Lady Gaga brought it absurd to ‘SNL’

Lady Gaga got her name to bring a touch of strangeness to whatever she does, and beyond Saturday Night Live Last night, when she played the host and musical guest, she delivered with over-the-top costumes and theater choreography in performances of songs from her new album, Chaos.

For the two musical spaces, Gaga was on her most demanding and confrontational. Under the dark pop dance track “Abracadabra”, the master of a horde of stoned dancers as a priestess of terror, wearing a sparkling red, full body jumpsuit and exercised a sugar cane, when she did not perform the exciting dance. For a performance of “Killah”, she dressed a large purple suit with ballooning shoulder. She seemed to channel both David Byrne and Prince as she jumped through the studio’s halls and occasionally writhed on the floor.

These actions were fascinating screens of Gaga that committed to the eccentric. But the artist’s talent for the absurd also translated into this week’s comedy. Almost all the sketches where she appeared were the kind of comedy that you either find fun or not get. The premises were a bit complicated and surreal with the help of Gaga’s Oddball energy to their advantage.

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For example, take the first sketch after the monologue entitled “A Long Goodbye.” Gaga, in a muted polka-stained dress and smell, remembering Zooey Deschanel, seemed to play something of a norm. The music suggested a sentimental scene: her character was sad to leave her boyfriend (Marcello Hernandez) to go to study cooking in Paris; Hernandez, who had a real black pug, wouldn’t join her in France and said he would pull her down.

But quickly, the setup wriggled against the creepy. To go to the airport, Gaga jumped on “Ridable Luggage” – a suitcase that was doubled as a scooter. She took it on the highway where she met a bicycle gang that also used riding luggage. But the shortcomings of the election revealed themselves by cutting off the Maudlin -romantic tones, each character provoked: The suitcases were slow, which led to a recurring bit where each character broke from their tenderness to scream after shining cars to “walk around.” Eventually, her husband began in pursuit of her using the same impractical form of transit. Another ridiculous reality was clear – the battery on the scooter ran out, which turned out to be fine because his dog had followed him on his own scratched suitcase. The whole sketch mixed melodrama with uanity with great effect.

Elsewhere she played one Satanic Friendly’s employeeas well as a funeral director that would really throw a Roaring 20s—Tema funeral. But maybe her biggest role at night was opposite Bowen Yang in “Wonderful Tonight”, about a couple on a first date in a fancy restaurant with the 1980s Vibber. Yang as Gianfranco, in a soul patch and a Bolo tie, gaga as Janelle asked to dance when she announced that she loved the song played – the grainy classic “Wonderful Tonight” by Eric Clapton. Originally, they performed the lyrics as written while they swung together. Then they went out of the book.

Yang Belt Wistingly, “It’s later that night and we’re wasted in Times Square,” Gaga responded to, “So I eat a full Big Mac and I shave my body hair.” As they continued, the song grew smell and smells involving lines about nipple games and how “Italians are not white.” Punch line: These two freaky people were perfect for each other. Gaga, who wore a shaped red dress, didn’t look as ridiculous as Yang did, but she compensated for it in her Deadpan line deliveries and almost for good harmonies.

“Wonderful Tonight” again felt like an acquired taste of a sketch that has been laid down in its goofiness and random in its references at times. However, it worked because of Gaga’s dedication to become as bisarr as possible, while still using her famous tubes to their full potential. It’s the Gaga Speciality that Snl Understanding: She knows that art can be more exciting when it’s a bit outlandish. It may be a bit inexplicable, but it violates the same.