Still, Poehler has it easier than Dunham and Kaling, whose shows Girls and The Mindy Project, respectively, are understood to more closely approximate their real lives and their characters themselves Dunham and Kaling's tweets, bodies, politics and business decisions are monitored and evaluated online at the rate of a reload Fey's 30 Rock constantly sent up both sexism and third-wave feminism, and Tina and her TV-proxy Liz Lemon got theirs. Women want so much and so justifiably to see versions of their lives on TV that when someone appears, hilarious and real and in high-def, the collective feelings and demands and criticism – we eat our own – are just way too much. Poehler, like the few other women who propel critically adored comedies – Tina Fey, Lena Dunham, and Mindy Kaling – is everyone's "best friend." She could just as easily be considered alongside other impov savants (she co-founded the Upright Citizens Brigade), other Saturday Night Live alumnae (where she co-hosted Weekend Update) or other too-busy verticalists (she is an executive producer of the Comedy Central stoner series Broad City, co-founded the website Smart Girls at the Party, and writes, directs, acts and kills it in any capacity at award shows), but it's the aspirational and expectant bestie-status projected onto her, Fey, Dunham and Kaling that casts the longest shadow. There was a great joke on last year's Halloween episode of Parks and Recreation, the hug-warm NBC show starring and produced by Amy Poehler: when Annabel Porter, Pawnee's version of a Gwyneth Paltrow-glossy lifestyle guru, appears on a local talk show, the host says "Can I just say, as a journalist, I feel like we're best friends."
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