1x04 The Disappointment of the Dionne Quintuplets

[7.5/10] This is another one that’s a bit lumpier and milder than some of the prior successes, but I still enjoyed it. I particularly liked the opening sequence where Midge’s formative experiences in the apartment she shared with Joel are juxtaposed with everything being moved out of it. It’s a well-shot and edited sequence, mixing present and past in a natural way and using different lighting to help contrast the time periods and emotions of the two.

That connects to Midge bristling at moving back in with her parents. Rose wants to ease her daughter through as much of this as possible. Abe doesn’t like his routine and dominion over his house being disrupted, even by his jilted daughter and TV-loving grandchildren. That leads to some amusing dinner table squawk-fests and stand-offs, but also some human moments as well.

I love how Abe gives in on the second TV thing because it’s easier than telling Rose that Joel’s definitely not coming back, and I love how Rose does her own secret midnight beauty routine, which must be where Midge learned it from. Honestly, just seeing the inside of Abe and Rose’s marriage is a fascinating treat.

But as entertaining as that is, Midge is, as she herself notes, not sixteen anymore. So as welcome a respite from being homeless as it is, she can’t help but feel like she’s regressing when going back to her old room, being given a curfew, and denied the simple pleasure of a television by her dad despite being a twenty-six year old woman with two kids. It’s a nice impetus for her to want to go find a job and get some independence, for real this time.

Part of the motivation for that is seeing how Joel is living now, having moved in with Penny. I got a big kick out of Midge’s dressing down of her soon-to-be ex husband. Her tearing him a new one over the “methodist version” of everything in their home, and pointing out that despite declaring that he didn’t want their life anymore, he’s just recreated it in a slightly more goyishe fashion. It’s a strong scene, since Midge’s rage is palpable, and we get to see the two of them actually have it out for once.

We also get to see more of Midge’s awakening, both as an independent woman and as a comedienne. On the more worldly side, we see her debating politics with Abe and accidentally participating in a rally against Robert Moses in Washington Square Park. It’s a hoot to see her stumble into it and once again prove she’s a natural in front of a crowd.

On the comedy front, I like Midge listening to a variety of “party records” and her and Susie’s tour of the different types of stand-ups out there. From the conceptual, almost anti-comedy ventriloquist performer, to the sharp ringer at a solid club, to a living legend performing at The Copa, it’s a nice survey both for Midge and the audience. It proves Susie’s mettle since she knows this world and what works beyond her client’s natural abilities, and it gives Midge the chance to see masters at work and imagine herself up on that stage.

It also provides time and space for the two of them to grow a little closer. We learn that Midge has an unseen, military-bound brother. We learn that Susie comes from a rough family. And we see the two of them becoming friends, at Midge’s behest, despite Susie’s protesting that she’s only asking Midge these personal questions to help generate material. Susie’s a hoot overall here, getting in lots of the best lines, but also showing some unshowy vulnerability as well.

Overall, this one is, again, a little more piece-moving than some of the other episodes of the show, but still has a lot of quality elements.