie wanted to see a musical sequel,” he wrote on Saturday.
The first film was also divisive and the subject of much discourse, then about whether it might send the wrong message to the wrong type of person. And yet people still flocked to see what the fuss was about. “Joker” went on to pick up 11 Oscar nominations, including best picture and best director, and three wins. It also made over $1 billion and was the highest-grossing R-rated film of all time, until this summer when Marvel's “Deadpool & Wolverine" took the crown.