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    Late Night Goes Live on Election Night

    Stephen Colbert said that the midterms looked less like a red wave of Republican victories and more like “a pink trickle.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.‘A Pink Trickle’Stephen Colbert and Jimmy Kimmel took their shows live on election night, sharing midterm results as they came in during their monologues.“Though the G.O.P. is picking up seats in the House, so far it does not look like a red wave,” Colbert reported. “Perhaps — perhaps too early to tell. Perhaps a pink trickle. They should really have that checked out.”“Not only are we live, our audience tonight — this is exciting — our studio audience is made up entirely of Herschel Walker’s children.” — JIMMY KIMMEL“In the Florida governor’s race, Democrat Charlie Crist has been defeated by MAGA wannabe and 2024 hopeful Ron DeSantis. And now, in accordance with Florida law, Charlie Crist will be forced on a plane and flown to Martha’s Vineyard.” — STEPHEN COLBERT“You know, Matt Gaetz easily won his seat in Florida. He was re-elected. Florida’s a state in which being an alleged sex offender makes you an experienced public servant. It’s not necessarily frowned on. Matt is going to wait to celebrate until prom night, which is sweet.” — JIMMY KIMMEL“New York, we’re just getting word that Democratic incumbent Kathy Hochul has defeated MAGA candidate Lee Zeldin to remain governor of New York. This marks the historic first time New York has ever had a female governor on purpose.” — STEPHEN COLBERT“Now, one of the biggest races that everyone has been watching is in Georgia, between Raphael Warnock and Herschel Walker, and right now they are neck and almost entirely neck.” — STEPHEN COLBERT“It is so tight, this race could be decided by a margin of error of plus or minus Herschel Walker’s secret children.” — STEPHEN COLBERTThe Punchiest Punchlines (High Voter Turnout Edition)“The Colorado governor’s race goes to incumbent Jared Polis, who earlier this year — earlier this year, signed an exclusive order protecting marijuana users’ rights. So his victory was secured due to high voter turnout.” — STEPHEN COLBERT“And then down in North Carolina — this was expected — in the North Carolina Senate race, we got word Republican Ted Budd has beaten Cheri Beasley, which is too bad for a couple of reasons. One was I was really looking forward to the headline, ‘Cheri Beasley Smokes Budd.’” — STEPHEN COLBERTThe Bits Worth WatchingRoy Wood Jr. explored the history of Black governors on Tuesday’s regular “Daily Show” segment, “CP Time.”What We’re Excited About on Wednesday NightFlorence Pugh will pop by Wednesday’s “Late Night with Seth Meyers.”Also, Check This Out“She must make sure that everyone around her knows she is stable, and not talk about her feelings,” Imelda Staunton said of playing Queen Elizabeth II, adding, “But that doesn’t mean she doesn’t have feelings.” Netflix“The Crown” creator Peter Morgan chose Imelda Staunton to play Queen Elizabeth II for the final two seasons of the series because of her “vulnerability and strength.” More

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    Anne Bogart Is Not Entirely Retiring

    The theater director Anne Bogart first made a splash with the radical student productions she put on while teaching at New York University in the early 1980s. Her “South Pacific” (1984), for example, was conceived as the show that veterans in a mental institution performed as part of their therapy. Legend has it that the Rodgers and Hammerstein estate snuffed out the production, but Bogart clarified that it simply denied an extension. “It’s more dramatic to say they shut us down,” she said, chuckling.Under Bogart’s leadership, the New York City-based Saratoga International Theater Institute (SITI) Company, formed by a group of artists in 1992, spent three decades exploring experimental outposts in both original creations like “Bob,” “The Medium” and “Hotel Cassiopeia” and re-imaginings of classics, often by ancient Greek playwrights.The group’s emphasis was on rigorous actor training and the performers’ physicality. Bogart’s approach involves “decentering emotion and re-centering the body,” said Jay Wegman, the director of N.Y.U. Skirball, which presented SITI’s “Radio Macbeth” last month. “I love how metaphorical her work is. It becomes an event, and there’s almost a mystical feeling because everything comes together so tightly in her stagings.”Now, SITI is ending its producing activities. “It came down to whether we are an institution — in which case you get a younger, more diverse company and a young artistic director — or a group of people,” Bogart, 71, said. “After a great deal of quite emotional discussion, we decided that we’re a group of people. I think that the legacy is more how we offer a model for future young companies: a collaborative ensemble whose focus is not on real estate