After Lorne

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Lorne Michaels, following his tradition, takes off the entire month of June after completing another extended season of Saturday Night Live. He often spends this time relaxing at his home in Amagansett or his blueberry farm in Maine, and also enjoys traveling to Europe. Last summer, while on break, he had some work commitments in London that interrupted his vacation. In London, he attended the British premiere of Mean Girls the musical, which he produced, on the red carpet at the Savoy Theatre alongside Tina Fey. He also dined at the River Cafe with Jimmy Iovine, Paul McCartney, Dr. Dre, and Bruce Springsteen, who was performing at Wembley Stadium. During dinner, Iovine shared a story about how in 1975, while Michaels was preparing for the launch of SNL, Iovine was nearby at the Record Plant studio working with Springsteen on Born to Run.

After that, the next destination was Paris in July, for the Olympics. NBC used this event as a prelude for their grand build-up towards the 50th anniversary of SNL, a domain that has been under Lorne Michaels’s rule since its inception. During his visit, Michaels watched Simone Biles compete in the women’s gymnastics final – a comedy legend observing another legendary performer in flight – and happened to meet his long-time friend Mick Jagger at an LVMH-hosted party. At some point, Michaels thought it would be great to persuade Springsteen to celebrate 50 years of ‘Born to Run’ by performing on SNL’s 50th anniversary special, scheduled for the weekend of February 14. So when Steven Spielberg contacted him about joining him on a boat trip in the south of France, where he was sailing with Bono, The Edge, and Springsteen, Michaels, always the producer, saw an opportunity: He asked Spielberg to encourage Springsteen to perform at the show, using his other rock-and-roll friend as a persuasive tactic. “Well, you know, Mick and I both believe he should do it,” Michaels said.

The 50th season of Saturday Night Live has served as a persistent demonstration of Michael’s enduring impact on his show, an extensive network of comedians, musicians, celebrities, and beyond. This year alone, he has welcomed a stream of SNL family members to portray figures like Kamala Harris (Maya Rudolph), Joe and Hunter Biden (Dana Carvey and David Spade), Robert F. Kennedy Jr. (Alec Baldwin), and Doug Emhoff (Andy Samberg). Additionally, he extended invitations to John Mulaney, Martin Short, and Chris Rock – SNL stars spanning three different decades – to return as hosts. It seems an NBC executive grumbled to a former colleague about the escalating costs Michael incurred. “I told them, ‘Concede to this; otherwise, Lorne will have to contact whomever Lorne contacts,'” the executive recalled. “To this day, people remain puzzled by the hierarchy at NBC. Simply examine the organizational chart: Lorne appears slightly outside the chart and above us all.

Despite facing criticism for being mediocre and outdated, Saturday Night Live (SNL) has managed to persist in a unique way that no other show has. In its supposedly weakened form, it still tops as the highest-rated entertainment program on broadcast television, surpassing all non-football prime time shows. SNL continues to be financially successful despite its high production costs and last season’s clips were watched a staggering 3.1 billion times, making it the most culturally significant program on network TV today, surpassing even the Bachelor franchise in cultural relevance.

Besides Saturday Night Live (SNL), Lorne Michaels’ influence extends far beyond the universe of just one show. SNL has given birth to cherished TV series like 30 Rock and movie franchises such as Wayne’s World, while also fostering an abundant array of comedy writers and performers who have leveraged SNL as a stepping stone to success. For over a decade, Michaels has been responsible for producing NBC’s entire late-night lineup, placing SNL alums Jimmy Fallon and Seth Meyers at the helm of The Tonight Show and Late Night respectively. This effectively gives Michaels command over NBC’s late-night programming from Monday to Saturday. Only Sundays are left for relaxation – a fitting day of rest for a comedy deity.

Preparations for the upcoming 50th anniversary event, which kicks off with a concert at Radio City Music Hall on Valentine’s Day and wraps up with a show in Studio 8H at 30 Rockefeller Plaza on February 16, have been underway for over two years. As Michaels announced it at Cannes, he expressed that while it would be emotional, everyone would attend because it’s significant. However, not everyone will make an appearance: The Boss has yet to commit, but McCartney, Tom Hanks, Sabrina Carpenter, and Bad Bunny are among those who have agreed to participate. Despite the anticipation, the anniversary seems to be taking shape much like Saturday Night Live does each week — at the last minute. Several veteran SNL contributors have been summoned back for this special occasion. Jim Downey, a former SNL writer of 30 years, only agreed to return because he wanted to secure a ticket for his girlfriend. Another long-time staffer, Ken Aymong, who managed SNL’s budget and production for 38 years before retiring at the age of 71 in 2021, has been asked to work on the anniversary despite his retirement. “Lorne called me, and he just went, ‘So this is what we’re doing for the 50th,’ and kept talking,” Aymong shared. “Before I could even respond, he said, ‘I gotta run.'” If the event mirrors previous SNL anniversary specials — with 26.5 million viewers tuning in for the 40th — it will be the most-watched non-football event on television this year.

