New York – “Saturday Night Live” fans were treated to a delightful surprise this past weekend as Domingo, the irrepressible womanizer played by Marcello Hernández, moved from recurring character to the central figure of the opening sketch. Known for his charm, audacity, and relentless pursuit of Kelsey (Chloe Fineman), Domingo has become one of the show’s most talked-about characters — adored by some and derided by others. Yet, after years of evolving sketches, his popularity shows no signs of slowing down.
This week’s episode, hosted by Sabrina Carpenter, broke with the show’s recent tradition of opening with politically themed sketches. Instead, it focused on Domingo’s latest escapade: romancing Kelsey, much to the dismay of her new husband, Matt (Andrew Dismukes). The storyline continues the character’s journey since his introduction in 2024, when a wedding reception sketch featuring bridesmaids, including Ariana Grande, performing an off-key parody of Carpenter’s hit “Espresso” about Domingo’s tryst with the bride unexpectedly went viral. This success led to further sketches, including Domingo crashing the couple’s babymoon and later, on S.N.L.’s 50th-anniversary special, interrupting a vow-renewal ceremony for Kelsey’s parents, played by Molly Shannon and Martin Short.
In the latest installment, Carpenter returned to help Hernández, Ashley Padilla, Veronika Slowikowska, and Sarah Sherman perform parodies of Taylor Swift’s “The Fate of Ophelia,” Lady Gaga’s “Abracadabra,” and Alex Warren’s “Ordinary.” Each song hinted at further infidelity from Domingo, cementing his reputation as a charming but mischievous Lothario. As Matt exasperatedly tells Kelsey, “I’m serious, this is strike six,” her playful reply, “Hey, babe, it won’t happen again,” underscores the comedy’s ongoing tension — and fans of S.N.L. know better: Domingo’s antics are far from over.
Trump Steals the Spotlight in a Quirky Podcast Sketch
Another standout sketch this week featured a clever parody of a video podcast hosted by teenagers reviewing their favorite and least favorite foods in slang-laden, hilariously over-the-top commentary. Carpenter, Fineman, Slowikowska, and Jane Wickline nailed the roles of earnest, goofy adolescents debating whether Twizzlers were “washed” or “fire,” and which vegetables deserved the title of G.O.A.T. Carpenter’s character summed it up succinctly: “Some vegetables are fire and some vegetables low-key be a fruit.”
The twist? The podcast’s celebrity guest was none other than President Trump, portrayed by resident S.N.L. impersonator James Austin Johnson. Despite the unusual setting, Johnson seamlessly fit into the absurd milieu. He offered enthusiastic endorsements for Little Debbie snacks, particularly her Christmas Tree Cake, noting, “You know, it used to be seasonal, but I very smartly made a call and now we get it year-round.” Fineman’s character reacted with awe: “Dang, that’s so fire, sir.” Johnson confirmed emphatically: “It is. It’s very fire. It’s very fire.” The sketch highlighted S.N.L.’s ability to blend absurdist humor with cultural commentary.
Musical Comedy: Quirky and Creative
Musical sketches were a major highlight of the episode. Bowen Yang, attending the Academy Museum Gala in Los Angeles, couldn’t reprise his recurring role as George Santos, the disgraced former congressman recently pardoned by President Trump. Despite his absence, Carpenter starred in a recorded sketch portraying teenage students finding fully clothed, yet humorously inappropriate, ways to flirt at a school dance — a surreal yet hilarious concept that underscored the show’s fearless approach to comedy.
Carpenter also collaborated with Slowikowska in an imaginative musical number featuring a washing machine and dryer singing jingles in multiple musical styles. The absurdity of the concept — everyday appliances performing in song — reflected the show’s late-night willingness to experiment, blending quirky visuals with musical comedy.
Weekend Update: Satire and Sharp Commentary
At the Weekend Update desk, Colin Jost and Michael Che delivered their signature blend of satire and current events commentary. Jost opened with George Santos’ commuted sentence, showing a photoshopped image of the former congressman with a muscular “prison body” while joking about his supposed transformation. Che riffed on President Trump’s foreign policy antics, including a reported Venezuelan boat smuggling incident and the leaked Republican group chat containing racist and homophobic content.
Jost quipped: “While traveling on Air Force One to the Middle East to celebrate the cease-fire, President Trump told reporters, ‘I don’t think there’s anything that’s going to get me into heaven.’ Then he paused for 10 full minutes waiting for someone to say, ‘That’s not true.’” Che added: “President Trump announced another Venezuelan boat allegedly smuggling drugs was blown out of the water without warning. One day soon, you’ll look in the mirror and realize you’re out of cocaine.” The segment balanced absurdist humor with biting political satire, remaining true to S.N.L.’s signature style.
Recurring Characters: Enduring Appeal
Even amidst political satire and musical comedy, Hernández’s recurring characters continued to shine. Movie Guy, a well-meaning theater usher notorious for never actually seeing the films he discusses, brought the expected puns and deadpan comedy. His broken English and naive enthusiasm — praising horror movies like Scream (“everybody scream”), Smile (“everybody smile”), and Saw (“everybody saw. Except me. I did not see ‘Saw’”) — reminded audiences of why such characters endure in S.N.L.’s history: they blend simplicity, absurdity, and relentless optimism in a way that resonates with viewers across generations.
Cultural Resonance and Audience Impact
Domingo’s popularity underscores S.N.L.’s enduring ability to create characters who resonate with modern audiences. Whether through viral sketches, absurdist humor, or musical parody, the show continues to reflect and satirize contemporary culture in ways that are both humorous and relatable. Carpenter’s versatility, Hernández’s comic timing, and the supporting cast’s commitment to exaggerated yet convincing performances ensure that each episode offers moments that linger in viewers’ minds well beyond the broadcast.
Conclusion
This past weekend, S.N.L. reminded viewers why it remains a cultural mainstay. Marcello Hernández’s Domingo proved he can carry a show, while Sabrina Carpenter’s multifaceted performances, the musical parodies, and sharp political satire showcased the program’s range. From absurd sketches to pointed commentary, S.N.L. continues to entertain and provoke discussion, demonstrating its unique ability to balance humor, critique, and irreverence. Domingo’s escapades are likely far from over, and fans can expect more laughter, chaos, and clever satire in episodes to come.