but on the plays they do.”Bogart, center, with Kelly Maurer as Andy Warhol in a 1990s production of “Culture of Desire.” Dolly Faibyshev for The New York TimesBogart is not entirely retiring. She will remain a professor in Columbia University’s directing program, whose alumni include Rachel Chavkin, Jay Scheib, Diane Paulus and Jeffrey L. Page, until 2026. She will also continue to direct on a freelance basis.Although SITI is presenting “A Christmas Carol” at Bard College (spearheaded by the co-director Darron L West) from Dec. 16-18, this felt like a good time to look back, especially since the company’s digital archives are going live on its website on Nov. 15, and a book, “SITI Company: This Is Not a Handbook,” is due soon via Yonkers International Press. Bogart spoke in a video chat from London shortly after the latest (and last) SITI gala. The event prefaced a revival of the company’s production of “War of the Worlds” and turned into a heartfelt tribute to the director. These are edited excerpts from the conversation.What were some of the fundamental things that you all agreed on when starting SITI?The actors met at a diner and asked each other: “What does it mean to be a SITI Company member?” Every year they renewed that question, and they always had the same answer: We train together. It’s the cement that’s kept us going over time. Not only do they train together and learn together, but they teach that training, which makes sure they have a paycheck year-round. My own proposal to them was that I had all these theatrical essays I wanted to create. We didn’t expect it to last as long as it did, but I did need a group of people who would work together over time and solve problems together.How did you manage your freelance activities with SITI?I do a lot of opera outside. I always felt that was the least stressful for SITI Company: If I’m going to do opera, nobody can complain, because they can’t sing like opera singers. I still have a big appetite for all those things. That hasn’t changed.Where did you find inspiration when you started out?I came to New York in 1974, at the end of the Judson Church era, and I was very influenced by dance. It was also the explosion of theater companies like the Performance Group, which later became the Wooster Group, André Gregory’s Manhattan Project, Joe Chaikin’s Open Theater, and with the crazy work of Richard Foreman and the big wild things of Bob Wilson. I was also completely in love with German theater — particularly Peter Stein, Klaus Michael Grüber, Luc Bondy — and I stole from them a lot.Bogart with her wife, Rena Chelouche Fogel, in October at the Laurie Beechman Theater.Dolly Faibyshev for The New York TimesIs that why you temporarily moved to Europe in the early 1980s?I decided I hated Americans and I was going to be German. But what I discovered is that I’m actually very American: I have an American sense of humor, an American sense of structure. And I’m really interested in American history — a lot of my work since then has been about Americans like Orson Welles, Bob Rauschenberg, Joseph Cornell.What are some of the big theatrical trends you’ve seen coming and going over the past decades?I was part of the generation who just admired directors. I used to follow Bob Wilson and Lee Breuer on the street! Then I noticed that people weren’t naming directors, they were naming companies, like Complicité, for example. That lasted for about a decade. Now the revolution is happening in playwriting, where extraordinary new voices are challenging the old forms. “An Octoroon” — that’s a radical play. So it’s gone from director to company to playwright.How have theater directors themselves changed?I’m surprised by how little they are interested in the regional theater. We have these theater factories around the country that used to be where everybody wanted to go, and it’s not so attractive right now. What is attractive are the art centers, and SITI Company has lived in the realm of the art centers, like the Krannert, the Walker, the Hancher, U.C.L.A. Directors like Rachel Chavkin or Diane Paulus are also looking at commercial models in new ways. When I was younger Broadway was not of interest to me, but the young directors are intrigued.What do you make of theater in the Covid era?We’re in a very interesting moment. The wonderful Scottish philosopher William MacAskill has a theory that every time there’s a cataclysmic event, there’s a period of plasticity in which change happens, and then soon afterwards we clamp down into a new accepted way of being. I think we’re in that moment of plasticity. What comes out on the other side? You or I can’t know.Whose work do you like these days?I got really interested in the work of Stan Lai, a Taiwanese director who’s rethinking the way audiences and plays function. I’m always interested in what Ivo van Hove is thinking about. I have a hate/love relationship with [Romeo] Castellucci: I cannot stand his work most of the time, but I have to deal with it. I guess what I’m looking for is somebody throwing down the gauntlet.