There’s simply no one else capable of orchestrating such an impressive event, largely due to the blend of loyalty, awe, and apprehension that Michaels has cultivated among Hollywood’s elite. (Last year, Ariana Grande admitted that asking Michaels if Bowen Yang could temporarily step away from SNL for a role in Wicked left her more anxious than ever.) The comparison that comes to mind is Anna Wintour, who has been at the helm of Vogue for 36 years. “When I watched The Devil Wears Prada, ” a person who worked with Michaels shared, “I broke out in a cold sweat. That’s exactly how you felt: I could never meet this person’s expectations.“).

Recently, Lorne Michaels celebrated his 80th birthday during an episode of Saturday Night Live (SNL) hosted by Charli XCX, making him only two years younger than President Joe Biden. This milestone has brought a subtle uneasiness to the anniversary celebrations as Michaels’s career continues without a clear succession plan. The American comedy industry has been built around him, and it remains unclear how it will operate if he decides to retire or continue into his later years. After all, who could fill his shoes? Who would negotiate with artists like Bruce Springsteen one day and argue with NBC executives the next, all while managing the delicate egos of comedians and determining whether SNL is funny or not? As Michaels has himself noted, “People don’t leave show business.

There are numerous hurdles in attempting to grasp Lorne Michaels’ character, with self-imposed barriers being one of the initial challenges. (Michaels opted out of an interview for this piece.) When I contacted individuals who have worked with him, many expressed discomfort. “I’d rather plunge from a 17th-floor window at 30 Rock than speak on record about L.M.,” wrote one SNL staffer from the 2010s to me, referencing the location of SNL offices. A recent cast member refused to discuss him until his passing. “I won’t utter a word about Lorne until he’s gone,” they said. A former writer expressed eagerness for a different conversation. One prominent Hollywood agent and an SNL writer known for rebellion agreed to talk only with Michaels’ approval. A cast member who spent nearly a decade on the show contacted me during a filming break, then decided he needed to consult his manager first (I never heard from him again). The most frequent response was a quiet apprehension about the upcoming anniversary show, as seats in Studio 8H are limited and invitations were eagerly anticipated. When I asked a former SNL writer about a slightly unfavorable Michaels anecdote she had previously shared in a book, she requested it not be repeated in this article. “I’m hoping to attend the 50th, and I wish for a cordial welcome,” she said.

People were willing to discuss their thoughts, even when they chose to remain anonymous, despite claiming they no longer worried significantly about Michael or his impact on their lives. One long-standing employee said, as our chat extended over three hours, “To be honest, I rarely ponder Lorne.” Many individuals seemed eager to connect with Michael during a sentimental period or to attempt understanding a man who had puzzled them for years. As Penelope Spheeris, who directed Wayne’s World and Black Sheep for Michael, put it, “If you manage to crack the code, perhaps you could share your insights with him.

In 1975, when Saturday Night Live (SNL) first aired, Lorne Michaels was just 30 years old. Despite his youth and limited experience, he possessed an uncanny coolness beyond his years. During tense moments, which were frequent in the early days, Michaels would stroll around the SNL offices with a glass of wine to project an air of calm. He soon understood that his talents lay not in performance but in developing an enigmatic persona on the spot. A long-term staffer once shared with me that one of the writers would amuse his colleagues with an impression of Michaels, mimicking him pretending to shave while reminding himself of the idiosyncrasies of his character. The joke went that Michaels arrived at the office late every day because he spent the morning preparing for the role of a lifetime: Lorne Michaels himself.

Michael took on a role similar to himself during the series: the level-headed producer navigating the madness. He was an ardent comedy enthusiast who enjoyed delving into the intricate details of crafting a sketch, yet he maintained some distance from the comedians and pranksters he hired for the show. After a successful five-season stint on SNL, Michael departed in 1980, leaving behind a period of instability that was mostly saved by Eddie Murphy. Michael returned to SNL in 1985, sporting gray hair and donning a suit. This newer version of Michael, described as the “grandee in a satin smoking jacket” by Downey, has become the show’s most frequently reappearing character, appearing in more sketches than the Coneheads, the Cheerleaders, and Stefon combined.

Apart from understanding the importance of crafting one’s own persona in the entertainment industry, Michael was also recognized as something unique and enigmatic, much like a Canadian Buddha. As Jon Hamm, a three-time host of SNL, put it, “He’s a bit mysterious.” With perhaps only Donald Trump making more impressions in modern times, Michael’s influence extended to the creation of characters such as Mike Myers’ Dr. Evil and Alec Baldwin’s 30 Rock character, Jack Donaghy. As Baldwin once quipped, “Lorne always carries a tuxedo in his car.” Hugh Fink, a writer for the show during the late ’90s, expressed his dream to stage a Broadway production featuring former SNL cast members embodying their best Michael impersonations. The proposed title for this show: Forlorn.

In part, Michael’s personal power stemmed from his innate ability to excel as a cool and calculating producer. During the early years of Saturday Night Live (SNL), Michael frequently threatened to resign when things didn’t go his way. However, he also recognized the importance of compromise. For instance, when NBC executives were hesitant about Richard Pryor hosting SNL during its first season due to potential censorship issues, Michael agreed to have Pryor perform with a delay. In the 1990s, when Conan O’Brien, an SNL writer with minimal on-camera experience, was facing difficulties as the host of Late Night, Michael advised him to remain calm and focus on simply making it through each night. His words to O’Brien were, “The longer you’re on, the longer you’re on.

