Summary
Iliza Shlesinger shines in A Different Animal, with sharp wit and a bold evolution of her comedy that empowers and entertains.
Iliza Shlesinger was my favorite female stand-up comedian until Taylor Tomlinson (Quarter-Life Crisis; Look at You) entered the scene, and even then, it was a close call in rankings. There’s something about comedians who reach new heights that affects their stand-up performances, but Shlesinger is back in top form in A Different Animal.
First, I have to say, career, marriage, and pregnancy have worked wonders on Shlesinger. She’s gone from a comedian delving into dating horrors to striding on stage with an incredible figure, bellowing about her pride as a mother and a woman. She’s absolutely glowing.
But what I love most about this comedian is that she is so unashamedly into her impressions and voices that they have fanbases of their own. I’m 100% sure that if the Shlesinger came on stage and acted like an overly masculine man, or a witch, or a gremlin, the audience would pay to see 60 minutes of it.
And it’s not like her impressions are extraordinary; for the most part, they come off as silly (that’s the point), but what struck me in A Different Animal is that they still resonate. It did not gain traction in one set and faded later in her career. She continually demonstrates that her success is no accident; she has remarkable timing and delivery.
Nothing in A Different Animal will surprise her fans. Iliza Shlesinger sticks to her usual subjects of relationship scenarios, but she has entered a new phase. She’s now a seasoned careerist, mother, and wife, whereas in previous stand-ups, her skepticism towards relationships and the novelty of entering marriage and starting a family were the focus.
And I like this version of Shlesinger. She brings such wisdom and a full-circle view on life. At the same time, she doesn’t forget her demographic: a young female audience that loves to feel empowered but also keeps an eye on their flaws.
Shlesinger points out that she’s entering a new era in her life that undoubtedly shapes her comedy. She waltzed onto the stage, discussing different generations and how Millennials (her generation) got a bad deal, with terrible rent, a poor economy, and significant disadvantages. She breaks it down for Gen Z, highlighting what we built for them (I happen to be a Millennial myself).
But it’s not as if Shlesinger truly cares about different generations; she’s doing it to make a statement. She’s reaching out to existing and new fans, creating a bridge in her resume so she can continue attracting more in her ever-expanding demographic (clearly, the male statistics will be noticeably slimmer).
Eventually, she explores motherhood (particularly how adorable a young child can be) and reflects on the impracticality of “shower sex in your 30s” while also performing numerous silly male impressions along the way.
However, her main angle revolves around the issue of patriarchy, which she ties in impressively by being slightly controversial to her own fanbase. She points out that any woman who starts a sentence with “patriarchy” will never be taken seriously. She encourages her audience to embrace themselves and their worth, leading to a significant point that she emphasizes: Men don’t require much to want to have sex with you, so stop overthinking your beauty standards.
And I suppose I chuckled a bit there, as that statement felt oddly relatable. She’s, in fact, correct. I’m sold if my wife ever throws on her jogging pants and wears a simple tee. I want sex. It doesn’t take much for me to be led into the bedroom. My past also shows a similar pattern that I can relate to with most of the male friendships I’ve had in my life; we are easily pleased.
This is why Iliza Shlesinger is a clever comic: not only does she connect the importance of female value to male ignorance, but she does it in a way that’s not patronizing to either sex. She resonates with her main demographic by expressing that she loves men and masculinity, but femininity is valuable and should be cherished, not overlooked.
Shlesinger may not be a philosopher, but she truly stepped up in A Different Animal. She’s willing to push the boundaries of her audience to make a larger point. Dare I say that her comedy has evolved, and she might struggle to follow this up?
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