Midge on the Gordon show felt like watching your own kid living their dreams out and at that moment it was just so beautiful. I'll miss this show to no end especially Midge, Lenny, Susie and at times Abe. I never cared for wanting to watch in person stand up but now I look forward to seeing someone as funny as our Marvelous Mrs. Maisel.
[9.8/10] Susie nails it. When Midge tells her she’s considering doing something reckless with the four minutes remaining on The Gordon Ford show, Susie tells her number one client to go for it. She tells her that she got into this thing by taking a stage nobody invited her to and saying things she wasn’t allowed to say. Why should today be different? Why shouldn’t the same boldness and hilarious honesty carry the day now?
And oh my lord does it.
“Four Minutes” is, like so many series finale, full of call backs and bookends. In the finale of The Marvelous Mrs. Maisel’s first season, Midge and Joel are on the verge of getting back together. What stops the reunion is Joel hearing an underground “party record” of Midge’s confessional rant from the night he left her. He couldn't stand her spreading their private lives to strangers, and perhaps more damningly, he couldn't stand her being better at comedy than him.
Now, when he hears that Midge is going to be on The Gordon Ford Show, he is overjoyed for her, not jealous. And more to the point, without being asked, he tells her to talk about anything, about him, about the kids, about any part of the life he helped fracture, if only so that his sins can be further made fodder for something good and worthwhile. I’ve ragged on Joel a lot, but there may be no bigger sign of his growth and maturity than that.
Some echoes are not so happy. In the first episode, Midge hears Lenny’s rant about the meat grinder of stand-up and asks him in response if he loves it nonetheless. He gives her a shrug of resignation, a wry sort of acceptance that love it or hate it, this is the path he’s on. Here, Susie gives Lenny a plea when his life is disintegrating. She gives him an offer for help he sorely needs. Folks aware of the real life story know that Lenny is not far away from his untimely end. But when asked one final time, not in so many words, if he’ll accept the assistance it would take to pull out of this tailspin, all he offers is the same resigned shrug. It’s an underplayed but brutal affirmation that he’s as stuck on that path now as he was then.
Some lead to moments of honesty and vulnerability. The desperate phone call that pulled Midge away from work was having to bail Susie out of jail. It’s a meaningful reversal of the series’ beginning where it was Susie who got Midge out of the slammer. What led Susie there is continued raw feelings over Hedy, and having to dredge up that painful part of her life in order to get Midge the ticket to being in front of the camera she needs.
In the wake of that concession, which Midge now understands the gravity of, Susie (and Alex Borstein) gives arguably her best monologue in the entire series (give or take her eulogy for Nicky). When she talks about her relationship with Hedy, the plans they made that she let herself believe in, the love that they shared in a time and a place it wasn’t accepted or embraced, the heartbreak of seeing the woman she cared for pulled away from her, it is the most raw we’ve ever seen her. Her heartfelt confessional to her closest friend not only gives Borstein a time to shine as an actor, not only helps Midge understand what her manager did for her, but underscores the extra pain folks like Susie had to endure at a time where there were even more hurdles to finding love and acceptance that folks struggle with under the best of circumstances.
But the sacrifice is worth it because it works. Midge gets an invitation to appear on The Gordon Ford Show. The invitation is a bitter one. Gordon Ford resents Midge and Susie going around him to make this happen. But by god, it’s happening. And it leads to all sorts of great comedy and better grace notes for the cast of characters who made Mrs. Maisel feel so lively and hilarious for five seasons.
Dinah pulls off one last miracle, getting Midge the dress of her dreams for free for a mere mention of Bergdorf’s. (A far cry from when Midge had to struggle with a domineering boss to keep her job at a competing department store.) Zelda calls Rose to let her know about the show in secret, so as not to let Yanucz know she’s entangled with the Weissmans again. Archie and Imogene make it to the big show and take credit for dumping on ol’ Penny Pan from a cocktail party. Mrs. Moskowitz cuts through the elder Maisels’ monkeyshines and gets to the bottom of their grand plans.
Those grand plans are to, well, retire and spend the rest of their lives together. The epiphany arrives in an appropriately silly way, with a couple of choice falls in the shower and a sopping fur coat leading to some honest conversation. But in a season that started with the prospect of their divorce, there’s something adorable and endearing about Moishe retiring and giving up his business, the thing that represents the outward success he so cherishes, to revel in the inward success of a marriage to the woman he loves.
