-You had a wonderful “SNL” this past Saturday
with John Mulaney. -So much fun.
-So nice when John is back. He has just turned into
the consummate “SNL” host. -It’s, like, someone who is
a bigger theater geek than I am. -And you really put your theater
geekery to week — to work this week.
-“To week.” -“To week.”
-You weeked your geek. [ Laughter ] You did “Sound of Music.”
-We did, and I do want to say, I was very proud.
I feel like I did a lot of the blocking myself
in that scene. -Oh, really?
-‘Cause I was like, “Liesl runs around
the entire time.” -Gotcha. So did you —
-Behind trees, yeah. -Did you —
You felt good when it was over. -I was doing a lot of…
[ Laughter ] Yeah.
-‘Cause you love — You and John
both love musical theater. -Yes.
-There was also “Airport Sushi.” -Yes.
-This was a fantastic sketch about someone who orders
LaGuardia sushi. -This song in particular
was driving me insane because it’s
a very hard song to do, “America,”
from “West Side Story.” -Yes.
I think it’s a song that, like, people think they can sing.
-Right, ’cause you sing along. -Yeah, like…
♪ I’m gonna live in Amer– ♪ But you’re saying
it’s very hard. -And then they want you
to do it on live TV. -Yeah.
-And it’s very difficult. And at one point,
they didn’t have the “Bye-bye,” that bit, and I was, like,
we gotta get the “Bye-bye” back. [ Laughter ]
I mean, I — -It was very important
you got it in there. Your birthday,
you had an episode. -Yes.
-Your birthday was on a Saturday, and you did,
what might be one of my favorite sketches of the year,
with RuPaul, that was very
“Designing Women”-inspired. -Yes.
Absolutely. My favorite scene,
the “Lights Out in Georgia” that Marjorie — I’ve called
people Marjorie in my life when they’ve driven me crazy.
-And this is — It was never referenced
that this scene was wholly inspired
by “Designing Women.” -No, but…
-Yes. I mean,
the look was pretty obvious. -It was for a specific audience.
[ Laughter ] And anyone else who enjoyed it,
good. -Did RuPaul understand
the reference point? -Absolutely.
-Gotcha. -And it was such a dream
to get to do that with Ru. I was, like,
“I can’t even think about it yet because I’m gonna happy cry.”
-Uh-huh. -And finally at the end of the
show, I got to, like, turn to Ru and go, like, “That
was the best moment of my life.” [ Laughter ] -So, doing “Designing Women”
with RuPaul is right up
at the top of your list. -Absolutely. -You’ve now been in the show
since 2012. -I know.
-And you’ve had a fantastic run. So many successes.
But I do like more than anything talking to people
about their bombs. -Yes. -Did you have any
hard-core bombs at dress? -The biggest bomb was — I don’t know if you were there
for it, but Vanessa and I were playing, like,
two forensic detectives… -uh-huh.
-…from Buffalo. -Okay.
-And we just kept going, “Oh, gross.”
[ Laughter ] And pick it and be, like,
“Ew, there’s a — Oh, it’s a — gross.
Look at that hair.” And it was, like, not a laugh
from the second we walked in, and it was like, “Oh, no. There’s four more minuets
of this.” It doesn’t change.
-Yeah, there’s nothing more depressing than when
you start a sketch that has no second move in it.
-Yeah. -And people wholly are out
on the first move. -And another character’s
gonna enter and gonna sound the same.
[ Laughter ] Yeah.
-You have an obsession, and I remember when I came back
and hosted, you wrote a sketch, we didn’t end up doing it,
about Untuckit shirts. -Yes, yes.
-Will you sort of speak to the origins of your obsession
with these ads? -Well, it was, like,
right after the 2016 election. A lot of advertising
was very emotional, because people
were very emotional, and talking about their issues and things
they were scared about. And then this Untuckit ad
I saw one day, and it blew my mind
because it’s, like, inspirational music,
kind of, like, contemplative, and he’s going,
“There’s a lot of problems in the world,
and we all have them. And mine was I couldn’t find
a shirt that looked good.” [ Laughter ] And it was, like, “This is so
tone-deaf, it’s unreal.” [ Laughter ]
-It made you so angry. -Yeah.
Well, not even angry. I actually love it.
-Yeah. -And I have a friend on Facebook
who, like, writes me once a month.
-Yeah. -Untuckit news.
[ Laughter ] -It’s nice —
I guess it’s nice that there are people who are so untroubled
in this era that they can still be most
worried about their shirts. -But he wanted to be troubled.
-Yeah. -He was, like, “I am, too.
I’m getting in on this.” -Yeah.
[ Laughter ] He would be out with friend
who are genuinely concerned about and had empathy for,
you know, people who are having a tough time, and he
was, like, “I’m with you guys.” -“Yeah,
’cause you know what I did?” -Yeah.
-“I fixed mine. You guys would be okay, too.”
[ Laughter ] -I laughed very hard
when you did a sketch with Chance the Rapper this year
where you were on wires. -Ugh!
-And wire sketches are very hard,
’cause this is a beautiful still that makes it look like
it was very easy for you guys to get up in the air,
but it was not that easy. -I don’t know
that it’s that beautiful. [ Laughter ]
-I mean, it’s pretty — -It was always, like,
my little dangly feet were always kind of funny.
-Yeah. -No, wire —
Immediately, at air, we went, “Let’s go,” to go that way,
and we were immediately pulled the wrong way.
[ Laughter ] So, it’s like,
“Oh, it’s gonna be great.” [ Laughter ] And then I was stuck. They were trying
to hook Beck up. -Yeah.
-Like, the scene can’t end till Beck’s in the air.
-Yeah. -And I was —
They couldn’t hook him up. So, I was just stuck dangling
upside down over a chair for like a full minute. I go,
I’ve never seen breaks so much. And they’re just going,
“Oh, Jennifer. Oh, Jennifer.
-Yeah, ’cause they couldn’t cut to Beck yet.
-Yeah. -It makes me laugh so hard,
because I love when a character in a sketch walks out,
and you can already see wires, because, you’re like,
“Well, clearly this guy is going up at some point.”
Yeah.