61 pages • 2 hours read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Lorne Michaels’s casting of Fey to play opposite Jimmy Fallon on SNL’s "Weekend Update" is “the luckiest, craziest thing that had ever happened to [her]” (179). The writers sometimes cast her in other roles, though unlike other female cast members, she “could never really look like anybody else” (180).
Then in 2008, John McCain chooses Alaskan Governor Sarah Palin as his presidential running mate. Though she no longer works on Saturday Night Live, Fey is bombarded with comments about the similarities in their appearances, and people begin speculating that she could play her on the show.
Three stressful events begin to take form simultaneously. First, Oprah Winfrey, who “had expressed the slightest polite interest in being on 30 Rock” (181), is written into an episode but falters in committing to participate. Second, Lorne Michaels weighs whether they should meet public demands that Fey play Sarah Palin on Saturday Night Live. Third, Fey plans her daughter’s Peter Pan-themed birthday party.
Ultimately, Winfrey flies to New York and stars in the 30 Rock episode. Later that evening, Fey rushes to the Saturday Night Live set for her appearance as Sarah Palin in a sketch written by Seth Meyers. The sketch also stars Amy Poehler as Hillary Clinton. Performing in the sketch, which is about “two women speaking out together against sexism in the campaign” (197), elicits in Fey “a pure joy [she] had never before experienced as a performer” (189).
Fey continues to play Palin on Saturday Night Live, a role that is “fun and different” because “[f]or the first time ever, [she] was performing in front of an audience that wanted to see [her]” (199). The experience feels to her like a “permanent win”; it was “proof [that] existed permanently on tape that on this one occasion, [she] was funny” (203).
Fey discusses the process by which she determines whether a joke is too personal or too “rough” (202) and how her portrayal of Palin is so popular that she’s discussed on cable news, becoming “the carrageenan in America’s news nuggets for several weeks” (203). However, this visibility also means she faces criticism. In one instance, an MSNBC pundit claims she hadn’t conducted herself with dignity, a criticism Fey argues would never be leveled against a man. She finds it is “incredibly frustrating […] to watch someone talk smack about you and not be able to respond” (204). In addition, as the sketches become “more aggressive” (206), Fey’s Republican parents begin to grow upset.
When Sarah Palin herself indicates she’d like to be on the show for a “sneaker upper” (207), Fey is against it: she is wary of appearing to support their campaign, and she is worried that the New York audience will boo Palin. Lorne Michaels, who is eager for the ratings Palin’s appearance would garner, comes up with ideas that mollify her concerns, and the show is a huge success. Fey appreciates Palin’s “mom-ness” (208) and her staff’s eager help.
Fey “learned what it felt like to be a lightning rod” (213). Many people will never be able to forgive her for her portrayal of Palin, even though “[n]o one ever accused Dana Carvey or Darrell Hammond or Dan Ackroyd of ‘going too far’ in their political impressions” (213). Later, Sarah Palin remarks to a filmmaker that Fey “had exploited and profited by her family,” to which Fey “know[s] better than to respond” (213). While some argue that her portrayal of Palin might have helped 30 Rock, Fey argues: “The Palin stuff may have hurt the TV show […] [because] between Alec Baldwin and me there is a certain fifty percent of the population who think we are pinko Commie monsters” (214).
Fey writes that “[l]ike most people who have had one baby,” she is “an expert” and will offer advice on “how to raise your kid” (215), starting with whether mothers should breastfeed or give their babies formula.
Formula was created to nourish “orphans and underweight babies” and “has since been perfected to be a complete and reliable source of stress and shame for mothers” (215). Bombarded with literature stating that breastfeeding is best, Fey feels “an obligation to [her] baby to pretend to try” (217). Opinions vary as to how long mothers should breastfeed, so “you must find what works for you.” Fey’s “magic number was about seventy-two hours” (217).
In the hospital, when Fey struggles to find a hold that works for her and the baby, a nurse gives the baby some formula without asking. Once home, Fey “wanted to succeed at this so she could tell people she did” (217) and continues to try different holds, with little success. Fey begins supplementing with formula. However, as “[y]ou must, must, must provide them with breast milk,” she also pumps breast milk for the baby, something you can do “[i]f you choose to not love your baby enough to breastfeed” (218).
When she stops pumping, she no longer feels “trapped,” but she does suffer “an overwhelming feeling of disappointment” because she “had failed at something that was supposed to be natural” (219). She struggles to associate with friends who successfully breastfeed and remind her of its benefits. Eventually, she begins to feel less guilty, although she is still plagued by “Teat Nazis,” or “women who not only brag endlessly about how much their five-year-old still loves breast milk, but they also grill you about your own choices” (219). Fey clarifies that many women breastfeed “without giving anybody else a hard time about it” and that “Teat Nazis are a solely western upper-middle-class phenomenon occurring when highly ambitious women experience deprivation from outside modes of achievement” (220).