During the 1990s, Michael found himself grappling with some tough times while working at SNL. Ratings were dwindling and the show was hemorrhaging money. Critics panned the show, labeling it as devoid of humor and a lifeless corpse, causing NBC executives to contemplate replacing it altogether, even considering Judd Apatow for the role. It was then that Michael understood the profound sadness he would feel if the show were taken from him. To appease the company, he made several concessions such as pushing out Chris Farley and Adam Sandler, terminating Norm Macdonald following Don Ohlmeyer’s complaint about his “Weekend Update” segment (it’s no secret that network executives have questionable taste). Demonstrating his dedication, Michael even left his newborn son at the hospital to attend a Wednesday read-through when Sarah Jessica Parker was hosting.

In the end, Michael’s exceptional ability to spot talent proved crucial for his survival. During the late 90s, performers like Will Ferrell, Tina Fey, and Maya Rudolph made their debut, forming a cast that would go down as one of the most cherished in the show’s history. As Downey, who was previously fired by Michaels, put it, “Lorne’s achievements with the network are more about his cunning and charisma than they are about being relentless.” Instead of competing directly with whoever the current boss was at NBC (as Michael has worked under 16 different heads of entertainment), he chose to outlast them. After Ohlmeyer retired, Downey was rehired by Michaels and Macdonald was brought back as host.

During his confrontations with NBC, it was advantageous for Michael’s bargaining position when he unexpectedly amassed great wealth. An executive from Broadway Video, Michael’s production company, came up with the plan to purchase the rights to several iconic TV shows: Lassie, The Lone Ranger, Rudolph the Red-Nosed Reindeer, and Frosty the Snowman. This move was strategic as Lorne Michaels explained to me, “I had left the show once before, and I couldn’t rely on NBC funding me for the rest of my career,” said Steve Shippee, Broadway Video’s CFO at the time. “Our goal was to create a separate asset base so that Michael could tell NBC to take a hike if needed.” In 1996, Broadway Video sold these properties for $91 million, with approximately half of it going directly to Michael’s bank account. At this point, NBC had no financial power over him, Shippee added.

Over time, Michaels’s achievements became self-evident: The show had been successful enough for so long that even though Michaels wasn’t an official NBC employee, he was deeply ingrained in the network’s culture. An executive who joined SNL during the 2000s shared with me that by then, it was pointless to challenge Michaels. “The new regime attempted to reduce cast members or episodes,” the former executive explained, “but Lorne always prevailed.” The show’s cast members often viewed Michaels as a paternal figure they strived to impress, and eventually, even Michaels’s superiors began seeking his approval rather than the other way around. Kevin Reilly, president of NBC’s entertainment division from 2004 to 2007, stated that one of his career highlights was when Michaels, who wasn’t known for demonstrative affection, gave him a hug. “Given my complex relationship with my own father,” Reilly said, “it was something everyone desires – to be approved by Lorne.” In 2019, when NBC announced Katie Hockmeyer as the new head of late-night programming, an NBC executive told me they were surprised to hear an HR executive say that “Lorne personally selected Katie” for the role. “How does a producer choose their superior?” the executive questioned.

The cost of producing Saturday Night Live (SNL) has always been substantial and it’s challenging to increase that expense. A former NBC executive once shared with me, “Could you make it cheaper? It would be tough to make it more!” This is due to the fact that SNL produces a new live show every week, complete with custom sets and costumes, in a Manhattan skyscraper with limited elevator space. Estimates suggest that NBC could save a significant amount if SNL were produced on a stage more conducive to production. Compared to Late Night With Seth Meyers, which employs around 60 people, SNL boasts a cast of 17 and over 300 other credits per episode. Each episode costs over $4 million and the show’s annual budget surpasses $100 million, making it more expensive than The Tonight Show, which airs four new episodes every week. Lorne Michaels is responsible for ensuring SNL receives the necessary funding.

Michael often doesn’t manage to secure what he desires. In 2019, for instance, he decided to bring Shane Gillis onto his show – a comedian who fit the profile that Michael had long sought. However, offensive jokes about Asians made by Gillis on a podcast resurfaced and went viral before the season began. This led NBC executives, under public pressure from an Asian American advocacy group, to demand that Michael dismiss Gillis. One executive from the time stated that “Lorne was effectively forced into it.” Michael could have stood firm for Gillis, but he had come to understand over time that maintaining his position sometimes required letting go of certain things. Eventually, the uproar subsided and he rehired Gillis to host again. Last year, he even asked him if he would consider playing Trump.

Following the triumph of SNL’s inaugural season, Lorne Michaels purchased a loft downtown, impulsively allowing John Belushi to stay overnight one evening. Unfortunately, Belushi dozed off with a lit cigarette in his mouth, sparking a fire that forced Michaels to swear off living below 59th Street ever again. By the fifth season, NBC was remunerating him with seven-figure salaries, as detailed in “Saturday Night: A Backstage History of Saturday Night Live,” a tantalizing account of the show’s first ten years by Doug Hill and Jeff Weingrad. Michaels owned a residence in the Hamptons and an apartment on Central Park West, situated next to Paul Simon, whom he befriended shortly before SNL debuted. A door from Michaels’ kitchen led directly into Simon’s laundry room, and they eventually became each other’s closest friends.

