Get to know the voice behind Lois Griffin
Once I actually watched it though, I really began to question the deal. To be brutally honest, which is hard considering I find her attractive and am impressed by her status as a working TV writer, but this show just isn't that good. There are certainly decent parts, and Borstein is eminently likable, selling even her weakest material with ease, but I barely responded to her stories and bits with more than a chuckle, even when her effort and personality begged for a laugh. Perhaps I'm not the target audience.
Or perhaps it was her opening act. It's been said that performers choose their opening acts to make themselves look better. In Borstein's case, that certainly makes sense, as Teddy Towne, the stage persona of Ted Hardwick, definitely makes Borstein shine. Presenting himself as an old-school entertainer, like a slightly more masculine John Waters, he whips through a set of weak L.A.-style jokes before performing a musical segue into Borstein's part of the show.
Borstein's act is very energetic, punched up with verbal outbursts and some vulgar language, as she talks about the topics you'd expect from a "Family Guy" writer, including '80s TV, movies and politically incorrect old Jewish women, taking a few sidetrips into family stories. The stories, which add up to just 53 minutes of show, are mildly amusing, but wouldn't work well without her delivery.
When describing the girls of "The Facts of Life" or imitating Rosie O'Donnell and Natalie Merchant (sounding great doing so), she'll make you smile, but her best work here is in discussing the breakdowns used to cast TV shows and movies. Her bemused outrage at the narrow, physically-focused and simply stupid descriptions of the various roles for women is fun to watch, as she acts out silly concepts like a woman OK with being topless and good at improv, or pretends to be an exotic dancer.
Looking at this demure little lady, you wouldn't expect to hear this stuff coming out of her mouth, but once you do hear it you'd expect more of it. It's just not here in this hybrid stand-up/monlogue.
The audio is a mono mix, presented in a Dolby Digital 2.0 track. It's OK for what's basically all dialogue, though at times her voice drops out, unfortunately on her final punchline.
There's also the full song from the show's closing credits to listen to.
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