Article created and last updated on: Sunday 05 October 2025 23:50
Abstract
The season premiere of the long-running American satirical television programme, Saturday Night Live, on 4 October 2025, ignited a significant political and cultural firestorm. A sketch within the episode, which sharply criticised President Donald Trump on a range of issues including his foreign policy pronouncements, his ongoing conflicts with late-night television hosts, and his historical association with the disgraced financier Jeffrey Epstein, elicited a dismissive yet pointed response from the White House. This event occurred within a broader context of heightened tensions between the Trump administration and prominent figures in the entertainment industry, such as talk show host Jimmy Kimmel and the musician Bad Bunny. Their recent actions and public statements have been interpreted by some observers as a form of cultural resistance to the administration's policies and rhetoric. The ensuing public discourse has also brought to the forefront a debate surrounding the commercial viability of politically charged, or "woke," content, with some commentators arguing that such material can be a significant driver of audience engagement and ratings.
Key Historical Facts
- SNL debuted in 1975 and has consistently engaged with American politics since.
- Chevy Chase's parody of President Gerald Ford in 1975 left a lasting public impression.
- President Ford made a pre-recorded appearance on SNL, saying the famous opening line.
- Past presidential parodies include Aykroyd's Carter, Hartman/Hammond's Clinton, and Ferrell's Bush.
- Alec Baldwin's portrayal of Trump during his first term became a cultural phenomenon.
Key New Facts
- The SNL premiere on 4 October 2025 featured a sketch sharply criticising President Trump.
- A White House spokeswoman dismissed the sketch, saying she had more entertaining things to do.
- The sketch parodied Trump's claims of ending wars and his association with Jeffrey Epstein.
- Jimmy Kimmel's show was recently suspended by ABC following comments about Charlie Kirk.
- Kimmel's return episode attracted 6.3 million viewers, more than tripling his typical audience.
Introduction
The intersection of politics and popular culture has long been a fertile ground for social commentary and satire. In the United States, late-night television, in particular, has evolved into a prominent arena for political discourse, with comedians often assuming the role of jesters in the court of public opinion, holding power to account through humour. The premiere of the 51st season of Saturday Night Live (SNL) on 4 October 2025, served as a potent reminder of this dynamic. The episode's cold open, a segment traditionally reserved for topical political satire, featured a biting parody of President Donald Trump that touched upon several sensitive and controversial subjects. The sketch, and the subsequent reaction from the White House, have amplified an ongoing conversation about the role of entertainment in a deeply polarised political landscape. This situation is further complicated by the actions of other high-profile celebrities who have become increasingly vocal in their criticism of the administration, prompting a wider debate on the efficacy and commercial implications of such activism.
A Storied History: Saturday Night Live and the Presidency
Since its debut in 1975, Saturday Night Live has consistently engaged with the American political scene, with its parodies of presidents and other political figures often becoming defining cultural moments. The show's inaugural season almost immediately began spoofing the sitting president, Gerald Ford, with cast member Chevy Chase's portrayal of him as clumsy and accident-prone leaving a lasting, albeit perhaps unfair, impression on the public consciousness. This tradition of presidential parody has continued unabated through subsequent administrations. Dan Aykroyd's depiction of Jimmy Carter, Phil Hartman's and later Darrell Hammond's portrayals of Bill Clinton, and Will Ferrell's memorable impersonation of George W. Bush have all contributed to the show's legacy of political satire.
The relationship between SNL and the figures it lampoons has often been complex. While the humour is frequently critical, it has also, at times, been embraced by the politicians themselves. President Ford, for instance, made a pre-recorded appearance on the show, uttering its famous opening line, "Live from New York, it's Saturday night!" in an attempt to demonstrate a sense of humour about his public image. This willingness to engage with the parody has been a strategy employed by various political figures over the years, who have recognised the potential to connect with a wider, and often younger, audience through the programme.
However, the tone of SNL's political satire has not remained static. Some observers have noted a shift over the years from a more even-handed approach to a more pointed and, at times, overtly critical stance, particularly in recent years. The presidency of Donald Trump, both before and during his time in office, has been a particularly frequent and fertile subject for the show's writers. Alec Baldwin's portrayal of Trump during his first term became a cultural phenomenon, though it also drew sharp criticism from the then-president himself, who repeatedly attacked the show on social media, labelling it "unwatchable" and a "hit job". This contentious relationship has continued into Trump's second term, with the season 51 premiere serving as the latest flashpoint in this ongoing cultural and political battle.