For a finale that is, quite understandably, full of sap, “Four Minutes” doesn’t skimp on the comedy. Susie and Dinah debating how to get a bucket across two buildings using a trained squirrel is a big laugh. Midge ranting to her fellow writers about deserving a few hours off without an array of pestering phone calls, only to find out it wasn’t them, is a very funny moment. And Abe and Rose frantically trying to explain to a series of unsympathetic cabbies during a shift change (relatable!) that through money, math tutoring, wedding rings, or magic whistles, they need to get to Rockefeller Center, is another one of the show’s great comic set pieces, with expert cinematography to match.
And yet, theirs might be the most touching moments in the finale. Rose’s schism from her husband and daughter in the first season stemmed from the sense that they were lying to her, that they were keeping the important things from her, that she wasn’t taken seriously. So when she has to find out Midge’s big news second-hand, Rose declares she’s not going thanks to this affront. It is merely the latest insult, the latest case of her being kept out of the loop by her “pathological liar” of a child.
Except, hilariously, Midge has enlisted everyone she knows, from Joel, to Shirley, to Zelda, to her fellow writers, to try to get the news to Rose. Wouldn’t you know it? Mrs. Weissman inadvertently left the darn phone off the hook. Nonetheless, she is touched that Midge went to such lengths to reach her, and it shows her how much her daughter does value and care about her.
Abe’s moment is much simpler. Midge tells him the news, and he’s confused about Midge’s references and colloquialisms and other things he just doesn’t understand. But what he does understand is that this is an achievement. He stops his all-important goings-on to tell her so and, even when the appearance isn’t going as planned, tells her how incredible what she’s accomplished is. It is a heartwarming follow-up to his hollowing epiphany of what he’d done wrong from the prior episode. And it is a tacit acknowledgment that, even if his daughter’s life doesn’t fit what he’d wanted or expected from her, it is no less extraordinary for it.
His pride carries extra resonance because Midge’s vaunted appearance isn’t going well. Gordon’s begrudging admittance of her to a spot on the show is not to perform her act; it’s to be interviewed as a writer. She is a “human interest” story. He will technically fulfill his wife’s request to have her on. But he also demeans her in the process, treating her like a sideshow and a curiosity rather than a comic.
She’s permitted to perform. She isn’t permitted to sit on the couch where the “real” guests go. He all but denies Midge her name, introducing only as “a Gordon Ford show writer”, and “our resident lady writer” before briefly providing only her first name, in contrast to the male writers who get their surnames as part of their introductions. And when she has the temerity to be funny during this neutered little segment? He throws to commercial because he can't stand her and Susie getting one over on him.
It is a brilliant exercise in frustration. Midge’s last stretch to glory in this finale is not a primrose path of triumph. It is another instance in which she must scratch and claw to get what she ought to have earned through talent and hard work alone. It is another example of her being punished for not doing things “the right way”, when that way contains every roadblock for people like her. It is one more time when succeeding at this means being bold and daring and a little dangerous, taking what you deserve because otherwise no one will give it to you.
That is the biggest bookend and parallel between The Marvelous Mrs. Maisel’s final bow and its opening salvo. Susie calls out that same fire that led Midge to the Gaslight to vent her frustrations on stage in the first place. Once again, Midge goes where she supposedly doesn’t belong, speaks when it’s not her turn to speak, because whether it’s liquid courage or simply the courage of her convictions, by god, she’s meant for this.
In one of those impossible, brilliant, writerly monologues, she tells it all again. She talks about being Jewish. She talks about being the child of two demanding parents. She talks about being left by her husband. She talks about being a mother. She talks about wanting fame and recognition for what she does. She talks about the challenges she’s faced as a woman, a comic, and someone who’s tried from day one to reconcile her life on stage with her life off of it.
At base, she talks about her life. With tremendous choices in lighting and direction, the show sells the enormity of this moment, the way this is the tipping point of her climb to fortune and fame, but also an intimate confessional, the truth behind her art that makes the comedy funnier and the confessions more piercing.
As I wrote in the series’ beginning, Seinfeld was not meant to be “a show about nothing.” It was intended to be a show about how comedians found material for their act. And in the same way, this moment in Mrs. Maisel is about the same thing. The performance that puts her on the map is not a riff on random nonsense or “put that on your plate”-style phoniness. It is about how, from her initial wedding toast, Midge has used her life as fodder to stand-up in front of the crowd and connect with her audience.