In the ’90s, Michael was frequently seen mingling with high-profile crowds, such as being backstage at a Rolling Stones concert. When one of his assistants marveled at this, Michael casually replied, “I have a VIP pass to life.” Mike Myers recalled his first visit to Michael’s Hamptons house, where he was escorted to “Mick’s room,” while Dana Carvey was shown “Jack’s room,” a reference to Nicholson. Whenever Michael mentioned something that “Paul” had done, it was unclear whether he was referring to Simon or McCartney. Known for casually dropping the first names of his well-known friends into conversation, when Michael mentioned Cher during lunch with Steve Martin and Kevin Nealon, Martin jokingly interjected, “Which Cher?

For over five decades, Lorne Michaels has tailored the structure of SNL according to his unique preferences. Notably, he seldom arrives at the office before 5 p.m., a habit he’s had since the ’70s when the thought of an early morning meeting made him uneasy. In the ’90s, Andrea Fisher, Michaels’ private chef, shared that she only prepared one meal for Michaels: breakfast, served daily at noon in his bedroom – a crumpet with jam, fresh mango, and coffee from a French press. One of Michaels’ assistants mentioned that he dislikes staying at hotels that halt their breakfast service.

Michael’s three assistants, affectionately referred to as the “Lornettes,” are renowned for their youthful, female, attractive, diligent, and persistent nature when it comes to gaining access to their boss. Arranged in seniority at desks outside his office, they are often sought after by colleagues who require assistance or favors. According to someone who has worked as both a regular agent’s assistant and one of the Lornettes, “When you’re an agent’s assistant, you’re constantly asking for things, but when you’re Lorne’s assistant, people are always asking something from you.” Michael’s popcorn addiction stems from a long-standing habit he developed years ago as a method to quit smoking. As Anne Beatts, a writer on the show, shared, she and Tina Fey once connected over their mutual anxiety triggered by the smell of popcorn. Dining out is significant to Michael, who takes his guest out to an Italian restaurant close to 30 Rock every Tuesday. Upon learning that I had conversed with a prominent figure in Hollywood who dined with Michael a few times per year, a former Lornette remarked, “There are about a hundred people who could be on that list.

The aptitude Michael demonstrates in navigating the sphere of the affluent and influential has earned him a unique knack for handling and coordinating prominent figures. I’ve heard three distinct accounts from NBC executives about how Michael skillfully guided Alec Baldwin through a seven-year tenure on 30 Rock. Kevin Reilly shared that a day after 30 Rock won the Best Comedy at the Emmys, Baldwin’s agent phoned to say he wouldn’t be returning. “I call Lorne in distress, and Lorne says, ‘He’ll come to realize in hindsight that this is a beneficial phase in his life. He’ll stay,'” Reilly said. “Lorne remained calm.” Ben Silverman, who succeeded Reilly, confided in me that there were numerous instances where Baldwin threatened not to appear, demanded a raise, or requested an unconventional schedule, and Michael was always on hand to resolve the issues. “He just understood Alec,” Silverman said.

In approximately 2006, Michael recognized a change in the entertainment industry’s dynamics and made an insightful prediction. “The network’s influence isn’t as strong anymore,” he stated. “It’s the talent that matters.” Over the years, Michael has consistently fought to retain SNL‘s stars from leaving for better opportunities in Hollywood. This struggle led him to grant a lot of autonomy to those he wished to keep.

In 2022, following the midterm elections, Michael extended an invitation for Dave Chappelle to host the show. At that time, Chappelle had become a subject of controversy due to his jokes about transgender people. A non-binary member of the writing staff expressed their preference to abstain from work during that week. Michael was fine with this decision but the story was sensationalized when “Page Six” reported inaccurately that multiple writers were boycotting.

During rehearsals, Chappelle addressed the situation humorously. According to SNL staffers who witnessed the performance, Chappelle joked, “The papers got it wrong. Only one person has a problem, but the paper got confused because that person is a ‘they’.

During rehearsal, Michael faced backlash from the cast and writers who felt let down due to a joke by Chappelle that they had worked tirelessly on all week. To prevent any potential issues, Michael cautioned Chappelle against telling this particular joke during the live show, stating it could lead to losing the team. The concern wasn’t primarily about the joke being unfair or unfunny but rather its impact on producing a quality show. This approach aligns with Michael’s management style of indirectly guiding talent toward his desired outcome without issuing direct orders. Instead, he often uses phrases like “I don’t think you want to do that sketch – and when you do, it will work out fine.” Ultimately, Chappelle decided not to include the joke in the final broadcast.