“I got really interested in the work of Stan Lai, a Taiwanese director who’s rethinking the way audiences and plays function,” Bogart said.Dolly Faibyshev for The New York TimesDo you think there’s been a renewed interest in the relationship between audiences and theater, especially since Covid?I think that’s what the frontier is right now. My friend [and one of SITI’s artistic directors] Leon Ingulsrud went to the theater the other day. I asked how it was and he said, “Not so good — the actors never said hello to the audience.” I thought that was really interesting. The acknowledgment of that relationship, or how an audience interfaces, is the prize, I think.But how do you do that? Wouldn’t it be distracting?“Bob” [1998] starts with him literally saying hi — there’s a moment of interface, where everybody comes together. In Ivo van Hove’s “More Stately Mansions” [1997] the actors came out onstage, bowed to each other and to the audience, then Joan MacIntosh started speaking at top speed the first monologue of that O’Neill play. I started hearing the thump of people leaving the seats. They just couldn’t stand it. But in a way, that’s also like saying hi. At first I thought, “Damn him, I could never do that — I’m an American, I’m about populist art.”OK, but in all honesty, you’re not really thought of as a populist director.Deep down, yes, it’s in me. It’s how I was brought up. At the beginning of SITI Company we were kind of, “[expletive] the audience.” I don’t feel that at all anymore. I feel that the point of being there is the audience — it’s all about the audience. More

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    D.I.Y. Sci-Fi: A Talk With Justin Benson and Aaron Moorhead

    The filmmaking and acting team discuss their latest low-budget science fiction movie, “Something in the Dirt,” and their work on the Marvel Disney+ series “Moon Knight.”The writing-directing-acting duo Justin Benson and Aaron Moorhead’s latest film, the science fiction satire “Something in the Dirt,” follows John (Moorhead) and Levi (Benson), neighboring tenants in a ramshackle Los Angeles apartment complex. After observing inexplicable supernatural phenomena in Levi’s flat, they attempt to capture the event on camera for personal gain, but meet disaster instead.Since releasing their feature debut, “Resolution” (2013), Benson and Moorhead have made movies their way, exercising full creative control over their malleable, genre-fluid aesthetic. Referred to in reviews as their “most personal” movie after its Sundance premiere, “Something in the Dirt” (in theaters) is a distillation of their sensibilities, striking a lopsided contrast with their directing contributions to the Marvel Disney+ series “Moon Knight,” an atypically weird superhero show involving dissociative identity disorder, Egyptian gods and Oscar Isaac.In an interview via Zoom, the two discussed nuances in personal filmmaking, the line between virtue and villainy, and how directing for an entertainment giant crystallized their filmmaking identities. These are edited excerpts from the conversation.“Something in the Dirt” is about two guys making a movie. Did the way that you make movies and collaborate wind up echoing in the story?Justin Benson: What’s strange is our dynamic and our filmmaking process and our relationship couldn’t be more different than John and Levi’s. Obviously we’ve seen it described as “their most personal film.” There is probably some truth to that, but you’ve got to get into this oddly precise definition of “personal,” because it’s the farthest thing from autobiographical. The characters were intentionally constructed to be wildly different from who we are.Explore the Marvel Cinematic UniverseThe popular franchise of superhero films and TV series continues to expand.‘She-Hulk: Attorney at Law’: Tatiana Maslany described the giant, green character making her television debut on Disney+ as “weirdly, the closest thing to my own experience I’ve done ever.”‘Black Panther: Wakanda Forever’: The trailer for the long-awaited sequel was unveiled at Comic-Con International in San Diego. The film will be released on Nov. 11.‘Thor: Love and Thunder’: The fourth “Thor” movie in 11 years, directed by Taika Waititi, embraces wholesale self-parody and is sillier than any of its predecessors.