In a way, Midge’s whole life has led to this moment. She uses the events of the series, her challenges from being single again, the unique struggles of being a comedienne, her relationship with her kids and her relationship with her parents and her relationship with the ex-husband whose selfish deeds started this whole wild journey, to make up the set that becomes her crowning achievement. The trials and travails of the last three years and five seasons amounted to this: a set that kills, a truth that resonates, and a person less revealed than transformed, who’s come out of her original betrayal stronger and willing to seize what’s waiting on the other side of that window.
It’s beautiful and stirring and a magnificent capstone to all Midge was achieved. If there’s an element of wish fulfillment to it all, it’s that she’s so hilarious that even grumpy Gordon can't help but break down and admit he should have had her up there a long time ago. He does fire her, so she doesn’t get off scot-free. But in a parallel to Joan Rivers’ big break with Johnny Carson, she’s invited to the couch, a recognition of her talent and the fact that, whether he wanted her there or not, she was going to be a big star. It’s enough for Gordon to give her the benediction of announcing her name, a title drop for the series that could hardly come in a more satisfying way.
But other people knew before Gordon did. One of them was Lenny Bruce. Whether or not he’s there for her great success, he saw the star that she would become. It is downright lovely that the thought we leave Lenny with is not his sad passing, but rather the image of someone who had utter faith and confidence in Midge, with a fortune cookie fortune, spun into honest flattery, that gives her a boost via their sweet inside joke when she needs it most.
But the first person who knew was Susie. Season 5 teased discord between manager and client throughout. Our flash forwards suggested enmity between them that couldn't be resolved. And for all the talk of fame here as the ultimate goal, our semi-shocking glimpse of Midge in 2005 suggests a lonely life. Her parents have presumably passed on. Her kids clearly have mixed feelings with her. Joel is but a loving picture on a desk. All that's left, seemingly, is for Midge to wander through an opulent but empty living space, albeit one in a familiar part of town, that suggests she may be as isolated and aloof as Sophie Lennon became amid her success.
Except she isn’t. She retreats to her room, connects with a blissfully retired, tropically-residing Susie, and the two uproariously funny old vets crack each other up over Jeopardy and reincarnation across a continent. In the end, when the work together has ended, what’s left is their true friendship. And more importantly, Midge has what she was looking for the last time Susie was in a beachside locale -- someone who makes her laugh.
When Midge lost one partnership with Joel, she accidentally discovered another with Susie. And while the former fueled her, and eventually worked its way to being a worthy part of her life, it’s the latter that drove her, comforted, and sustained her.
What a lovely note to go out on for this series, which nailed the landing in a way few television shows do. The Marvelous Mrs. Maisel’s final set is a glorious one, which pays due tribute to these rich characters, this colorful little ecosystem, and the journey that led them here. A small-time bar boss comes to manage the stars, a jilted housewife comes to be the groundbreaking entertainer she was always meant to become, and two people uncover a friendship that nourishes them even when the work fades away. To Amy Sherman-Palladino, to the talented creative team that brought this series to life over the past six years, to Midge and Susie -- thank you and goodnight.
Disappointing. This show was receiving backlash for portraying Mitch as a complex human both good and bad rather instead of being just pure evil, and rather than going forward with that and continuing to challenge their audience, they gave in to the criticism and took a cheap way out
This was fucking horrific. This scriptwriter should be forced to find a new career. The second that Rosamund Pike was kidnapped, I thought to myself, "He's either going to propose, or they're going to go into business together." The problem was in getting to the point, where this actually happened. These Russian mobsters must've been the most incompetent buffoons on the planet to not be able to finish off two individuals, who they'd already pretty much brought to w/in an inch of their life. This was such an incredible stretch that it made this movie absolutely ridiculous.
Aside from this, the fact that the writer tried to make these two women sympathetic characters screams that there's something really off w/ this writer. On what planet are people who take advantage of, and essentially murder, some of the most vulnerable members of society sympathetic?
On one last note, I've never been a fan of Rosamund Pike. I'd seen her in two previous films, where she was not good at all: Jack Reacher and Gone Girl. In the former, she's so melodramatic, it's difficult to watch, and it's even more difficult to take her character seriously. In the latter, although she's playing a character w/ Antisocial Personality Disorder, that doesn't necessarily mean someone devoid of affect, which is exactly how she played that role. She may as well have been a talking stump in that movie. I realize that she received industry-wide recognition for the latter role, but I prescribe this to the industries' complete and utter lack of understanding of psychological disorders and their accompanying attributes.
