In the final chapter of Tina Fey's New York Times No.1 best-selling memoir, "Bossypants," the author weighs the potential opportunities and drawbacks to having a second child in Hollywood after 40. "Think of all the movies I could make!"
There's "Magazine Lady," which is "the story of an overworked woman looking for love…whose less-attractive friend…'s mean boss is played by me…when Bebe Neuwirth turns it down." Or "Disregarding Joy," "in which I play a lesbian therapist who unexpectedly cries during her partner's nephew's bris." Lastly, there's a live-action adaptation of children's dolls Moxie Girls, where she could play the villain "opposite a future child star who at this moment is still a tickly feeling in Billy Ray Cyrus's balls."
Fey's cinematic choices may ultimately be untrue (she's currently attached to a Nora Ephron movie with Meryl Streep), but they're also the perfect blend of hilarious and painfully plausible that have made her one of the most defining comedic voices of the past decade. Whether it's her sharp-as-talons NBC sitcom "30 Rock" (which mercilessly sends up NBC Universal and new corporate parent Comcast, a.k.a. Kabletown), her impeccable impression of Sarah Palin on "Saturday Night Live" or her assortment of sharp-witted career ladies in movies such as "Mean Girls" and "Date Night," Fey can be as prolific as she is subversively profound.
As for Fey's career prospects? She ultimately decided to have that second baby, putting "30 Rock"'s sixth season on hold until January 2012.
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