‘Ms. Marvel’: This Disney+ series introduces a new character: Kamala Khan, a Muslim high schooler in Jersey City who is mysteriously granted superpowers.Aaron Moorhead: For the most part we were interested in these characters because we were exploring stuff we don’t believe. That’s not just in our films. That’s our free time, our conversations. The stuff that’s interesting feels a little dangerous. It’s on a razor’s edge of being mockable, but still can hold resonance in our minds and hearts.Benson: The only similarity between Aaron and I and John and Levi is we spend a lot of time talking about science fiction. But that’s the point. The huge difference for us is that John and Levi are quick to believe, and we never believe in anything.Moorhead and Benson in “Something in the Dirt.”XYZ/Rustic FilmsJohn and Levi trade stories with each other that either are not true or are dubious. It feels like there’s a bit of you in that dynamic. Was it gratifying to play that in this fictional, very fractured environment?Benson: There’s a cut line from the movie — Levi accuses John of being a liar, and John says, “You lie more than anyone I’ve ever met!” They lie in different ways. Levi works at a bar and wants to put his best foot forward. He’s probably got half a dozen different stories, and once you run out of them, you end up with this sad, lonely soul. John lies for other reasons, but the way they lie was part of fleshing them out as real human beings.Moorhead: We were dedicated to this idea of: you sympathize with one character and suspect the other is a villain, and then it slowly swaps through the movie, and by the end, you realize they’re both flawed human beings, neither villain nor hero. Neither of us ever believed the characters we were playing were bad people, but while we were performing, we believed in the virtue of what they were doing. There’s a part of me deep down that says it isn’t villainous if you’re virtuous, but you don’t know if you’re virtuous or not. You just hope you are.Benson: The different ways John and Levi lie connects them to us as creators, hopefully as characters with humanity. You hope that in the way science fiction operates, people don’t think you’re lying, that they understand it’s science fiction storytelling — that people don’t think you’re expressing a viewpoint one would call a lie.Moorhead: It was part of the conception of this movie to examine your own relationship with pop culture and what you put out in the world. Sometimes lies enter the zeitgeist in a way you didn’t intend. What exactly is the responsibility of the person who’s creating these things whole cloth? It is terrifying as a filmmaker to think someone might actually believe that what you are showing them is real.“Something in the Dirt” premiered at Sundance. “Moon Knight” premiered in March. This isn’t a knock against “Moon Knight,” but it comparatively feels impersonal because it’s a Marvel production. There’s a big leap from your movies “Spring” and “The Endless” to Marvel. Did that personal quality remain intact in that framework?Moorhead: When we faced a decade of being completely unemployable, we walked into every single studio pitch room on every single project, pitched our hearts out and wouldn’t be able to make it happen. We now realize that was for the better, because our alternative was to make a personal independent film. That solidified in our own minds, but also in the minds of what you call the industry, what exactly we’re doing. Now, when people ask us if we want to do something, it’s in that niche — not broadly horror, broadly sci-fi. There’s mystery afoot, and something dark and cosmic about it.It isn’t that we have to erase our personality and work within the machine. What [Marvel] wanted from us was our voice. It comes out mostly in the visuals, because scripts are separate from direction, but we put a lot of ourselves into it. But your thesis is definitely correct. There’s by definition nothing more personal than an independent film.Benson: [“Moon Knight”] has given us opportunities to work with collaborators we wouldn’t otherwise, which has expanded our creative worlds. These opportunities have also given us time on set in a compressed period that’s been like a second film school in some ways — though being a filmmaker is continuously being in film school, because every day is never planned for, really.Moorhead: The greatest terror we both hold is losing our curiosity and ability to grow. It can happen, and it can sneak up on you. If you only ever make your own films, you might start to repeat yourself because you think you’ve got a bunch of great ideas, but they’re all the same idea. We only want to make stuff that expresses ourselves purely. Right now, doing something big and doing something indie, they feed each other very nicely. More

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    Late Night Rates Trump’s New Nickname for Ron DeSantis