I wasn't going to watch this film b/c of my distaste for Ms. Pike's acting ability, but the movie, on its own, won such rave reviews, I figured that I'd give it a chance. However, something about her just wasn't right. She had this odd grin in a lot of scenes, where it either didn't fit, or it seemed like it would've been inappropriate, if it had been a real-life situation. I just find her acting to be really off-putting. Luckily, both Peter Dinklage and Dianne Wiest are always top-notch performers.
Honestly, I was scared the whole act she'd slip up out of nerves and reveal to all of Harlem about Shy being gay. But she didn't. She did amazing. And then, insecure, paranoid Shy kicks her out of the tour after all the times she was there for him when he needed it? What an ungrateful child. He was not a very good singer, anyways.
If the Terminator and Chucky met at a BDSM club and one of them got pregnant, M3gan would be the result. As cool as the doll is, the movie itself should've been better. Watch with low expectations and you won't be disappointed.
80% was decent but they Netflixed it for their Millenial audience and the ending was so aweful that it ruined the whole movie for me. That's why I prefer HBO shows - they are for adults and don't need ridiculous, unrealistic over-acting or over-writing to keep their audience edutained till the end.
they canceled this fantastic show, meanwhile they keep producing shitty teen drama's. what a shame
Oh jeez, the series was great but they really should have toned it down a bit with the cringy fairytale ending.
By the end eeeverybody has to take their turn and declare their unconditional adoration for the Mary-Sue of the series:
- Townes (despite years of no contact and overall lack of relevancy at this point in the story?)
- the grizzled russian chess veteran (despite playing her only once?)
- Billy (despite him rightfully telling her to fuck off previously)
- Beltik (despite her previously refusing his help and him being some random Kentucky store manager and a washed up ex-regional champion way over his head at this point)
- the twins, for some reason - what are they even doing in Billy's basement offering advice in a game way above their level? (do they even know any of the other people in that room? Who invited them? Why does the US chess champion have to rely on phoned in advice from some random friends while playing for the world title in the first place?)
- Borgov (who is inexplicably happy for her despite the fact that his loss is a huge upset not just for him, but the entire cold-war era soviet bloc)
- throw in some random old men on the street in Moscow beacuse why not
By the end I was surprised her adoptive father didn't chip in and call her in Russia to admit teary eyed that he was wrong and Beth is "the greatest person that ever lived" or something.
I thought this was better than the last couple of episodes. Eve going fully feral for a second there with Dasha was maginifcent (Sandra Oh EGOT when), Villanelle got a couple chuckles out of me in that first scene ("thank you for the inappropriate touching"), and Konstantin and Dasha ending up in the same hospital might lead to some really funny interactions. Can't believe the season is ending next week, is it just me or does it feel like not much has happened? Nothing, even Niko getting stabbed or Kenny dying or Villanelle murdering her family felt all that impactful.
There is only one redeeming factor about this movie, the fact that Trakt give rating of 1 heart the name 'Weak Sauce :(' as that describes this movie perfectly.
People may say that this is a more 'arty' film, let's be frank, it's not well enough executed to be one, I've seen better arty films elsewhere.
Not only that, but I just can't get over the plot holes, which includes some typical Hollywood style puffery, for instance, the girls hold up a cafe (I think) at gunpoint, steal money from the till without wearing gloves (so you'd think there are fingerprints at least), the girls later get arrested during Spring Break (so I'd imagine fingerprinted), so I'm either over-estimating police intelligence or information sharing, or that was a pretty big plot hole.
In addition, when they are outside the diner/superette(?) and they re-enact the hold up, how that scene would go completely unnoticed, boggles my mind, it just doesn't make sense to me.
Apart from what I feel like plot holes, the proportion of runtime spent on mindless dribble/fast cuts/etc (which is really the director trying to be artsy) bored me out of my mind like you'd never believe.
In summary, I want my hour and a half back!
Ever see a movie and you suddenly realize your IQ is dropping? That's this movie. I seriously cannot believe this movie got made, or that anyone in charge of the budget signed off on it. It's horribly dull, just scene after scene of people dancing and partying. These four "ladies" go on "spraang braaaake" and bad stuff happens. I kept waiting for the point, but really, the movie has nothing to say other than "look at these ladies in their bikinis." I guess the "moral" is that you shouldn't do bad things or bad things might happen to you? Maybe?
