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David Poland

By David Poland poland@moviecitynews.com

Sofia Vergara Kills On SNL, Outshining The Writing

There was some clever stuff on SNL this week, but the shocker was how great Sofia Vergara was by sheer force of personality. She wasn’t camera-hogging… she just turned on that extra gear when things were heading into trouble, much the way a good cast member on the show does.

The highlight for me was her Fran Drescher, which was fascinating because it played so successfully on Vergara’s own aural signature. (And I don’t remember Kristin Wiig doing a lot of celebrity imitations, but this one is perfect.) I included two other mediocre sketches in which I felt like Vergara raised the bar unexpectedly.

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8 Responses to “Sofia Vergara Kills On SNL, Outshining The Writing”

  1. She has a history of being better than what’s on the page. I first notieced her as what could have been a stereotypical ‘sassy Latino best friend’ in Tyler Perry’s MEET THE BROWNS. (Angela Bassett and Lance Gross are pretty good in it too). She brought a genuine wamrth and protective empathy that made her stand out in what should have been a stock part. She really excels at appearing to be someone who actually stand up for you/have your back in a pinch without judgment. I can’t put my finger on it, but it’s what makes her more than a sex symbol.

  2. Daniella Isaacs says:

    She was also one of the few guests on the show who wasn’t obviously reading from cue cards most of the time. Even some of the regulars were clearly looking at cue cards last night–and you can’t really blame them since they change stuff up until the end–but Vergara, for the most part, looked right at her costars in the scenes, as if she’d memorized everything, even whatever last minute changes they must have added. Wow.

  3. mysteryperfecta says:

    “And I don’t remember Kristin Wiig doing a lot of celebrity imitations, but this one is perfect.”

    She looks nothing like Drew (as opposed to the other cast as their characters) but when Wiig opened her mouth… “perfect” is right.

  4. J says:

    The last time they did “Bein’ Quirky,” Wiig did her amazing Bjork. (And Deschanel, who was hosting, played one of the Olsen Twins.)

  5. Rob says:

    Wiig’s Bjork is amazing, as are her Kathie Lee Gifford, Suze Orman, Michele Bachmann, and Paula Deen.

  6. Ace says:

    funny how people forget how long she has been around. She was one of the good parts of Big Trouble in 2002

  7. Peggy Sue says:

    It was one of the best I’ve seen in a long time!

  8. Don R. Lewis says:

    I finally watched the ep last night and thought she and the episode were great. I’ve never been able to get into MODREN FAMILY but found Vergara extremely funny. That being said…

    Isn’t she just Charro 2000?

    She was totally reading cue cards. She made a mistake in the Gilly skit and waited for the card to flip back so she could try the line again.

    Also…WTF is “One Direction?” That seemed like an 80’s boy band skit.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

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So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

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“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

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