‘SNL UK’ Is Already Fixing the American Show’s Most Exhausting Problem

Saturday Night Live UK has quickly become one of the most closely watched developments in British television comedy and that’s not just by audiences. The brains behind the original SNL and its 50+ years of success, Lorne Michaels, works in close collaboration with SNL UK showrunner James Longman (The Late Late Show with James Corden) to make sure the British humor is supported by the US format.

During a conversation between IndieWire and documentary filmmaker Morgan Neville, who recently directed Lorne, there was one key note that Michaels gave to Longman about SNL UK. Michaels suggested that one large-scale set should be rebuilt to bring performers closer to the audience in the room. He understands which parts of SNL should evolve for audiences in the UK but also which parts still require his experience and instincts. So while SNL UK is clearly connecting with British audiences with its humor, it needs to fully embrace and prioritize Lorne Michael’s format and the importance of crowd proximity.

‘SNL’ As An Audience-Driven Show and ‘SNL UK’ Should Embrace Its Crowd

Lorne Michaels sees SNL as an audience-driven show, and it succeeds when it fully embraces the crowd. His note on stage geography reflects his belief that proximity directly affects how sketches land — if live reaction is prioritized, then jokes land harder at home. SNL UK’s Weekend Update pushes for laughter in the room. Paddy Young delivered his headlines with a knowing smirk after each line. Performance-first comedy continues into the sketches themselves, especially through West End performer Annabel Marlow, who joined Hannah Waddingham in Episode 7 to sing about everything from the dangers of drinking too much wine to being a divorced drama teacher. Al Nash even did a Footlocker-themed version of The Phantom of the Opera!

This stage-first approach also appears in the way the host’s monologues have broken the boundary between performer and audience. Aimee Lou Wood gave spiritual readings to the crowd, claiming they once lived as either a dog or the Pope until an actual dog appeared and was crowned as Pablo Escobar reincarnated! These moments are built around staging and delivery as much as writing, reinforcing Lorne Michaels’ belief that SNL is best when designed outward to a live studio audience first.

There is a broader contrast at play here. British comedy television has been dominated for decades by panel shows and controlled studio formats. Programmes like Have I Got News For You and Would I Lie to You? have fixed structures where comedians operate within rules rather than perform. Even live shows like The Last Leg operate within a controlled environment, with presenters sitting in fixed positions and comedy delivered through remarks. The majority of British comedy TV shows are designed to be rerun across channels indefinitely, so they hinge on familiarity, stability, and ease of repackaging. Yet with SNL UK’s focus on performance, Lorne Michaels has brought risk and unpredictability, which has suddenly made British television comedy exciting again.

SNL UK Works So Well Due To Combining British Humor With Michael’s Trusted Format

SNL UK succeeds because it combines British humor and creative freedom with Lorne Michaels’ established format. He has allowed the UK team, led by Longman, to develop material that is deeply rooted in British culture and references. From the ZARA changing rooms to Enid Blyton, the UK humor has not been adapted for international appeal and has been allowed to remain specific. At the same time, Michaels remains closely involved with the production. Longman has described regular communication, including calls multiple times a week, texts, and notes. According to Longman in IndieWire, Michaels has said on occasion that he would not have approached some sketches in the same way, but still acknowledged when they worked. There seems to be a working relationship where the format is protected, but the execution is flexible.

In the US version, writers and cast traditionally gather in Michaels’ office to develop ideas with the host. In the UK, Longman has adapted this process so that the host comes into the writers’ room and ideas are developed more collaboratively. The writing schedule is also more flexible in the UK. While the US version is known for its intense Tuesday night writing sessions that can run overnight, the UK production allows writers to work in different ways. Some work late, others do not, and there is no expectation of staying through the night. Longman has emphasized that everyone has a different creative process, and flexibility is key.

The famous table read process also differs slightly. In the UK version, it takes place earlier in the day on Wednesday, and the overall selection process typically involves around 30 to 35 sketches being developed, with roughly eight selected for the live show, including filmed pieces. These adjustments reflect a production model that is still finding its rhythm while staying aligned with the core SNL structure. Importantly, Michaels’ influence remains present in how the format is protected. He understands what makes SNL function as a system, particularly around live performance structure, while allowing British writers and performers to shape the humor itself.

SNL UK’s success is not based on simply importing an American format into British television, but on combining two different systems in a deliberate way. Michaels’ biggest note — bringing sets closer to the audience — is a reminder that SNL depends on its live audience, crowd proximity, and performance energy as much as it depends on writing. By combining Michaels’ structural instincts with British comedic voices, SNL UK has created a version of sketch comedy that feels immediate and fresh, and importantly places performance back at the center of British television comedy.