The “Saturday Night Live” cast member Bowen Yang spoke of his “ethereal, gossamer quality.” Armisen compared Torres’s “outer space” aura to that of the Icelandic musician Björk. Torres has a boyish face, a small, fit torso that he flaunts on Instagram (his handle is and the self-possession of an oracle. “Most of the time, it turned out to be Julio,” he said. Armisen told me that, before he started working with Torres, he would call his friends at “S.N.L.” to ask who was behind certain sketches. (In the pilot, a priest hires the gang to stage an exorcism so that he can show up a younger rival priest.) The series, which is bilingual, premièred in 2019 the second season is in pandemic limbo. Torres plays the heir to a chocolate fortune, who goes into business with his friends producing custom horror and gore effects. Last year, Torres left “S.N.L.” to focus on “Los Espookys,” the outré HBO sitcom that he created with the comedian Ana Fabrega and Fred Armisen, a former “S.N.L.” cast member. “She can play damaged very well,” Torres said. That week’s host, Emily Blunt, did the trembly voice-over. I’m simply too much”) and had the crew return to the apartment to film it. “I took, like, thirty pictures of it.” At “S.N.L.,” he wrote an internal monologue for the sink (“Am I too much? Oh, my God.
When he used the bathroom, he was appalled by the ornate green glass sink. Another digital short was inspired by a visit to a bland, newly renovated apartment on the Upper East Side. His imagination is a comic synesthesia, assigning anthropomorphic traits to colors, objects, and design flaws. Torres, who is thirty-three, is more attuned to the visual world than most comedians. (He lost interest in Melania’s inner life after she wore the “ I REALLY DON’T CARE DO U?” jacket on her way to an immigrant-detention center.)
The first sketch he got on the air was “Melania Moments,” in 2017, which recast the new First Lady as a sort of captive princess, gazing out at Fifth Avenue from Trump Tower and wondering if a Sixth Avenue exists. “But that to me was a signal that it was absolutely worth pursuing.” Even Torres’s political humor had a whiff of fairy tale. “We couldn’t quite pinpoint what was so funny about it,” Beiler told me.
GAY BEAR PORN MICHAEL TORRESS FULL
(“Some boys live unexamined lives,” a voice-over says, “but this one’s heart is full of questions.”) Torres, who grew up gay in El Salvador, wrote “Wells for Boys” with Jeremy Beiler, who helped shape his abstract concept into the fake-ad format. “Wells for Boys,” a mock Fisher-Price commercial, features a toy well, meant for “sensitive boys” to sit beside longingly and wish upon.
GAY BEAR PORN MICHAEL TORRESS MOVIE
In “Papyrus,” Ryan Gosling plays a man haunted by the fact that the movie “Avatar” used the Papyrus font for its logo. Speaking about his unmade pieces, Torres told me, “I have mourned every loss.”īut the ones that made it to air were strange and fanciful enough to earn him a cult following-rare for a writer who doesn’t appear on the show. Another was an infomercial for a miniature staircase that people can put next to their ears at night, so that their dreams can come out and dance, to prevent headaches. Also, a lot of “Saturday Night Live” sketches are tailored to the celebrity guest hosts, and, as Torres said recently, “one of the pivotal flaws in ‘The Chandelier’ is that there was no juicy human role.” Many of his rejected ideas dwelled in the surreal, closer to Ovid or Gabriel García Márquez than to “Dick in a Box.” In one, a man goes to Heaven and discovers that the angels act like birds, building nests and eating in terrifying, beaky thrusts. The show would need to take over the Met for an evening. The piece never got made, because it presented practical problems. It’s an idea for a digital short that Julio Torres pitched again and again at “Saturday Night Live,” where he worked as a writer from 2016 to 2019. This peculiar romance is not from a magical-realist novel or a quarantine fever dream. They settled into Rocco’s apartment, blissful in their union, the chandelier’s light blazing through the window onto the street below. Late one night, Rocco broke into the Met and stole the chandelier. Rocco returned the chandelier’s love, but when his boss found out about the affair he was fired. The chandelier fell in love with one of the janitors, a man named Rocco, and wanted only Rocco to change his bulbs. There once was a chandelier at the Metropolitan Opera who thought that the audience was applauding just for him. This content can also be viewed on the site it originates from.