The episode kicks off with the predictable political cold open, as the SNL election cast members make their final appearances before the impending election. Despite this being a closing curtain call, fans can expect to see these beloved characters returning in the weeks ahead, as the political landscape continues to evolve and entertain.

Another highlight of the night is Mulaney’s signature New York musical, which features an array of quintessential and often absurd New York-isms, all set against the backdrop of Port Authority. Additionally, the return of Pete Davidson—sporting a noticeably cleaner look—adds to the comedic chaos, as he joins Mulaney for yet another outrageous sketch that captures the essence of New York’s vibrant culture.

The biggest surprise of the night turned out to be entirely predictable for those attuned to the entertainment media landscape. The real Kamala Harris shared the stage with Maya Rudolph portraying her, engaging in a delightful pep talk ahead of their final campaign appearance. This moment merged reality and satire, showcasing the lighthearted spirit of the show even amidst serious political undertones.

Throughout the night, viewers are treated to a series of unforgettable impressions. From the political regulars to Kenan Thompson’s spirited portrayal of Little Richard, and a wildly exaggerated version of Reba McEntire by Heidi Gardner, the sketches provided a comedic commentary on the ongoing election cycle—a blend of humor and satire that resonated with the audience.

This election cycle has proven to be bizarre and unusual, making this episode a fitting way to wrap up the current political narrative. As the weeks, months, and possibly years unfold, debates will inevitably arise over the true outcomes and implications of the election, showcasing the ongoing drama of American politics.

Additionally, Chappell Roan made headlines with the debut of her new lesbian country single, “The Giver,” which unfortunately isn’t available on her or SNL‘s YouTube pages yet. While she embraced all the stereotypical country imagery and sounds, it remains to be seen how the music industry will receive this bold new direction compared to past experiences with other artists like Beyoncé.

As is customary, we will rank all the sketches from least to most entertaining, including the Monologue, Cold Open, “Weekend Update,” and any sketches that were cut for time but made their way online. We will skip discussing the musical guests, as their segments rarely bring humor—unless surprise appearances, like Ashlee Simpson, occur. Finally, we’ll spotlight the cast member who had the most outstanding performance of the week.

The finale of this sketch was somewhat predictable but still managed to deliver laughs. However, the actual conclusion left much to be desired. There were logical inconsistencies within the characterizations that could have enhanced the humor. Despite some genuinely funny moments woven throughout the more sentimental aspects, the juxtaposition didn’t quite land as intended. Furthermore, we expected much more from Ego Nwodim’s portrayal of a Black coder during NASA’s early days, which felt like an underutilized opportunity for humor and commentary on representation.

As anticipated, John shared some of his signature stand-up material in his monologue, discussing the joys and challenges of being a family man—despite having a rather small family—alongside humorous anecdotes about his grandfather born in 1902, and his personal struggles with aging as he enters his 40s. The performance was charming and mellow, and as the monologue progressed, it either became funnier or drew the audience into his unique perspective, allowing them to see life through his comedic lens. Ultimately, the segment ended with smiles and laughter, a hallmark of Mulaney’s engaging style.

This cold open featured a unique take on James Austin Johnson’s portrayal of Trump, showcasing a comedic representation of him running out of gas while delivering a series of outrageous spoofs. Highlights included a cringe-worthy joke about Mike Pence and a playful callback to his infamous “grab ’em by the” remark, now tied to his promise to protect women—whether they want it or not. This sketch was an amusing and chaotic take on the former president, setting the tone for the evening.

In a delightful twist, after all the political characters made their (potentially final) exits, Maya Rudolph’s portrayal of Kamala Harris took center stage as she had a humorous moment with the real Kamala Harris. The real VP had to deliver her opening line twice due to the audience’s enthusiastic response. Harris’ appearance was a fun addition, as she portrayed herself capably, adding comedic flair through her playful use of language while encouraging each other in their final push before election day.

The New York musical has become a beloved staple of John Mulaney’s appearances on the show, but this edition felt a bit overdone. Pete Davidson returned, looking notably less inked, to join Mulaney and Andrew Dismukes in celebrating the wonders of the Port Authority bus station. However, the sketches felt more random than usual, lacking a cohesive narrative thread. Starting with an unexpected milk reference, Jane Wickline’s role as a carton of milk towards the end felt like an underutilized opportunity for humor. While some musical vignettes, like Andy Samberg’s deadpan Hamilton riff, were enjoyable, the overall piece lacked the element of surprise and outrageousness that typically makes these segments memorable.

Michael Longfellow emerges as the go-to host for these game show sketches, showcasing his sharp wit and snarky humor. His interaction with former vice presidential nominee Tim Kaine was both memorable and entertaining. The simple premise of the game—identifying names—proved to be a comedic goldmine, accentuated by Kaine’s willingness to participate wholeheartedly. Despite some awkward moments, especially with Sarah Sherman’s character who was sidelined during the exchanges, the sketch managed to deliver laughs, highlighting Mulaney’s knack for social commentary through humor.

This sketch incorporated a clever blend of humor and political satire, driven largely by John Mulaney’s delivery. The concept of merging Harvey Weinstein and Jeffrey Epstein’s names into a new character, whose campaign was more about distancing himself from their notorious legacies rather than presenting a solid agenda for New York, yielded consistent laughs. The sharp jokes and clean pacing ensured that the sketch knew exactly when to end, albeit the dwindling time constraints of the show played a role in its brevity.

The Weekend Update segment wrapped up the pre-election discussions with some razor-sharp jokes, many of which were expertly set up by Donald Trump’s antics, including a rather inappropriate microphone bit. Kamala Harris also faced some light-hearted jabs, particularly about her laugh and her shifting position on the ticket. Meanwhile, Trump was humorously skewered for a very visual joke about biting a child dressed in a chicken costume, showcasing the unpredictable nature of political satire on SNL.

Kudos to Heidi Gardner for her impression of Reba McEntire, which, while not a perfect mimicry, was hilariously entertaining. Her physical comedy and outrageous anecdotes about growing up in Oklahoma added to the humor. Interestingly, the success of her impression lay not in its accuracy but in its sheer absurdity, echoing the style of impressionists like Dana Carvey, who prioritize humor over precision.

During the post-political commentary, Colin Jost and Michael Che pushed the boundaries