Saturday Night Live has thrived in the US for 50 years – but a British SNL faces an uphill battle

A tall, well-built man saunters past a band and onto the stage. He is handsome and slick, the parody of an American talk show host. Magnanimously he interviews the band, only to cut off one guitarist, patronise another and upstage the saxophonist with a mimed solo. And so, Swedish actor Alexander Skarsgård opened the 1,000th episode of the American sketch show Saturday Night Live (or SNL) on January 31. SNL is essentially a variety show, with sketches, a bit of stand-up and live music from bestselling artists. Although streaming has revolutionised how we consume television, almost as many American viewers are tuning in to SNL as they were ten years ago. The programme – which has run on the US commercial TV channel NBC since 1975 – clearly has staying power. Clips from SNL have long been available to British audiences on YouTube, and full episodes are often available on streaming services. But on March 21, Sky will broadcast a British adaptation of the programme. The received wisdom is that British and American humour mixes poorly, and the decision to adapt SNL for the British market has been met with some derision.

British comedy is sometimes judged too “acerbic” for American tastes. When adapted word-for-word for the American market, it can be disastrous (think the 2005 US Peep Show pilot, featuring Johnny Galecki, or the 2012 US adaptation of The Inbetweeners). Often, these adaptations require changes in tone to be successful. In the US version of TV comedy series The Office, Steve Carrel’s Michael Scott is much more likeable than Ricky Gervais’ David Brent. Some American comedies are popular in Britain, and repeats of sitcoms like The Simpsons and Brooklyn Nine-Nine dominate E4’s afternoon scheduling. But, American programmes (and SNL sketches) can leave British audiences bemused, or even offended, as happened with a recent sketch making fun of the Mancunian White Lotus star Aimee Lou Wood’s teeth. In my opinion, there are no good examples of an American comedy successfully adapted for a British audience. No laughing matter The format of SNL – which will presumably be the format of SNL UK – isn’t the problem. It is reminiscent of the British “alternative cabaret” scene of the 1970s and 1980s (in part inspired by a Los Angeles club called the Comedy Store) that featured young, political comedians and alternative music. It launched the careers of the likes of English comedians Alexei Sayle and Dawn French. This movement ( which is covered in depth in the book Alternative Comedy by Oliver Double) inspired a British television show much like SNL called Saturday Live (1986-88). It made comedians including Ben Elton and Harry Enfield household names. It is the glamour and the tone of American comedy that might make the transition to British television difficult, however. In Britain, there is nothing quite like the sometimes-comfortable American relationship between entertainment, politics and satire.

Many of SNL’s hosts – like Skarsgård – are celebrities rather than comedians, with Timothée Chalamet, Scarlett Johansson and Ariana Grande hosting in recent years. More intriguingly, politicians occasionally host SNL. The most notable example of this is Donald Trump, who hosted during the run-up to the Republican primaries in the autumn of 2015. But Hilary Clinton, Elizabeth Warren and Bernie Sanders have also appeared. British comedies are less sympathetic towards those with political or cultural power. In 1997 and 2001, Chris Morris’s mockumentary, Brass Eye lured politicians and celebrities into lending their credibility to public information campaigns around fake but plausible moral panics. This resulted in the late MP David Amess earnestly raising a question about an invented drug in parliament and in football pundit Gary Lineker reading out some bizarre fake paedophile slang. In the last few years, Diane Morgan’s satirical Netlix show Philomena Cunk has confronted academics with the absurdity of their expertise. Some British politicians appear on panel shows – it is one way to raise their profile or to humanise themselves – but it is hard to say whether this has ever translated into political success in the short term. A notable exception to the rule could be Boris Johnson, who appeared seven times on the BBC’s long-running satirical panel show Have I Got News for you between 1998 and 2006. Last year, the leader of the Liberal Democrats Sir Ed Davey appeared on Have I Got News for You, but was taken to task over his failure to investigate the Post Office scandal while serving as minister for postal affairs in the 2010-15 coalition government. SNL regularly attracts high-profile politicians, and Americans are used to seeing people in power on satirical television. In 2004, the progressive senator John Edwards chose to launch his (unsuccessful) presidential bid on John Stewart’s The Daily Show, while in 2008 Senator Hilary Clinton chose to appear on Stewart’s programme on the eve of the Ohio and Texas primaries (which she won – but she did not win the Democrat nomination). American comedy is more glamorous, and while spectacle has little relationship to success, there is perhaps a little more deference for politicians on American TV. As former president Barack Obama neared the end of his second term in 2016, he appeared on The Tonight Show Starring Jimmy Fallon, delivering his thoughts on his presidency and that year’s election over a live band. British politics is less spectacular than its American counterpart. It is difficult to imagine Keir Starmer (or even Boris Johnson) delivering an opening monologue to musical accompaniment. And, it is even more difficult to imagine British voters rewarding it, especially at a time when our politics is already saturated with viral moments and attempts at forced authenticity. As a tried and tested format SNL UK will hopefully raise the profile of young comedians, but is it going to be able to thread the needle of American spectacle and British cynicism? We’ll have to tune in to see. This article features references to books that have been included for editorial reasons, and may contain links to bookshop.org. If you click on one of the links and go on to buy something from bookshop.org The Conversation UK may earn a commission.

William Garbett does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.