The writing so far is really just tremendous, but what I love so much about The Marvelous Mrs. Maisel is the cadence of the episodes themselves. They ebb and flow with the mood of the conversation--the comedic scenes feel fast and the morose bits are much more contemplative. It emulates conversation in a very real way, and that's completely outside of how the actors deliver their lines. And so there's a wonderful lead-up to Midge's stand-up sets. So far we've seen these delightful little rising action sections that rival even the greatest lead-ins in action classics. Nice.
Review by Andrew BloomVIP 9BlockedParentSpoilers2020-11-29T04:54:59Z
[7.5/10] This one isn’t as fully formed as the prior two episodes, but it’s still solid. It fits more of the traditional TV episode mold, with Midge on an adventure of her own, with side stories for Abe and for Susie. There’s a bit of a step down with Daniel Palladino writing and directing instead of Amy Sherman-Palladino, but there’s still a lot of good stuff here.
For one thing, I like the overall story of Midge breaking outside of her usual comfort zone and seeing how the rest of the world lives and, more importantly, functions. You get the sense that she wasn’t necessarily aware of the injustices that existed beyond her Upper West Side apartment. She’s been shielded from them. Now, shedding her husband, exploring the world of prisons and impingements on free speech and voter suppression and discrimination, she’s slowly but surely having the wool removed from her eyes.
We see that in her amusing courtroom drama. Her bristling at the judge’s condescension and sexism, having to pay a sizeable fine, and only getting out because of her position and apology is funny, given her resistance, but also low key infuriating. Kessler is a good addition to the show, as his rough and tumble manner suits the series’ patter, and the palpable sense of Midge stepping out of her “good girl” role is welcome.
We see that in her trip with Lenny Bruce (who I am delighted has become an out and out recurring character on the show) to the jazz club. She smokes pot. She hangs out with the band. She even impulsively takes the stage to do an introduction and ends up doing another confessional set up there that’s funny and sad at the same time. It’s another indication of her coming into her own, which is good work.
I also like the dynamic between Abe and Rose here. Rose is worried about her daughter, but the only thing she knows how to do is cajole her husband to do something. So we see Abe making peace with Moishe Maisel, indulging his blowhard nature, and even offering to foot the bill for half the apartment (de facto all of the apartment) in the hopes that it’ll get “the kids” back together. His make nice routine is funny, and Shaloub and Pollak have great comic chemistry together.
The best comes when Midge recalls to him how she told Joel he couldn’t come home, as the title suggested, “because [he] left.” It’s a great statement of independence and self-worth from Midge, reiterating that, as she says, she doesn’t want him around if he doesn’t want to be there. And you can see on Abe’s face that he’s a little worried, and also concerned about what he’s in for with Rose and Moishe as a consequence of all of this. But also that he’s more than a little proud of his daughter for sticking up for herself like that. (Maybe I’m projecting just a little.) It’s a strong, effective moment.
Last but not least, I also enjoyed seeing Susie snark her way through the court proceeding and, more importantly, joust with an acquaintance at the Friar’s Club in order to get some advice on how to be a manager. Unflappable Susie getting flustered with Lenny Bruce is kind of adorable, and her determination and enthusiasm about Midge being worthy of the big time is infectious.
Overall, this one is a little less incredible than the first two outings, but it’s still a quality episode.