Initially, some assistants questioned whether Michael would invite Chapelle back after the incident. However, Michael admires the comedian deeply, forgave his actions, and convinced him to rejoin as the host for the first show of 2025. As stated by Ted Sarandos, co-CEO of Netflix who has supported numerous Chappelle stand-up specials, “This goes back 50 years to Richard Pryor.” Sarandos continued, “I think what Lorne saw then is what he sees now in Dave, and me too. Whoever is the best at this craft in our time, full of complexity, full of challenges, full of finding lines and crossing them — it requires a power broker to protect that.” Chappelle opted to participate in fewer sketches than usual hosts, and his monologue clocked in at 16 minutes and 49 seconds – the longest in SNL history. (Chappelle also holds the second and third spots for longest monologues.) The only discernible tension in the studio occurred when Chappelle began the monologue by discussing how persistently Michael had requested his return. Michael took offense to this – but later announced that Chappelle would reappear at the 50th-anniversary show.

In a unique manner, Lorne Michaels’ handling of talent can create an image akin to a comedy boss in the Mafia. If you’re part of his team, he ensures your needs are met. A previous cast member shared that in 2017, Pete Davidson advised Chris Redd not to fret about a contract for another show potentially conflicting with SNL duties, stating, “I think Lorne is unbeaten in contract disputes.” Michaels usually stays out of direct confrontations, delegating unpleasant tasks or decisions on cast members he’s not bringing back to his advisors. One ex-cast member revealed that Michaels even sent him a thoughtful bottle of whiskey and a personal note on his birthday, only to dismiss him through an intermediary shortly afterwards. As Spheeris, the Wayne’s World director, put it, “You cannot refuse Lorne Michaels.” If you do, he cuts off your head – figuratively speaking, of course – like going to the guillotines. After Spheeris declined Michaels’s offer to direct a movie based on Tim Meadows’s SNL character, The Ladies Man, Spheeris claims Michaels never spoke to her again.

At Saturday Night Live (SNL), a well-established pecking order has always been in place. During a photo session for this publication last fall with cast members from all 50 years of SNL, Seth Meyers pointed out to the gathered group – which included Jimmy Fallon, Tina Fey, Kenan Thompson, and Steve Martin – and exclaimed, “These are Lorne’s top choices!” In another photo session later on, a different group was present: Rachel Dratch, Chris Kattan, Joe Piscopo. When Tim Meadows arrived, oblivious to Meyers’ earlier comment, he quipped, “What is this – the list of Lorne’s least favorites?

Michael has been known for creating a highly competitive atmosphere on the show that can be quite intimidating. As David Mandel, an SNL writer who later worked on Seinfeld and ran Veep, put it, “My first job there made me really nervous. Lorne scared me to death.” He added that he was constantly overanalyzing every interaction. One time, Michael asked him if he was having a good time, and David thought, “Does he think I’m enjoying myself too much?” Michael is well-known for being stingy with compliments and enjoys playing mind games, which has led some to accuse him of running a comedy cult. Kenan Thompson, the longest-serving cast member in SNL‘s history, said he only felt comfortable around Michael in his 17th year on the show. “The atmosphere was like a mix of sadism and masochism,” R. D. Rosen, who worked as a writer for a short time in the 80s, shared. He remembered one of Michael’s deputies reacting to his sketch idea by slapping his hand after asking him to give his hand. After leaving the show, Rosen coped with publishing a mystery novel a few years later called Saturday Night Dead. The story centers around a mysterious and powerful showrunner of a sketch-comedy program who is inexplicably thrown out of his midtown office during an after-party (spoiler: One of the writers did it).

According to the SNL team members I conversed with from more recent seasons, there appears to be a less formal atmosphere. David Spade reminisced about a cold open during fall where he portrayed Hunter Biden and Sarah Sherman, a current cast member, played Matt Gaetz. When Michael instructed her, Spade was taken aback when Sherman replied, “I’ll give it a shot.” Spade expressed, “I thought, ‘Why not ‘Yes, sir!’?’

Despite SNL’s reputation for maintaining an uncertain environment, even after one leaves the show, various whispers circulate about why cast member Chloe Troast wasn’t rehired this season. Some explanations are straightforward (the writers struggled to utilize her), while others align with the image of Michaels as an unpredictable autocrat: Troast allegedly offended Michaels by inviting a friend to the show’s after-party who took food from his plate, she was reportedly asked to lose weight post-season, or Michaels simply wished to stir things up due to perceived complacency among the staff. When I brought these rumors to another SNL insider, they advised against taking anything at face value when trying to decipher Michaels’ actions. “Perhaps all of it is accurate,” they said, “but here’s the catch: We’ll never be certain because he’ll never reveal his reasons. And she’ll forever wonder.

Over the years, I’ve worked with some of the most renowned celebrities globally, and I carry an air of confidence. In 2015, Saturday Night Live (SNL) contacted Taylor Swift to feature in a satirical video parodying her girl squad, subtly hinting at it being an apocalyptic cult. When I was in my office, she called me directly and expressed her reluctance to participate, even going so far as to request the cancellation of the sketch altogether. As she spoke, I casually picked up a kernel from the popcorn basket on my desk. “Taylor,” I said, tossing the kernel into the air and catching it with a grin, “I don’t negotiate with demanding stars.” The video was aired, and on Monday, I found flowers at my office with a note from Swift: “I hope there’s no bad blood.

In 2002, as Michaels neared his 60th birthday, he posed for a portrait with artist Eric Fischl. Susan Morrison of The New Yorker, in her newly published 600-page biography of Michaels, describes a touching scene where Fischl took numerous photos of Michaels as he shared his tales from Old Hollywood. However, when Fischl developed the photographs, they caught him off guard. He noticed a sense of weariness in the influential figure. “His body language was such that when he finally slumped into the chair, you could see the toll it had taken,” Fischl stated. Upon seeing the completed portrait, Michaels looked at it for a while without speaking before asking Fischl, “How did you manage to capture that?

Michael openly acknowledges that producing SNL can be exhausting. During each Wednesday rehearsal, he diligently reads through stage directions for around 40 potential sketches, a task that sometimes makes him feel as if his life is slipping away. Nevertheless, his energy and vigor at the age of 80 are astonishing; even today, he continues to engage with others at the SNL after-party until late hours, often past three in the morning. According to Richard Plepler, a former HBO head who has known Michael since the ’90s, Michael has never shown signs of operating on autopilot; instead, he consistently displays an unwavering focus and dedication. Evenings with Michael often extend beyond typical dinner hours as he heads back to the office.

Michael has always been health-conscious; for many years, he and Paul Simon have shared a personal trainer. He has never missed a single episode of SNL in Studio 8H. Don Roy King, who directed SNL for 15 seasons before retiring at the age of 73 in 2021, noted that while Michael appeared to be aging slightly, he was not noticeably slower compared to his own pace. “Eighty years old is old! I know because it’s here for me,” King stated.

Individuals who have known Michael for a long time have observed subtle signs of aging but nothing out of the ordinary for someone turning 80. A long-time acquaintance of Michael quipped, “With Lorne, you always feel like there’s an NBC page hanging upside down in the closet with his blood slowly draining into him.

In today’s Saturday Night Live (SNL), Lorne Michaels’s role during most of the week has become more ceremonial. Previously, after Tuesday dinner with the host, he would return to 30 Rock, sometimes a little tipsy, dropping by writers’ rooms to check on their progress or take meetings with those seeking help for their ideas. However, the current writing team doesn’t interact as closely with the boss, even though they might wish they did. As one of the show’s original writers, Al Franken, expressed to me, “It’s unfortunate because it was enjoyable to collaborate with him on sketch ideas.” There’s a generation gap now between Michaels and the writers that wasn’t present during Franken’s time. Mainly on Saturdays, Generalissimo Michaels is still active, providing sharp critiques during dress rehearsal to the writers. Every writer I spoke with agreed that his feedback remains insightful.

A former studio associate who collaborated with Michaels shared memories of a dinner date around 15 years back, where Michaels expressed his confusion over what was funny nowadays, not as a statement about his comedic outdatedness but rather to highlight the importance of trusting the intuition of the younger writers and performers on SNL. Even when he didn’t fully grasp their jokes and references, he recognized the necessity of giving them creative freedom. Critics of SNL acknowledge that while Michaels may not be active on platforms like TikTok, he possesses a keen eye for discovering fresh and unique talents such as Sarah Sherman and Bowen Yang. A common misconception about SNL’s comedy is that it aligns with Michaels’s personal taste. In truth, it reflects his evaluation of the audience’s response during dress rehearsal, which ultimately determines the sketches aired. As one staff member who worked on the show during the first Trump administration explained, both Michaels and Trump have an exceptional ability to gauge reactions, relying heavily on audience feedback.

Nonetheless, Michael’s age cannot be disregarded, particularly when the matter of succession arises. For quite some time, he has responded to this topic with a jest. At some point in the future, his humor suggests, it will be undeniable to both him and those around him that he is no longer at his peak performance, and thus should step down from managing such a crucial and intricate show as Saturday Night Live – at which point he would extend his tenure by an additional three years.

2020 marked a clear indication that Michael, being a movie buff like me, was setting a definite timeline for his departure. He inked a contract extending up to the 50th anniversary and casually mentioned on the Today show that the 50th season would be his swan song. “By then,” he said, “I believe I’ve earned the right to take a stroll.” He shared similar sentiments with friends, and keen-eyed SNL viewers couldn’t help but notice the internal changes hinting at a post-Michael era. Last year, Michael even engaged in discussions with the Harry Ransom Center at the University of Texas at Austin about housing his archive, and on the Emmys red carpet, he hinted that the succession question would be resolved before the 50th-anniversary show unfolded.

However, things took an unexpected turn. Nowadays, his consistent response is “Speak with me after number 50.” The inconsistency – which one of Michael’s associates labeled as “his erratic, cocaine-esque retirement ping-pong” – has left everyone perplexed. As one entertainment executive who is familiar with Michaels put it, the indecisiveness reminds them of Bob Iger’s complicated return to Disney. Several individuals even speculated that Michaels might overstay his welcome – that eventually, a drop in quality would occur, a blunder would be made, and the opportunity to exit gracefully would slip away.

Despite opinions from people at SNL, NBC, and Hollywood circles, there’s a general agreement that Michael isn’t planning to leave. A long-time associate of his shared, “I believe he’ll stick around.” The sentiment is that Michael is so deeply connected to the show, and his life is so intertwined with it, that he can hardly imagine it without him. At this point, the decision about his future lies entirely in his hands. There seems to be no urgency from the network to replace him, as there’s uncertainty over who could take his place effectively. As Michael often says, “There are no obvious successors in show business.

Although Michael’s influence over SNL remains undisputed, it’s important to note that, from a legal standpoint, SNL is no longer solely his property. For many years, Michael owned approximately half of everything related to the show, including merchandise and syndication rights. The format of SNL has been licensed for local adaptations in countries like Italy, Russia, Japan, among others. However, around the 40th anniversary of SNL in 2015, NBC chose to purchase Michael’s stake in the show for more than $200 million, according to several sources familiar with the deal. One former NBC executive explained that while the financial figures might not justify it on their own, the long-term potential and happiness of Michael were also considered. “In essence, they said, ‘If you make Lorne happy, you keep the show running smoothly,'” the executive said. The acquisition sparked discussions about succession within Comcast. As one executive put it, “Succession was being talked about during the 40th anniversary.

Among the top candidates vying for Michaels’ position are Tina Fey and Seth Meyers. According to a former NBC executive I spoke with, both of them have been mulling over potential changes for years if given the opportunity. The job is believed to be Fey’s should she express interest, given her New York residence, extensive experience handling Baldwin on 30 Rock, and her apparent affection for the show, having returned for hosting or cameo appearances in most seasons since 2006. However, as reported by the New York Post in 2023, Fey was approached about the job, but rumors within Hollywood suggest that she hasn’t accepted the offer so far.

During his 13-year stint at Saturday Night Live (SNL), Meyers has become the third longest-serving cast member in the series, following Kenan Thompson and Darrell Hammond. His love for SNL is particularly profound and evident to many, as a colleague once remarked that he might not resist an invitation if one were extended. Despite NBC extending his late-night contract until 2028 last year, his show has faced budget reductions (such as dismissing the in-house band) and the overall future of late-night programming remains uncertain. Last year, NBC reduced Fallon’s Tonight Show to four nights a week, and CBS ultimately canceled James Corden’s late-night program altogether.

In the realm of comedy, speculating about potential hosts has turned into an amusing pastime. If Michaels prefers to keep it within the company, Colin Jost, aged 42, could be a contender. He’s been with the show for a decade as a writer, moved to co-host “Weekend Update,” and is accustomed to managing celebrities (he’s married to Scarlett Johansson). Judd Apatow is mentioned, but he’s approaching 60. If Tina Fey isn’t an option, Amy Poehler could step in. Michaels has several trusted associates on the writing and production team who are familiar with the show’s inner workings. As one former NBC executive put it to me, “Don’t underestimate the possibility that Lorne might see this as a family business.” In a scenario where Theo Spielberg, along with the offspring of Calvin Klein, Al Gore, Regis Philbin, and Woody Allen (whose daughter Manzie is part of the writing staff), have worked on the show, it wouldn’t be surprising to consider the possibility that the next head of Broadway Video, and potentially SNL, could bear the name Michaels. Henry, his eldest son, has been a writer for a show Michaels produced, Eddie works at Broadway Video, and Sophie joined SNL last year in the talent department.

The primary concern might be if anyone qualified for the position would even consider taking it, given the demanding nature of running Saturday Night Live (SNL) and potential limitations for some prospective performers. A past SNL cast member expressed this thoughtfully: “Is it plausible that Tina Fey, already wealthy and successful in her own right, desires to oversee that chaotic production? I doubt it.” The individual assuming the role next will labor under Michaels’ legacy while lacking the extensive network he has cultivated within NBC. Since Michaels departed in 1980, SNL’s budget was reduced by NBC, and many believe this reduction will occur again whenever he steps down once more. “This current management is known for tightening belts, and it drives them mad to see the budgets at SNL,” said one former NBC executive. Some SNL veterans even propose that the show should cease operations upon its creator’s retirement.

When inquired about who might suitably replace Michaels as the longtime SNL writer, Downey mused after a moment, sketching an image: “I can envision someone approximately 30 years old, brimming with energy, well-versed in comedy, championing writers, and holding actors in high regard without aspiring to become one themselves.” I noted that he had, in essence, depicted Lorne Michaels as he was five decades ago.

Ted Sarandos, Netflix CEO, expressed that the situation was eerily reminiscent of an apocalypse when I spoke to him in early January. The fires in Los Angeles were rampant at the time, causing air quality so poor that Sarandos had to call off a stroll he’d planned with Michaels, who was on a break from SNL. Michaels enjoys walking and often goes for walks with Sarandos when in town. “The first time we went, we walked for three hours around Beverly Hills, in circles,” Sarandos shared with me. Seth Meyers has also recounted a story about taking numerous long walks with Michaels during the summer of the aughts while making a film. By the end, Meyers – who is 30 years younger than Michaels – needed to visit a doctor due to knee pain from all the walking.

In the past fifty years, Sarandos has been the individual who’s come the closest to dethroning Michael as comedy’s dominant figure, largely due to the substantial financial resources Netflix has directed towards the comedy industry in recent times. Sarandos himself is a self-proclaimed comedy enthusiast and has often looked up to Michael; he attends the show about three or four times a year for enjoyment, with most of these visits being social rather than professional. In his own words, “He is, to me, a bridge to the origins of it all – a real living symbol of television history.

