Bloggers, critics, op-ed columnists, that annoying guy who sits opposite you in your work "pod" who Elfed himself back in October, are all on double duty these days, scrambling to compile their year-in-review and look-back-on-the decade lists of highs, lows, and utterly bizarre moments.  Of the latter, really there are too many for just one list: illiterate beauty queens turned internet sensations, Ryan Seacrest, a funeral fit for a king of both weird and pop, a congressman's cover story that wouldn't even fool a third-grader (I lost my homework on the Appalachian trail, hmmm-mmm), Ryan Seacrest. 2009: Eesh. 2009: Get Me the Pepto. 2009: Ryan Seacrest, Really?? However, for all its messiness and serious trouble, 2009 was a pretty good year for one group: funny women.

Garnering a record 22 Emmy nominations and taking home 5 (including one for Best Comedy Series), 30 Rock continues to outpace and outshine other primetime network sitcoms.  Tina Fey, the creative force behind the show, earned critical praise as a writer and performer, proving that women can write smart, funny, ensemble driven comedy that isn't about "monthlies" or trying to land a husband.

Fey's comedy partner in crime, Amy Poehler disproved another myth: that SNL breakout stars tend to be male (two words: Jane Curtain) with the revamped return of her show Parks and Recreation.   Poehler's character, the well-meaning civic agent, Leslie Nopes, is another refreshing break from one-dimensional female characters trapped in uninteresting jobs, trolling for boyfriends, or bitter, single, spinsters taking up room and real estate on their friends' couches.  Additionally, her spot-on Hilary Clinton impersonation gives her further bragging rights as a comic actor who can pull off a convincing double with the rest of them.

Late-night is finally beginning to see some much-needed gender diversity with Chelsea Lately's talk show and the new Wanda Sykes Show.  Both women have done admiral jobs, wading into the testosterone-infested bayou of late night suits and jock (straps).  Chelsea delivers acid-fueled commentary on Hollywood's biggest bullshit generators and Sykes presents a blend of stand-up/monologue, sketch, and improvised panel discussion that puts hilarious spins on race, sex, politics, and just about anything else on Sykes' radar. Neither show has figured out how to spark that Late Night magic in true Letterman or O'Brien style, but the fact that these women are bringing new faces, new formats, and new opportunties to women in comedy makes their shows successful already.

"Suck it Jesus!" might count as words to sum up a strange decade.  They've also become a kind of battle cry for comedienne Kathy Griffin.  Griffin's Bravo show, My Life on the D-List continues to generate buzz along with a loyal following as do her numerous stand-up shows like her most recent: Kathy Griffin: Balls of Steel.  Unapologetic, unwavering, and unbelievably successful, Griffin brings more than her balls of steel to the comedy table; she brings a style of funny that transcends gender lines.  In December, Griffin earned her second Grammy nomination for Best Comedy Album, which is an honor that, let's see, how many comediennes can claim? Hmm, right, ok, carry the one..and...oh, yeah: none.

Even when funny women were put in comprimising positions, such as in the cringe-worthy David Letterman scandal, they still managed to help move the comic community forward.  Many female writers and performers privy to the bull-pens of male-dominated writer's rooms came forward to weigh in on both sides of the issue, illustrating what might be indicative of the entire decade: Funny women have come a long way since Phyllis Diller had to dress up as a man to attend a Friar's Club Roast, we still have a long way to go, and there's not much that can slow us down. 

*Post-blog-script (Is that even a phrase?): This post marks the start of a reinvention of sorts for this particular blog.  As the new title suggests, I am turning my attention toward an area that reflects my personal and professional passions.  I invite others to sound off on issues, topics, or other items regarding women in comedy that they feel strongly about.  I also welcome the opportunity to promote women working on this wonderful and terrifying art.