The Contentious Cold Open: A Multi-Pronged Attack
The cold open of the 51st season of Saturday Night Live wasted no time in addressing a number of the controversies surrounding the Trump administration. The sketch featured cast member James Austin Johnson reprising his widely recognised impersonation of Donald Trump. The parody began by mocking recent claims by the President that he had successfully ended numerous wars, a statement that has been widely disputed. Johnson's Trump quipped, "I ended all the wars. Every single one of them — except the two main ones that are still happening and are more vicious than ever".
The sketch also directly addressed the administration's recent pressure on late-night television shows. This was a particularly timely reference, given the recent temporary suspension of Jimmy Kimmel's programme by the network ABC and the cancellation of Stephen Colbert's show on CBS. In the sketch, Johnson's Trump declared that the greatest threat to democracy was "late night TV!". He then issued a thinly veiled threat to SNL itself, stating, "I'm just keeping an eye on SNL, making sure they don't do anything too mean about me... Remember: Daddy's watching!". This line was a direct allusion to the administration's perceived attempts to stifle critical commentary in the media. The sketch further underscored this point by featuring Mikey Day as Federal Communications Commission (FCC) Chair Brendan Carr, who appeared on stage to the tune of Rockwell's "Somebody's Watching Me".
Another significant element of the sketch was its reference to Donald Trump's past association with the late convicted sex offender, Jeffrey Epstein. Johnson's Trump was depicted quoting from a poem he allegedly wrote for Epstein, a claim the President has denied. This inclusion of the Epstein connection was a particularly provocative move, touching upon a subject that has been a source of intense public scrutiny and speculation. The sketch also made a visual gag at the President's expense, with Johnson showing a make-up covered hand, a reference to recent photographs that have sparked public curiosity about Trump's health.
The sketch also took aim at other figures within the Trump administration, with Colin Jost portraying Defense Secretary Pete Hegseth. Jost's Hegseth was shown mocking the physical appearance of military generals, a parody of recent remarks made by the real Hegseth. This part of the sketch served to broaden the satirical attack beyond the President himself, targeting the wider culture and rhetoric of his administration.
The White House Response: A Dismissive Stance
The reaction from the White House to the Saturday Night Live sketch was swift and dismissive. A spokeswoman for the administration, when asked for comment by Entertainment Weekly, stated, "Reacting to this would require me to waste my time watching it". She continued, "And like the millions of Americans who have tuned out from 'SNL,' I have more entertaining things to do — like watch paint dry". This response is consistent with the Trump administration's long-standing approach to criticism from the entertainment industry, which often involves belittling the source and questioning its relevance and viewership.
The statement's claim of declining viewership for SNL is a recurring theme in the administration's critiques of the show. While the programme's ratings have fluctuated over its long history, it has often experienced a surge in viewership during election years and periods of intense political interest. The White House's attempt to frame the show as irrelevant can be seen as a strategic effort to undermine its cultural influence and dismiss the impact of its satire.
It is also noteworthy that the President himself, who is known for his prolific use of social media to respond to his critics, remained silent on his Truth Social platform during and immediately after the show's broadcast. This departure from his usual practice could be interpreted in a number of ways. It may suggest a deliberate strategy to avoid giving the sketch more publicity, or it could indicate a belief that a direct response was unnecessary. Regardless of the reason, the official White House statement, with its tone of derision, made the administration's displeasure clear.
A Broader Cultural Pushback: Jimmy Kimmel and the Power of Late-Night
The Saturday Night Live sketch did not occur in a vacuum. It was part of a wider trend of increasingly pointed criticism of the Trump administration from prominent figures in the late-night television landscape. Jimmy Kimmel, the host of ABC's Jimmy Kimmel Live!, has been particularly outspoken. His show was recently suspended by the network following comments he made regarding the assassination of conservative activist Charlie Kirk. Kimmel accused some on the political right of using the tragedy to "score political points". The suspension was met with delight by President Trump, who has frequently targeted Kimmel with insults.
