Louis C.K. Sparks Uproar with SNL Monologue About Child Molesters (VIDEO)

17 May 2015 | Author: | No comments yet »

‘SNL’: Louis C.K. bolsters season finale.

During the show’s opening segment, CK delivered an eight-minute monologue which included jokes about “mild” racism and the rationale behind child molestation.Wanting to go out with a bang, Saturday Night Live banked on Louis C.K., one of the sharpest comedians around and Rihanna, surely the most controversial pop star to ever emerge from Barbados, to carry Season 40 to the finish line.As was the case on his previous appearance, Louis C.K. seemingly used his monologue to test out new material — and as before, it was quite good, in particular his bit about growing up in the 1970s. “It was a very racist decade, and people said racist things all the time and nobody got offended. I ain’t talking like you, I’m talkin’ like me” a panicky C.K. replies, after previously admitting to his co-workers he needs his job badly after being out of work for five years.

In this musical cold open, the presidential hopeful interrupts a picnic sing-along, a couple’s tandem bicycle ride, a surfing session, and two little kids building a sandcastle – all so she can hawk for votes. You interrupted me! was saying something racist!” Louis C.K. continued in the same vein, then turned to comparing his children to Israel and Palestine and discussing how hard child molesters work at their eponymous past time. The comedian tried to imagine why child molesters would still commit the crime. “From their point of view, it must be amazing, for them to risk so much,” he said.

I just don’t find jokes about child molestation funny”, with another adding “By my count Louis CK is up to about 3 expected apologies already tomorrow.” However, some viewers were more complimentary about CK’s performance. Kate McKinnon plays Clinton as a stiff, overly ambitious nut, but in this sketch, she gets a chance to get even more physical by running, dancing and singing some high notes while in a wool pantsuit.

He then acknowledged the controversial nature of the material, adding, “It’s my last show probably.” Indeed, a number of Twitter users were not pleased with what they heard. One person called it the “unfunniest, most offensive SNL monologue” ever, while someone else tweeted that her “heart aches for humanity” because of the monologue. The most memorable bit later in the show was actually a commercial: The Coneheads (Dan Aykroyd and Jane Curtin) are working for State Farm, which is a sign of the enduring appeal of “SNL.” After the monologue, Louis C.K. donned a range of wigs and accents to bolster very uneven skits. A newly hired Sprint employee (C.K.) gets in trouble when he’s caught impersonating his boss Brenda (Leslie Jones), a stereotypical “angry black woman” while she stands right behind him. The man’s wife (McKinnon) announced she was a lesbian, but concluded, “I may be a lesbian but there’s nothing like the love of a good man.” In the weaker sketches, Louis C.K. was a shoemaker with lazy elves, an actor in a police lineup and a crude record producer who interrupted a couple’s vacation.

Years later, he’s still keeping up the charade, calling people “boo,” yelling at customers to leave, and using expressions like “on fleek” whenever she’s around. To pad out “Update,” Tom Brady (Taran Killam) deflected questions about Deflategate, Pete Davidson talked about turning 21, and Riblit (Bobby Moynihan) interrupted the fake newscast. In his first sketch of the night, Louis C.K. plays a shoemaker who employs a couple of elves (Vanessa Bayer, Kenan Thompson) who purposely slack off at the job so they can be spanked and urinated on. For her second act, RiRi takes a page out of Kanye West’s book, singing the politically charged “American Oxygen” in front of a video screen showing images of all that is good (space exploration, baseball) and bad (pollution, poverty, war) in America. By the time she flashes the angelic faces of little girls on the big screen while singing “This is a new America” and “We sweat for a nickel and a dime,” it’s clear Rihanna has come a long way from “Umbrella.”

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