Lily Allen Brings “Madeline” to Life on SNL with Dakota Johnson’s Help
In a captivating performance on Saturday Night Live, Lily Allen brought new dimension to the mysterious “Madeline” character from her recent album, enlisting Dakota Johnson for a theatrical collaboration. The December 13th show marked Allen’s return to the SNL stage after an 18-year hiatus, where she performed “Madeline,” a song detailing a complex love triangle. Johnson, the “Fifty Shades of Grey” star, remained hidden behind curtains for most of the performance, emerging only to voice Madeline’s perspective through a revealing text message. The dramatic staging culminated with Johnson stepping out to kiss Allen’s cheek, bringing a physical embodiment to the previously unseen character who has sparked widespread speculation among fans.
The performance added another layer to Allen’s recent album “West End Girl,” released in October 2024, which chronicles her separation from “Stranger Things” actor David Harbour. Throughout the album, Allen makes multiple references to a woman named “Madeline” allegedly involved with her partner. In songs like “Tennis,” Allen sings, “So I read your text, and now I regret it / I can’t get my head round how you’ve been playing tennis / If it was just sex, I wouldn’t be jealous / You won’t play with me and who’s Madeline?” The titular track “Madeline” directly addresses this mysterious other woman: “I know none of this is your fault / Messaging you feels kind of assaultive / Saw your text, that’s how I found out / Tell me the truth and his motives.” Johnson’s SNL appearance gave voice to Madeline’s side of the story, with her reading lines suggesting confusion and claiming ignorance about any relationship deception.
Allen and Harbour’s marriage lasted from 2020 to 2024, and Allen has been open about using her music to process the end of their relationship. “I made this record in December 2024, and it was a way for me to process what was happening in my life,” Allen told British Vogue. “There are things that are on the record that I experienced within my marriage, but that’s not to say that it’s all gospel. It is inspired by what went on in the relationship [and] confusion, sorrow, grief [and] helplessness.” While Allen has been forthcoming about her emotional journey, Harbour has remained mostly silent about their separation, making only a brief statement to GQ in April: “I’m protective of the people and the reality of my life. There’s no use in that form of engaging [with rumors] because it’s all based on hysterical hyperbole.”
Despite widespread speculation about “Madeline” being based on a specific real person, Allen has clarified in an interview with London’s The Times that the character is “fictional” or more accurately a composite of multiple people. This revelation adds complexity to her artistic expression and shifts the narrative from simple autobiographical reporting to a more nuanced exploration of modern relationships. “I just feel we are living in really interesting times — in terms of how we define intimacy and monogamy, people being disposable or not,” she explained. “The way we are being intimate with each other is changing as humans. Lots of young women are not finding the idea of marriage or even a long-term relationship that attractive any more.” Allen’s perspective suggests her work is examining broader cultural shifts rather than simply documenting personal grievances.
The SNL performance highlighted the poignant lyrics where Allen sings about “an arrangement” with a significant other that included conditions: “Be discreet and don’t be blatant / And there had to be payment / It had to be with strangers / But you’re not a stranger, Madeline.” Johnson’s voiced response as Madeline added another dimension to the story: “I hate that you’re in so much pain right now. I really don’t wanna be the cause of any upset. He told me that you were aware this was going on and that he had your full consent. If he’s lying about that, then please let me know. Because I have my own feelings about dishonesty.” This theatrical presentation of dual perspectives transformed what could have been a one-sided breakup song into a more complex exploration of miscommunication, consent, and the complications of modern relationship boundaries.
While Allen works through her personal experiences through music, both she and Harbour appear to be moving forward. In a November interview with Esquire UK, Harbour expressed hope for future relationships without directly addressing the separation, saying, “There’s personal stuff that I want to do, and people that I want to love, and be good to and nurture, things like that.” Allen’s return to SNL after nearly two decades represents not just a musical comeback but a statement of artistic evolution. Her willingness to bring her personal narrative to life through collaboration with Johnson demonstrates how music can transcend simple autobiography to become performance art that explores universal themes of love, betrayal, and the changing nature of human connection. Fans can see SNL’s holiday show airing December 20 on NBC at 11:30 p.m ET with host Ariana Grande and musical guest Cher.