My least favorite part was the constant repetition of lines. I feel like the "writers" couldn't come up with good dialogue, so when they found something they liked, they repeated it. At one point, the girls get arrested, and they keep saying "it wasn't supposed to be like this" over and over. I'm not kidding, I think they said it six or seven times. The film is visually stunning, if I'm being positive. They spent a LOT of money on neon lights and fake guns...and swimsuits. SO MANY swimsuits, and so many closeups of women in swimsuits. I kinda feel like the director graduated from "Girls Gone Wild" to artsy films, but this need more plot, character arcs, and less of James Franco's teeth. If you want to hear people say "spraang braaaake forevvvvvahhh" many MANY times, go for it.
Paul Feig tries his hand directing a movie sans Melissa McCarthy, that honestly, on first viewing, had me hitting fast forward on the remote. Fortunately, where I stopped was the point that the movie got truly interesting, and, after watching the third act, I was intrigued enough to go back and take a second look. I'm very glad I did. It's not the typical Paul Feig, movie, neither raucous comedy, nor comedy thriller, but kind of a dark, comedish, Urban Neo-Noir, dramedy but not exactly. The female leads drive the story, but, you really don't know who to root for, as BOTH are a bit damaged and twisted, and, you have to get to the end to find out which one is MORE screwed up. A third of the way in Anna Kendrick's character makes some choices that (although they had set it up in a previous scene) were sooo aggravating and clichéd that I ALMOST called it a wrap, then, they telegraphed the "plot twist" so ham handedly that one can easily guess the rest of the movie.
THANKFULLY, Feig's deft direction, and the casts thespianship, combined with several ..but wait, but wait....., but wait, curveballs (is it a plot twist if you see it coming?) at the end made this worth the watch.
If you rent the DVD, in the extras there is a cute "flash mob" scene that was supposed to be the happy ending, to run during the title credits, but, it didn't track well to test audiences, so they cut it. Its a fun Bollywood tribute, but, IMO they were right to cut it, as it would have seemed trite and forced. Still, they tacked on some happily ever after title cards in the credits, because that's just how Paul rolls.
The first 3/4s of Mother! impressed me for its visual aspect but frustrated me as regards the story... but then came the final 10 minutes. At the end of the film things fall into place and a lot of the symbolism is explained. I'm not saying I understood everything, but I got the main points, which was more than satisfying for a first time viewing.
As for the haters out there... Why is it when David Lynch makes an artsy film that's difficult to follow everyone applauds his audacity, yet when Darren Aronofsky does it, then it's suddenly pretentious shite? Seriously, who goes to a Darren Aronofsky film expecting "House at the End of the Street"? Have they not seen Black Swan? Aronofsky is known for his think pieces, and here we are made to think to the background of stunning imagery and thoughtful filmmaking. If you want to hate a film for not being accessible, take it out on Enemy or Under the Skin, but leave my Mother! alone.
I wished this was better. It wasn't. First elephant in the room, make up/prosthetics on Sofia were terrible. She was never going to look like Griselda. Why this weird botched middle ground? I don't know how that got approved. Story pacing was so so. It felt as if we were stop and start racing through plot points. Spending too much time on unimportant or uninteresting segments only to breeze by more intriguing moments. I wish we would have gotten a bit more time with Griselda on top of the world before the inevitable collapse and her murder. I liked where and how it ended, but it missed on a lot of the bigger story points. Writing was ok. I did enjoy the fashion, music, and hair. Really fun exposure to the culture of Latinos and Miami in this moment of time. I though Sofia did well, but not spectacularly. Her inspirational/rousing speeches fell flat or just felt like her screaming her dialogue instead of actually inspiring. She did well playing off her male leads though. Overall, if you like Sofia you'll like this. If you don't, move on past this series.
I loved the show, nearly every minute of it, but the very ending was a lackluster affair for me. The aging was completely unconvincing and even detrimental to the whole story. Worst of all, it was completely unnecessary. Throughout the season, I felt these flash-forwards were tacked on, not gelling perfectly with the rest of the story. Other than that, it was a lovely goodbye, with some nail-biting moments, like the Gordon Ford show. The character arcs of both Mrs. Maisel and Susie were realistic. That's not particularly important, but it was a nice touch. Susie did completely change her taste towards the end, as judged by her choices in interior design, but you can't have it all. It's still one of the best shows ever in the wholesome category.
