SNL Turns the Air Force One Cabin Into a Comedy War Room as Josh O’Connor Makes a Soft-Boy Splash

Saturday Night Live delivered one of its most densely packed, pop-culture-savvy episodes in recent memory, blending political parody, literary jokes, queer subtext, and self-aware musical moments in a way that felt deliberately tuned for American viewers who live online and follow entertainment news closely. The episode opened with a sharp cold open, introduced a surprisingly gentle hosting debut from Josh O’Connor, and leaned heavily into character-driven comedy that invited both applause and debate.

Source credit: NBC’s Saturday Night Live broadcast.

Air Force One Becomes the Stage for SNL’s Opening Salvo

The episode began aboard a fictional Air Force One, where James Austin Johnson’s version of Donald Trump addressed reporters from behind a curtain. The sketch framed the commander-in-chief as oversharing and erratic, openly expressing exaggerated admiration for press secretary Karoline Leavitt, played by Ashley Padilla. Through indirect commentary, the character boasted about targeting suspected drug boats and planes over the Caribbean, only for the visual gag to reveal that the military strike had accidentally destroyed Santa’s sled.

Political Satire Meets Studio Gossip

The same opening sketch also took a sharp turn into Hollywood commentary. Trump’s character dismissed the proposed sale of Warner Brothers to Netflix, joking that the studio was undesirable due to its underwhelming tour experience in Los Angeles. He then casually remarked that the public should be worried about his health, framing illness as yet another offhand confession. The moment ended with Padilla’s Leavitt delivering the iconic “Live from New York, it’s Saturday Night,” signaling her growing prominence on the show and earning a strong audience response.

Josh O’Connor’s Hosting Debut Leans Into His Public Persona

Josh O’Connor, making his first appearance as host, used his monologue to playfully dissect his own image. The British actor, known in the U.S. for roles in The Crown and Challengersdescribed himself as a “soft boy” and joked that his career had largely revolved around emotionally intense, competitive male dynamics. Rather than pivoting to politics or topical humor, he centered his monologue on a fictional live-action remake of Pixar’s Ratatouilleimagining himself as Chef Alfredo Linguini.

A Deliberately Slight but Self-Aware Opening

The monologue’s humor rested on its understatement. O’Connor framed the idea as both absurd and strangely plausible, poking fun at Hollywood’s reboot culture while keeping the tone intentionally low-key. For U.S. audiences accustomed to bombastic monologues, the restraint itself became part of the joke.

Sketches That Tested Audience Patience and Boundaries

One of the night’s more divisive sketches featured Bowen Yang reprising his unsettling Doctor character, revealed this time as Dr. Please. The sketch centered on intentionally confusing medical explanations delivered to a patient, assisted by the doctor’s attendant and romantic partner. While the audience responded loudly to moments of physical affection between Yang and O’Connor, the verbal jokes landed more quietly, creating an awkward contrast between applause and silence.

Sensitive Strippers and Literary Humor in the Catskills

Another sketch placed viewers at a bachelorette party in a remote cabin, where two male strippers hired from a niche online forum arrived with beanies, cardigans, and copies of A Little Life. These self-described sensitive performers spoke in affirmations, cried freely, and embodied a hyper-aware version of modern masculinity. The concept offered sharp cultural observations, though the execution leaned more gentle than biting, especially for viewers expecting a deeper satirical edge.

Music and Update Segments Anchor the Episode

Musical guest Lily Allen performed “Sleepwalking” on a dimly lit bedroom set, wearing lingerie and delivering a moody, restrained performance that contrasted with the show’s broader comedy.

On Weekend Update, Marcello Hernández shared exaggerated anecdotes about Christmas traditions, new boyfriends, and family pressure, using rapid Spanish phrases and accented English for comedic rhythm. Jane Wickline followed with a song warning about former child actors, framing her concern as cultural rather than literal and pushing the joke into absurd territory without asserting real-world claims.