Upon his return to the airwaves, Kimmel was greeted by a surge in viewership, with his comeback episode attracting 6.3 million viewers, a figure that more than tripled his show's typical audience. His return monologue also garnered significant attention online, with millions of views on platforms such as YouTube and Instagram. This strong public response suggests a significant appetite for Kimmel's brand of political commentary. A recent poll conducted by YouGov found that Kimmel had a higher net favourability rating than President Trump, with 44 per cent of respondents holding a favourable opinion of the comedian compared to 41 per cent for the President.
Kimmel has continued to use his platform to critique the President. In a recent episode, he addressed Trump's sharing of racist, AI-generated videos of House Minority Leader Hakeem Jeffries, stating that the President "can't even keep his racism straight". In a rare crossover event, Kimmel also appeared on Stephen Colbert's The Late Show, where the two hosts, who have both been the subject of Trump's insults, joined forces to mock the President. During the interview, Kimmel expressed his disbelief at having a president who would celebrate Americans losing their jobs, a reference to Trump's reaction to his suspension.
The experiences of Kimmel and Colbert highlight the high-stakes environment in which late-night hosts are currently operating. The cancellation of Colbert's show and the temporary removal of Kimmel's programme demonstrate a willingness on the part of the administration and its allies to exert pressure on media outlets that are critical of the President. However, the public's response to Kimmel's return suggests that such pressure may have the unintended consequence of amplifying the voices it seeks to silence.
The Bad Bunny Factor: Celebrity Activism and the "Woke" Economy
The cultural pushback against the Trump administration is not limited to the realm of late-night comedy. The musician Bad Bunny, who hosted the season premiere of Saturday Night Live, has also become a significant figure in this dynamic. The Puerto Rican superstar has been a vocal critic of the administration's policies, particularly those related to immigration. His selection as the headliner for the upcoming Super Bowl halftime show has drawn the ire of conservative commentators and politicians.
Homeland Security Secretary Kristi Noem, for instance, has sharply criticised the NFL for its choice and has stated that Immigration and Customs Enforcement (ICE) agents will have a significant presence at the Super Bowl. This has been interpreted by many as a threat directed at Bad Bunny and his fans. The artist has previously stated that his decision not to tour in the United States was motivated by a fear that his fans could be targeted by immigration raids.
During his opening monologue on Saturday Night Live, Bad Bunny directly addressed the controversy surrounding his Super Bowl performance. He joked that "even Fox News" was happy about his selection, before the show played a montage of clips of Fox News personalities edited together to make it seem as though they were praising him. He then switched to Spanish to deliver a message of empowerment to the Latino community, stating that their contributions to the United States could never be erased. He concluded by saying, in English, "If you didn't understand what I just said, you have four months to learn". This was a direct and defiant response to his critics.
The controversy surrounding Bad Bunny, and the strong ratings for both his SNL episode and Jimmy Kimmel's return, have fuelled a debate about the commercial viability of "woke" or politically progressive content. One liberal podcaster has argued that the high ratings for figures like Kimmel and Bad Bunny demonstrate that "woke is good for business". This perspective challenges the narrative often pushed by conservative commentators that politically charged content alienates audiences. The success of these figures suggests that there is a significant market for entertainment that engages with and critiques the current political climate.
Conclusion
The premiere of Saturday Night Live's 51st season and the events surrounding it have brought into sharp focus the contentious and deeply intertwined relationship between politics and popular culture in contemporary America. The programme's satirical attack on President Trump, and the White House's dismissive response, are indicative of a broader cultural conflict that is being played out on television screens, social media platforms, and in the public discourse. The actions of figures like Jimmy Kimmel and Bad Bunny demonstrate a growing willingness among celebrities to use their platforms for political activism, even in the face of pressure from the highest levels of government.
The debate over the commercial viability of "woke" content adds another layer of complexity to this issue. The strong public response to politically charged entertainment suggests that, far from being a niche market, there is a substantial audience for content that challenges the status quo and holds power to account. As the political landscape continues to be shaped by deep divisions and intense polarisation, the role of satire and celebrity activism is likely to become even more significant. The jesters in the court of public opinion are speaking, and it appears that a large segment of the public is listening.
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