Fey concludes that when people tell you that you need to do something, it’s a sign that you don’t need to do it. She ends the chapter with a text box of ways to find “me time” (221). She suggests new mothers “[g]o to the bathroom a lot,” “empty the dishwasher,” and “establish that you’re the only one in your family allowed to go to the post office” (221).
Whereas some celebrities spend Christmastime on tropical islands or mountain paradises, Fey and her husband Jeff make a long drive across 80W to Youngstown, Pennsylvania, to visit Jeff’s family.
As Fey doesn’t drive, Jeff drives the entire way. Fey also “can’t cook meat correctly” and has “no affinity for animals” (224). Although “[t]here are plenty of positives to being married to [her],” she “just can’t think of any of them right now,” and she concludes that she is “the worst” (224).
Fey discusses the spotty radio reception on the “hypnotic and relaxing” (224) drive through the Alleghenies. She recommends various Roy Rogers restaurants and even a Subway for the “die-hard ‘foodie’” (225). Toward the end of the drive, the GPS stops recognizing where they are.
Inside the “cozy warm” house, they enjoy “hugs and kisses and pies and soup and ham and biscuits and a continuous flow of Maxwell House coffee with nondairy creamer” (225). While her sisters-in-law, who “have always been welcoming and affectionate,” clean up after dinner, Fey “half-assedly” offers to help (226). She is, she states again, the “worst” (226).
As Fey’s daughter grows into toddlerhood, the seven-hour drive becomes more difficult. One year, Fey invites the family to their New York City apartment. Her “Country Folk” in-laws don’t take to the city, and through their “non-admirer’s eyes” (228) she becomes aware of questionable things she hadn’t thought about before. Even their visit to the Christmas tree at Rockefeller Center, “which is unlike any tree in the world, except for hundreds of trees near their homes in Ohio” (228), isn’t as exciting as she’d hoped. When her nephew says there “are a lot of foreigners” in the deli, Fey corrects him by responding that “those people live here” (229).
The following year, the family meets halfway between their houses, at a Holiday Inn in Williamsport, Pennsylvania. They enjoy the hotel pool, cheddar biscuits at Red Lobster, the Lycoming Mall carousel, and exchanging gifts by a tree they don’t have to take down. They eat dinner at a Victorian inn “where city jerks and country carnivores could find common ground” (230).
Fey and her family will go back to Youngstown this Christmas. She intends to spend New Year’s Eve in New York City, “where we do more of an Ahab-and-Jezebel thing” (231).
The higher Fey rises in her career—she now has an award-winning show and is even more of a household name after her portrayal of Sarah Palin on Saturday Night Live—the more she is subjected to the sexism of show business. For example, a man on MSNBC claims that Fey has not, as opposed to Governor Palin, conducted herself with dignity—an accusation Fey doubts would be leveled at her had she been a man. The offense taken when women are not meek and polite is akin to Jimmy Fallon’s horror at Amy Poehler’s “unladylike” (129) language. Furthermore, the need people feel to defend Sarah Palin by sending Fey hate mail suggests Palin is “fragile” (214). The suggestion that Palin needs defending is as much a “disservice” to her as is the suggestion that Fey is “mean” (214) for impersonating her.
Her career is not the only aspect of her life in which she feels accused of not being womanly enough. She is disappointed in her inability to breastfeed because it’s “supposed to be natural” (219). Books, magazines, and other mothers aggressively stress the importance of breastfeeding, and Fey feels judged by mothers who question her decision to use formula. Even though her daughter struggles to breastfeed, and though she feels “trapped” (219) by the commitment of pumping, Fey yearns to prove “how incredible and impressive [she is]” (218). In this way, breastfeeding is just one more requirement of true womanhood, one that, like being blond or thin or demure, is not realistic for every woman, and the pressure to adhere to ideals leaves women feeling like failures and without value. The irony, Fey seems to suggest, is that the “highly ambitious” women who most vehemently criticize those who don’t breastfeed do so in order to compensate for their lack of “outside modes of achievement” (220). Just as “All Girls Must Be Everything” describes the frustration women feel when they can’t meet contradictory beauty ideals, “There’s a Drunk Midget in My House” explains how standards of motherhood leave women feeling lost and inadequate.
By stating that she’s an “expert” because she has one baby and is “on TV” (216), Fey pokes fun of celebrities, magazines, and others who claim to be more qualified to share their opinions and that therefore, we shouldn’t take anyone’s opinions seriously but our own. The pleasantness and comfort of Christmas with her country in-laws seems to confirm that we should lead our normal lives regardless of society’s ideals. While going to St. Barts or Aspen like high-powered actors is glamorous, Fey enjoys the “cozy warm” (225) house of her “welcoming,” “affectionate,” “lovely” in-laws (226). Impossible beauty standards and extravagant lifestyles are neither realistic nor necessary. Just as 30 Rock casts people with “normal human faces” (174), she enjoys her Red Lobster dinner with the people who are truly important to her. In fact, the title of Chapter 19, by equating “Sarah, Oprah, and Captain Hook,” suggests that the stereotypical mundane aspects of her life, like her daughter’s Peter Pan party, are just as important as the glamor.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features: