Lady can sing and dance really well, but most of all she’s fucking hilarious. She can be Maya Angelou in a new show called I Know Why the Caged Bird Laughs in which Angelou punks her friends, like Morgan Freeman, Stephen King, and Jonathan Franzen (did I actually see that on TV?). Then she’ll turn around and be Beyoncé with all that curvacious mellifluousness such that you almost blink; or the sardonic Bronx housewife Jody Deitz, who has a gum-snapping, utterly pointless and perfect talk show with her best friend Betty Caruso (Amy Poehler). Last weekend’s Saturday Night Live was amazing, and it’s because guest host Rudolph commits to a skit like nobody’s business.

I know she’s got a supporting role in the Will Arnett/Christina Applegate comedy Up All Night (and no, I haven’t seen it) and had a background role in Bridesmaids, but really: she’d be funny reading the obituaries aloud for 30 minutes every week.

You wanna know what’s wrong with TV producers? No one has nailed Rudolph down for a sitcom of her own. Get on that, would you? And please, don’t rule out I Know Why the Caged Bird Laughs.

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When I checked the showtimes online for Bridesmaids, here’s what the theater website told me:

This spring, producer Judd Apatow (Knocked Up, Superbad) and director Paul Feig (creator of Freaks and Geeks) invite you to experience Bridesmaids

And to think I was going to see it because it’s a movie written by women (Kristen Wiig and Annie Mumolo) and stars six of them. Hollywood has just discovered that not only are women funny, but audiences will flock to see them (the movie took in $7.8 million yesterday alone, coming in a close second to Thor 3D) — so, to smooth the way, it puts up a lot of male boldface names in the movie’s ads.

Yet I left the theater with the realization that, in terms of tone at least, this film has Judd Apatow all over it. In fact, if one fed the scripts for The 40-Year-Old Virgin, Knocked Up, and Superbad into a supercomputer, one would find there’s an Apatow formula that strikes a balance between poop jokes, awkward sex scenes, eccentric secondary figures, and genuinely affecting sentimental moments between the main characters. Am I saying that Bridesmaids is just warmed-over Apatow? Not at all: this film is in many ways a total delight. Placing those elements into a film about the biggest chestnut of all female-oriented plots — the run-up to your best friend’s wedding — seems, to me at least, much better than just a female version of Apatow’s own clichéd plots (high school boys on a quest for alcohol and girls, etc.).

Maybe I’ve just been reading too many articles about Hollywood’s slow acknowledgement that audiences want to see women being funny, but it was hard for me to see it without that topic in mind, as if the film was trying to make a point. (Remember when Hollywood discovered, via American Pie in 1999, that women liked sex? Gee, thanks for small favors.) Previously, Hollywood has tended to hold to a three-part philosophy concerning female humor, as Tad Friend notes in his piece about the comedian Anna Faris in The New Yorker:

  • Women don’t have to be funny.
  • Also, women aren’t funny.
  • Really, they’re not.

If nothing else, Bridesmaids blows those concepts out of the water. The women in this film use every comic trick in the book — they run the gamut from subtle to broad and display great gifts for physical comedy when it’s required. Plus, the film wins prizes from me for taking apart the wedding industrial complex fairly handily, especially considering I’d just spent an hour on the phone with a friend suggesting plausible-sounding excuses for skipping a bridal shower.

But I also don’t want to oversell this movie. It’s exactly what you think it’s going to be, not much more. As with last year’s Easy A, this movie is funny, alternately gross and sweet, and features some surprisingly touching moments; Kristen Wiig in the lead role knows when to trot out her Saturday Night Live absurdities and when to rein them in; and the other leads (Maya Rudolph, Melissa McCarthy, Rose Byrne) are terrific, while Wendi McLendon-Covey (the blousy blonde from Reno: 911) doesn’t get quite enough screen time for my liking. For two much more diametrical responses, read the smart back-and-forth about this film on the Bitch website between Kjerstin Johnson and Kelsey Wallace.

My strongest criticism boils down to the fat jokes. I love the actress Melissa McCarthy — she played the best friend on The Gilmore Girls and more recently had a brief and celebrated run on Mike & Molly, a show I never saw but which got a lot of love from people whose opinion I respect. Those same writers have been divided on her appearance here. Melissa Silverstein of Women & Hollywood loved the film and especially McCarthy, saying “she shows a woman who is fun and sexual and raunchy and real and ready to beat the crap out of you on a moment’s notice. That’s what was so great about her character, you had no idea what was coming next.” On the other hand, Bitch‘s Johnson and Wallace decried the “lazy” jokes levied at the “unrefined fat woman” who burps out loud, waddles through a couple of scenes (har, har!), and comes across as butch. (McCarthy has explained in interviews that she modeled her character on the abrasive, loud, yet oddly appealing Food Channel star, Guy Fieri — a decision I find brilliant.)

I’m going to take for granted that readers of this blog are enlightened enough to be aware of fat phobia, unlike the 20-something woman jackass in the theater next to me who squeaked, “Gross!” at the sight of one of McCarthy’s big ankles. Obviously none of us wants to see a movie that gets cheap laughs from the sight of a fat woman. But equally obviously none of us would say that fat women should be kept out of comedies, or that they’re not allowed to be funny, or that they’re not allowed to use physical humor. Silverstein puts it nicely: “Fat women never have fun in films. They might laugh but always when people are laughing at them” — whereas in this one McCarthy’s character is having a blast, moving forward with that Fieri-like assuredness that renders impossible a simplistic reading of her character. It’s important to note that at a crucial moment in the film, McCarthy’s character steps forward to show a truly heroic self-awareness, competence, sensitivity, and dedication to her friends (in fact, it sounds as if McCarthy herself is responsible for that plot development). So I return to the question: do I forgive the few bad fat jokes because overall we laugh with McCarthy and appreciate her character so much?

In the end, I remain divided on whether the fat jokes ruin Bridesmaids. I’m still persuaded enough by a Silverstein-like appreciation for McCarthy’s character and performance to refrain from a full-throated complaint. Perhaps this is Hollywood’s first experiment with enlightened fat phobia, pace Susan Douglas’s enlightened sexism: that is, the film tries to tell us that it’s okay to regress back to fat jokes because the fat woman is a successful and comparatively three-dimensional character. Let’s face it: I laugh at some of those enlightened sexist ads on TV — first and foremost the Old Spice dude who says, “Look again! It’s an oyster with two tickets to that thing you love!” That extra layer of irony seems to excuse the fat jokes because they’re not the old, unenlightened fat jokes. It’s a fat phobia that seems to accept — even celebrate — the fat woman on the surface, but in reality it repudiates fat people and keeps them in their place as the comic sidekicks. Maybe.