Regarding SNL’s future, keeping its connection is crucial. Throughout its history, SNL has significantly influenced television comedy far beyond its time slot. Many popular shows like “It’s Garry Shandling’s Show,” “King of the Hill,” “Parks and Recreation,” “Portlandia,” and numerous others can be traced back to SNL alumni. Moreover, writers’ rooms for iconic series such as “Seinfeld” and “The Simpsons” have been staffed with people who started at SNL. As Veep showrunner Mandel put it, “In many ways, my understanding of being a showrunner goes back to SNL.” Tina Fey even dedicated an entire chapter in her book, “Bossypants,” to lessons learned from Lorne Michaels.

As a follower of comedy, I’ve come across an unconventional perspective: Farewell and good riddance. For quite some time, there have been whispers in the comedy community that Saturday Night Live (SNL) wielded too much power, acting like a comedic Death Star, pulling every humorous individual in America into Lorne Michaels’ unique approach to comedy. In essence, I believe that SNL has had a detrimental impact on comedy as a whole. Granted, there have been moments of legendary comedy on SNL, but I wonder if these talents would have blossomed even more under different systems. The notion that Will Ferrell wouldn’t exist without Lorne Michaels is something I strongly dispute.

I believe that the terms “comedy” and “institution” should never be used in the same sentence, and I think the natural order of things is for the new to replace the old – not just individuals but also ideas. At some point, we’re merely chasing a handful of glorious years and golden moments instead of moving forward.

The internet and streaming platforms have made discovering unique and quirky comedy more accessible than ever before. In discussions about alternatives to Saturday Night Live (SNL), many people have frequently mentioned I Think You Should Leave, a cult Netflix sketch-comedy series created by SNL alums Tim Robinson and Zach Kanin. Tim Robinson had spent a year as a performer on SNL before moving behind the scenes as a writer. Lorne Michaels, SNL’s creator, found it challenging to find a place for Robinson within the show; he knew of Robinson’s genius but was unsure how to integrate him. The pair initially pitched their idea to Broadway Video, but Michaels’ company declined. Some sketches that eventually made it onto the show were originally scripts for SNL that were too unconventional to air, and many viewers see I Think You Should Leave as a prime example of the kind of outrageous comedy that can thrive when an 80-year-old isn’t in control.

It’s equally evident that the show “I Think You Should Leave” is simply another manifestation of Michaels’ influence. The creative minds behind it, Andy Samberg, Akiva Schaffer, and Jorma Taccone – known as the Lonely Island trio for their work on “Lazy Sunday” and “Dick in a Box” – served as executive producers, with Schaffer directing the first season. Most of the episodes were penned by former SNL writers, and numerous cast members have graced its screens. Critics suggest that a post-Michaels, post-SNL era might lack the finesse and expertise that an SNL education provides. “I believe it’s crucial to have a school that withstands the tempest of waning enthusiasm,” Downey explained. “I’m not sure you’d get “I Think You Should Leave” without “SNL.“. I’m even questioning if “The Simpsons” would exist.

Michael is undeterred in his conviction that network TV still matters significantly, and he consistently emphasizes to his team that they are producing a show for the entire nation. To him, preserving the show’s widespread appeal has been crucial for its longevity rather than focusing on being cutting-edge in comedy. When John Mulaney and Simon Rich wrote a sketch involving the family dog, Noodles, dying from autoerotic asphyxiation, Michael commented, “I hope you’re proud of yourselves; that just went out to all 50 states.

As a dedicated cinema enthusiast, I’ve always admired Saturday Night Live (SNL) for its unique ability to discover, groom, and catapult comedians into the vast world of Hollywood. Although it may not be churning out stars at the rate it did during the 2000s, it seems no other platform is either. The general consensus among comedy aficionados towards SNL skeptics appears to be a cautionary “Be careful what you wish for.”

One entertainment executive expressed concern that we might be moving towards an era where comedic heavyweights would primarily be those sharing the last name Paul, like Jake or Logan, potentially overshadowing talents such as Tina Fey, Kristen Wiig, or Pete Davidson. As per a certain Joe Rogan, Studio 8H – SNL’s stage – might as well have relocated to Austin.

It’s not hard to picture Michael, known for his high-brow yet relatable comedy that appeals nationwide, feeling uncomfortable with this thought. He has often expressed his wish for Saturday Night Live (SNL) to continue thriving without him, and it’s probable that he would find amusement in the way some of the talented individuals he’s mentored speculate about his potential departure from the show. I’ve heard various versions of a darkly comical prediction, as if all these promising comedians were crafting the same sketch idea about their mysterious boss. “I have this mental image,” one said, “It’s Saturday night, end of a season. He tells someone, ‘I’ll be at the party soon,’ and then he retreats to his office and shuts the door. Everyone goes off to the party, and then, like a robot, he realizes his power has run out. On Monday, when they find him, it will be as if rigor mortis Lorne had set in.” The twist: “And for the first five or six minutes after the discovery, they don’t even realize he’s dead.

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2025-02-11 13:58