    “Trump doesn’t even know what that means,” Jimmy Fallon said after Donald Trump referred to the Florida governor as “Ron DeSanctimonious.”Welcome to Best of Late Night, a rundown of the previous night’s highlights that lets you sleep — and lets us get paid to watch comedy. Here are the 50 best movies on Netflix right now.The Best He Could Come Up WithFormer President Donald Trump debuted a new nickname for Gov. Ron DeSantis at a Pennsylvania rally over the weekend, referring to him as “Ron DeSanctimonious.”“Trump doesn’t even know what that means. He thought he was casting a Harry Potter spell on him,” Jimmy Fallon joked.“That’s right, former President Trump referred to Florida Gov. Ron DeSantis as ‘Ron DeSanctimonious,’ which is a risky move for Trump, because that’s six syllables.” — SETH MEYERS“Has anyone ever been worse at coming up with nicknames? Imagine Trump in ‘Top Gun’: [imitating Trump] ‘People! People! I know we all love Maverick, but I think I got one that beats it. Are you ready? Everybody ready? Airplane Guy.’” — SETH MEYERS“You saw that, breaking out a classic Trump nickname. I mean, at least we think it was a nickname. It could’ve just been Trump trying to say ‘DeSantis.’” — TREVOR NOAH“Yeah, there’s nothing voters like more than insults from a word-a-day calendar: ‘Let’s get bellicose! DeSantis is a pusillanimous sycophant! Incarcerate him aloft!’” — STEPHEN COLBERT“Yeah, he’s lost some speed on his nickname fastball, you know? In the old days, it would have been something like ‘Smelly Ron,’ and we would’ve all went with it.” — JIMMY KIMMELThe Punchiest Punchlines (Dr. Oz Edition)“Even Oprah, who made Dr. Oz, endorsed his opponent, John Fetterman. Which is — I mean, look, that’s like, that would be like me not endorsing Guillermo. It just wouldn’t happen.” — JIMMY KIMMEL“Poor Dr. Oz. If he wins, he’s gonna actually have to move to Pennsylvania. I don’t know if he knows this.” — JIMMY KIMMEL“And that’s always how it goes, people. At some point in life, you have to kill the monster you create. Yeah, Dr. Frankenstein and his creature. Obi-wan and Anakin. Parents and their kids.” — TREVOR NOAH“Astronomers predict that a total lunar eclipse will occur tomorrow. So if you look outside and the moon turns red, don’t worry — it just means Dr. Oz won his Senate race.” — SETH MEYERSThe Bits Worth WatchingStephen Colbert announced the winner of People magazine’s Sexiest Man Alive for 2022 on Monday’s “Late Show.”What We’re Excited About on Tuesday NightJimmy Kimmel and Stephen Colbert will both go live on election night.Also, Check This OutSasha Diamond, left, and Shannon Tyo play ambitious twin sisters in Jiehae Park’s “Peerless.”James LeynseFemale playwrights are adapting and revamping Shakespeare’s “Macbeth” for the modern age. More

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    On ‘S.N.L.’, President Biden Has Two Words on the Midterms: ‘Big Yikes’

    Amy Schumer hosted a “Saturday Night Live” episode that contemplated the coming elections and Elon Musk’s takeover of Twitter.On the weekend before the 2022 midterm elections, “Saturday Night Live” turned to James Austin Johnson, its resident impersonator of President Biden, to assess how Democratic candidates might fare at the polls. And, well, he wanted to make a lot of last-minute substitutions.This episode, hosted by Amy Schumer and featuring the musical guest Steve Lacy, began with Johnson as Biden speaking directly to the electorate. “My fellow Americans,” he said, “this Tuesday, our midterm elections will determine the fate of our democracy, and let’s just say: Big yikes.”He continued: “What’s going on? I guess the Democrats’ message just ain’t getting through. Plus, I’m over here, talking to people who don’t exist. I don’t know much. Who’s that? Oh, nobody’s there.”Even so, Johnson’s Biden said he was pushing himself as hard as he could: “I’m on the Peloton every morning, tempting fate,” he said. He reminded voters of past accomplishments, like an infrastructure bill that provided red states with broadband internet “so you can share your Paul Pelosi gay erotic fiction at light speed.”The problem with his party, Johnson said, is that “we don’t have any stars anymore — too many Raphael Warnocks and not enough Herschel Walkers.”“Which is why we’re going to make some last-minute changes before Tuesday with the Democrats who are exciting,” he continued.Among them, Johnson introduced the free-spirited 2020 presidential candidate Marianne Williamson (Chloe Fineman). Describing herself as “a prominent author and Level 4 enchantress,” Fineman said, “I am ready to fight for the American dream — which I caught in this Tibetan singing bowl.”Other replacement candidates included the goateed restaurateur Guy Fieri (Molly Kearney), who bellowed, “Do y’all want Dr. Oz’s crudité or a full plate of paid family leave, dripping in donkey sauce?”Johnson brought out the adult film star Stormy Daniels (Cecily Strong) and the rappers Tekashi 6ix9ine (Marcello Hernandez) and Azealia Banks (Ego Nwodim). He also introduced the “S.N.L.” alum Tracy Morgan (played in the sketch by Kenan Thompson), who Johnson said would be in charge of student-loan forgiveness.