Early Kate McKinnon Proved She Was Destined For Greatness

The SNL standout is currently killing it as part of the fearless foursome in Ghostbusters and if you know the comic's 2010 web series, it's no surprise

(Photo: Columbia Pictures)

(Photo: Columbia Pictures)

Literally every woman on earth synced up in a powerful way this weekend: They all saw Ghostbusters and instantly developed a massive crush on Kate McKinnon, who stars as weirdo scientist Dr. Jillian Holtzmann.

A new crush can be a lot to handle. Like, once you’ve spent hours rewatching her spot-on impressions of Justin Bieber and other hilarious SNL sketches and delightfully bizarre characters, practiced writing “Ms Kate McKinnon” in the margins of your diary (the “Ms” makes it feminist, don’t worry!), and stayed up all night scouring her maybe-girlfriend’s Instagram for photos of them together, where are you going to put all of that thrilling new-love energy?

The answer, as with so many things, is in The Vag. Specifically, Vag Magazine, the completely perfect 2010 web series that not nearly enough people have watched.

The series casts McKinnon as Bethany, who, along with her friends, buys Gemma, a mainstream women’s magazine they plan to bring in line with their very specific brand of feminism. To help them on this journey (all truly feminist activities are a journey) they enlist a few good women, aka a rollerderby-correspondent named Heavy Flo and a gonzo-journalist who goes by Reba. Each episode is also named after a pivotal album by a female musician, from Fumbling Towards Ecstasy (Sarah McLachlan!) to Revelling/Reckoning (Ani DiFranco). See, perfect.

It only takes about half an hour to get through the entire series, and there is a solid supply of McKinnon’s charming oddball nature throughout. She steals every scene she’s in—even ones where she doesn’t speak thanks to ventriloquist dummy facial expressions—seems committed to putting everything from markers to magazines in her mouth and offers an endless supply of non sequiturs like, “Horses are tools of the patriarchy. Except for Misty of Chincoteague.”

Even beyond McKinnon’s star-making turn, the series provides solid skewering of thirtysomething feminists as a consumer demographic. You will laugh and wince at the same time as the characters assert that an anchor motif makes a skirt “feminist” and constantly evangelize about alternative menstrual products.

The show is the perfect thing to put on the next time you’re hanging with pals and the night inevitably descends into showing each other stuff from YouTube. If you can bring this kind of quality under-the-radar McKinnon content to the party, maybe you’ll find your own dimpled weirdo to bring home.

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