Lorne Michaels has always maintained that “Saturday Night Live” (SNL) is first and foremost a comedy show, not a political platform. 

However, as revealed in Susan Morrison’s new book, “Lorne: The Man Who Invented Saturday Night Live,” 

Michaels has had to navigate the complex balance between satire and political bias throughout the show’s history.

One of the most notable moments that tested this balance came after Donald Trump’s 2016 presidential victory. 

The first post-election episode of SNL opened with Kate McKinnon, dressed as Hillary Clinton, performing a somber rendition of Leonard Cohen’s “Hallelujah.” 

While many interpreted it as an emotional tribute, Michaels reportedly found the moment overly sentimental and lacking humor.

Michaels wasn’t the only one who questioned the choice. Comedian Chris Rock, who was present at early rehearsals, turned to Michaels and asked, “Where are the jokes?” The show quickly pivoted with a sketch featuring Rock and host Dave Chappelle, highlighting the contrast in reactions between Black Americans and shocked white millennials on election night. Though the show’s young head writers disapproved of the sketch, Michaels stood by it, believing it was necessary to counterbalance the serious opening.

Michaels has long emphasized that SNL should not serve as the mouthpiece for any political party. In a 2019 meeting with the cast, he reminded them to separate their personal political opinions from the show’s script. This conversation stemmed from cast member Cecily Strong’s reluctance to satirize Democratic Senator Dianne Feinstein. Michaels reportedly stressed that “if there’s idiocy, we go after it—on whatever side.”

Despite SNL’s reputation for political satire, Michaels insists that its primary function is comedy. He has expressed discomfort when fans praise the show’s political sketches as if they are acts of patriotism. “I’m in comedy,” he has reiterated, resisting the idea that the show should be viewed as a political tool rather than an entertainment platform.

Michaels’ approach has evolved over the decades. Early in his career, he was deeply invested in political satire, even believing that his radio work in the 1960s was helping to challenge the Canadian government. By the time he launched SNL in 1975, he had more control over satirical targets but also learned to temper political critiques. Chevy Chase’s impression of then-President Gerald Ford, which depicted him as clumsy rather than malicious, exemplified Michaels’ preference for making politicians relatable rather than outright vilified.

Over time, Michaels grew increasingly wary of what former SNL head writer Seth Meyers called “clapter” — the phenomenon in which audiences applaud jokes because they agree with them politically, rather than because they are genuinely funny. Michaels has expressed concern that this dynamic contributed to “The Daily Show” surpassing SNL in Emmy wins, as it was unapologetically liberal.

Michaels’ willingness to feature controversial figures also sparked backlash. When Donald Trump hosted SNL in November 2015, the decision was met with intense criticism. Staff members were reportedly outraged, with writer Tim Robinson allegedly declaring, “Lorne has lost his f–king mind and someone needs to shoot him in the back of the head.” Michaels defended the move, insisting that every impersonation should have an element of humanity or charm to make it engaging. This philosophy was evident in the 2000 election, when Will Ferrell’s portrayal of George W. Bush as a goofy but likable figure contributed to shaping public perception. Michaels admitted, “We all know a guy like that,” whereas Al Gore’s persona was harder for audiences to relate to.

Despite SNL’s political impact, Michaels remains committed to keeping the show rooted in comedy rather than activism. As SNL celebrates its 50th anniversary, his influence over the show’s political tone is receiving renewed attention. While some believe the show has helped shape public opinion, Michaels continues to emphasize that his priority is—and always has been—making people laugh.

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