“Y’all want that money?” Thompson asked. “Why don’t you come on over here, rub my belly?”Host monologue of the weekSchumer, the stand-up comic and star of the sketch series “Inside Amy Schumer,” returned to host “S.N.L.” for the first time since 2018. Since last hosting, she has become a mother, but parenthood and the passage of the years have hardly softened Schumer’s occasionally racy sensibilities (and vocabulary).Among the portions of her routine we can safely recount here, Schumer joked about people who gave her advice during her pregnancy: “I had this one friend, she kept telling me: ‘You gotta do prenatal yoga. It really helps with the birth,’” Schumer said. “So I immediately signed up. For a C-section.”She also talked about life with her husband after he was diagnosed with autism spectrum disorder. On a rainy night, she said, she told him that being with him and their son had been the best years of her life.“He just looked at me and he said, ‘I’m going to go put the windows up in the car,’” Schumer recounted, adding affectionately: “That’s my guy. It’s one of the times we play the game Autism, or Just a Man?”Fake commercial of the weekIn what begins as a seemingly standard pharmaceutical ad, a voice-over asks: “Are you feeling tired and worn down? Sick of the endless grind at work? Exhausted by your family, desperate for some peace and quiet?”Don’t feel ashamed if you caught yourself agreeing with one or more of those propositions before you learned it was, in fact, a advertisement for Covid — you know, the highly communicable disease responsible for the pandemic — which here is touted for having fringe benefits, like getting you out of work and child-care duties.Probably not a sketch that “S.N.L.” would have attempted a year or two ago, but as the voice-over reminds you: “Side effects of Covid include having Covid, which is still kind of bad, but doesn’t it seem different now?”Obligatory Twitter sketch of the weekEven in an episode that was largely focused on the midterms, you knew “S.N.L.” would find a way to revisit the chaotic energy unleashed by Elon Musk’s takeover of Twitter. This weekend’s sketch was inspired by Musk’s announcement that the company would establish a content moderation council — in this case, a two-person team (Thompson and Fineman) who say they are the only two Twitter employees who haven’t been fired yet — to consider the reinstatement of suspended users.The council heard the pleas of various characters played by Schumer, Strong, Bowen Yang and Punkie Johnson, and then finally from former President Donald Trump (James Austin Johnson), who wanted his account back, too. “I won’t do anything bad except maybe coup,” he vowed.Weekend Update jokes of the weekOver at the Weekend Update desk, the anchors Colin Jost and Michael Che riffed on President Biden’s recent speech about American democracy and on the New Jersey Nets’ suspension of Kyrie Irving for promoting an antisemitic documentary.Jost began:President Biden, seen here begging for one more year before the midterms, warned about Republican candidates who say they will refuse to accept election results, warning they could set the nation on a path to chaos. So wait, this is just the path to chaos? I thought we’d been living in chaos for at least six years. I mean, Nancy Pelosi’s husband was attacked in their home by a guy with a hammer, and instead of even basic sympathy, Republicans were like, “We heard he gay.”He continued:Donald Trump Jr. mocked the attack on Pelosi’s husband by posting an image of a hammer and a pair of underpants, with the message, “Got my Paul Pelosi Halloween costume ready.” And I would agree that Don Jr. is probably the expert on getting hammered in your underwear. Also, Don Jr., is that your underwear, man? Why is it so dirty and stretched out? You were trying to burn Paul Pelosi, but now I’m just wondering if you wear your dad’s old underwear.Che then pivoted to the news about Irving:After meeting with the Anti-Defamation League, Kyrie Irving announced that from now on, he will pretend to not be antisemitic. Brooklyn Nets star Kyrie Irving was suspended after he tweeted a link to the antisemitic film “Hebrews to Negroes: Wake Up Black America.” You know, Hebrews II Negroes was also the name of my favorite R&B group in the ’90s.Deskside segment of the weekStrong missed the first three “S.N.L.” episodes of this season while she performed a revival of the one-woman show “The Search for Signs of Intelligent Life in the Universe” in Los Angeles. But she has been rapidly making up for lost time with appearances like this one, a companion piece of sorts to her Goober the Clown segment from last season.The name of this latest character, “Tammy the Trucker, Who Promises She’s Here to Talk About Gas Prices and Definitely Not Abortion,” pretty much says it all, and Strong could just barely pretend to turn a steering wheel or care about trucker lingo as she declared, “You shouldn’t have to pull the convoy across state lines to find a doctor who can provide health care for your anatomy without having to call their lawyer first.”In closing, she reminded viewers to vote because, as she put it, “We all love someone who’s had an abortion — I mean, drives a truck.” More