I will subscribe to Hulu just to watch this when new seasons are offered. Really well done. Heartily recommended.
As someone that isn't a huge "whodunnit?" fan (except Scream), this movie is awesome. The cast spares not expense at a great cast, clever/funny writing, and an overall super engaging mystery. People who like these types of movies will surely LOVE this one.
Rating: 3.5/5 - 8/10 - Would Recommend
I said the same thing a few days ago.
It's starting to drag on and on and on with no resolution.
I still love the show though.
This show is so stupid and ridiculous, yet I couldn't stop watching haha
The satire is almost pitch black with how accurate and blunt it is. I wanted to laugh and enjoy this movie for the satirical comedy that it's so clearly trying to be, but it's secretly a depressive mockumentary on the current state of discourse in the US and across the world. Very well done, almost too accurate for humourous purposes, and left me feeling a little hollow when the credits rolled. If that was the intent, kudos Adam McKay. I'm going to go hug my dog and tell my parents I love them.
I have seen short videos of her on tiktok but I really didn't think she had this cult following. I saw the first episode and that bit where she's asked who she looks up to, the way she responded... I don't think she has a right to teach others anything. She's clearly a narcissist and thinks of herself as some form of deity or superior being. That part, I couldn't care less about, but she's dangerous and shouldn't be allowed around suicidal people.
One episode is enough, won't be watching more. If you're just wondering about her, you'll get enough from one episode.
[8.0/10] This is a season finale without much finality. That’s not the worst thing in the world, but considering we went years between seasons before, the number of dangling threads here and sense of not settling down much of anything the show kicked up this season is a tad disappointing.
But what we do get is good! Midge’s set about women being in charge only nobody’s told them! And the ensuing chaos of the raid! And Abe’s obituary for Moishe! And Lenny reading Midge the riot act! It’s all excellent and in some cases, downright moving.
It’s that last bit though that’s my favorite. Candidly, I don’t like Lenny and Midge sleeping together. In my humble opinion, the show went about as far as it should have in blending real life and fiction with Midge and Lenny’s quasi-date in “It’s Comedy or Cabbage” from last season. Pushing it this far, especially after Lenny’s jerkery earlier, seems unnecessary.
But I like him being the one to talk some sense into Midge. Susie is just freaking done and, given how her phone is ringing off the hook, doesn’t seem to need Midge in order for Susie Myerson and Associates to do some serious business. She’s understandably pissed that Midge gave up the Tony Bennett gig in the name of only headlining, but just sucks it up until she says, not in so many words, that she’s tired of having to listen to Midge’s B.S. about this. And hey, good for her.
Lenny, on the other hand, comes from a place of experience. He’s the one Midge aspires to be like, to be able to speak her mind and still have an audience like he does. And he basically tells her that being controversial is a curse as much as it’s a blessing. He demands that she take him off a pedestal and recognize him for the fuck-up that he is (drug problem notwithstanding). Most of all, he insists that she see this as work, that she give up on the “my way or the highway” bullshit and play ball to get where she wants to be.
It’s the kind of speech you don’t hear very often on television. (The “just do the work” speech to Don in Mad Men comes to mind as the rare comparator.) It’s not inspiring exactly, but it’s motivating. It’s learning to compromise, to put in the work to get you where you need to go, and have the humility to recognize that your path to get there may involve a few less glamorous stops along the road. It comes from a place of love. Lenny sees that Midge is on the cusp of her big shot and doesn’t want her to miss it. And it’s exactly what she needs to hear.
The rest of this one is good too. I’m sorry to say that I recently had an experience of a loved one being in the hospital in dire condition, and “Carnegie Hall” manages to capture both the humor and heartbreak of it. Imogene patting everyone on the arm, Joel looking up medical textbooks, Mei posing as a hospital-provided mahjong player, Abe fearing his keys are a death rattle, it’s all funny in that dark but rib-tickling sort of way.
It comes with a heap of touching moments though. The one that catches you off guard is the conversation between Abe and Shirley. It’s funny too, with detours about services for burial plots and trips to Turkey based on Turkish plumbers. But the heartfelt conversation about “dying with all your teeth” and whether god is cruel for allowing people to know that they’re going to die is profound in a way you don’t necessarily expect from what is mostly a joke character. The coup de grace comes when Shirley reassures Abe, even as she’s hurting, that if Rose passes first, she’ll be there to help him. It’s just unbearably sweet.
The same goes for Abe’s spoken obituary about a thankfully living Moishe. Amy Sherman-Palladino doesn’t lay on the schmaltz. Abe discusses the origins of Moishe’s fabrics shop and mentions the thirteen Jews and even gets philosophical and academic in that trademark Abe Weissman way. And yet, he ends on a note of sincerity. As much as the elder Maisels are characters who exist mainly for humor and to be pests, their actions speak to their true, generous character. Abe’s right. The way they took Abe and Rose in without asking for anything in return, the way Moishe’s looked after Midge when it wasn’t his responsibility, is a mitzvah and the sign of a good man. The speech tugs at the heartstrings and Kevin Pollak does excellent work with Moishe’s plainly touched reaction.
The episode’s a good excuse for Sherman-Palladino to show off her skills as a director. The “Personality” sequence at the burlesque house has oodles of visual panache, and it’s matched with the mad dash to get everyone out the door once the raid starts. We get some good indications of struggle as Midge trudges through a freak snowstorm. And in the big scene with Lenny, she manages to make two people arguing on a big stage in an empty theater visually interesting with the way she blocks the performers and keeps the camera active with them.
That just leaves Midge’s set. As always in these confessional moments, Midge (and by extension, Sherman-Palladino) seize on both the truth and the humor. Her recognition of how women are expected to soldier on in these situations where men are societally permitted to be out of sorts is well-observed. Her note of how doctors are gods but nurses are, as Lenny will say, doing the work, and holding you as you cry, sets up a strong call and response and vindicates hard-working medical professionals. And she closes without a joke, just a wry but piercing observation of who might really be in charge and a wish that a kind man not leave this veil of tears just yet. It’s her best set of the season, and there have been some doozies.
Of course, there’s also the sweetness of Abe and Rose, with him being moved enough by Shirley’s comments to affirm her and her match-making, and give her the wherewithal (and kiss) to spur her to go to war with the Matchmaking Mafia. It’s a nice grace note for the couple.
There’s still a lot up in the air. Shirley still doesn’t know about Mei. Moishe accepts her and her pregnancy, but insists she convert. Midge’s career trajectory is still a big question mark. Susie’s rocket to the top and what the mob’s “taste” will look like lingers out there. How Rose’s war will turn out, what will become of Alfie and James and Dinah, and a million other questions still linger. This is more of a set of ellipses than a period, or even a semicolon.
But it’s good stuff -- touching, funny, and appropriately chastening of its title character at a time when she needs to hear it. I can’t ask for more than that.
Elle Fanning, Russian History, Character Development, and The Talking Heads...I don't know if anything could be more me
this better get another f*cking season, oh my god
That French bit is so cringe the black girl can't even say a sentence properly and managed to make 2 mistakes when it's "her first language"
It’s so hard to keep watching. This season is so slow and draining. I keep watching hoping something happens but nothing.
Ok wow that was good. Like really good.
Man just a lot of fun.
So plot wise this is a movie about two people both of whom are bad people. They meet happenstance and find out they're both going to the same destination wedding. Lindsay is the former fiance of the groom (he left her) and Frank is his half-brother. They both hate the groom Keith but it barely unites them as they both just hate everything.
This plotline sounds familiar because it's basically all you need to know to watch FX's absolutely excellent You're the Worst. But this is just a movie version of that pilot. So what you really look for in this movie is not so much the plot which we all know (Boy meets girl, ... , They get together), but the chemistry and how they get together. Ryder and Reeves have EXCELLENT chemistry and the writing was top notch. Which it had to be because this movie is 90% Lindsay and Frank riffing off one another. It doesn't feel improvy or forced. But the sheer endurance of the back and forth between them is impressive. They should be together based on that alone. But Keanu plays a character that in other people's hands would feel lazy and dull. I love Bruce Willis movies but ever since I learned he has a rider that says he films his parts in like 2 days and then collects his money and they film the rest of the movie. It suddenly clicks what is wrong with his performances lately. It's that he's not performing. Reeves does the oppsite here. He takes a character that is written as lifeless and stiff and he performs that stiffness. Ryder's Lindsay on paper is pathetic. Keith broke off their engnagement like a dick but she sues him and is still coming to this Destination Wedding performatively instead of saying no and sparing herself the pain. Ryder infuses her with pain and anger and spite. Yet she's develops a hesitant but honest and open affection for Frank that keeps her interesting.
This is exactly the sort of movie I would buy just to have on tap when I need something to watch that's entertaining but not stupid.
