Chris Connor reviews the fourth season of The Marvelous Mrs Maisel…
Amy Sherman-Palladino’s The Marvelous Mrs Maisel has been one of Amazon’s flagship show’s since the launch of its first season in 2017. It has earned rave reviews and awards galore for lead star Rachel Brosnahan as divorced Miriam “Midge” Maisel who embarks on a career as a stand-up comic in 1950s New York. The fourth season sees the story move into the 1960s with the famous Kennedy vs Nixon election in the background throughout. It picks up in the immediate aftermath of the season three finale with Midge’s gig opening across Europe for Soul star Shy Baldwin left in tatters at the airport after she publicly outed Shy as gay; this results in our heroine back at ground zero and without the much needed income the tour would generate.
This season sees many returning faces, albeit with new predicaments for them. Midge’s father Abe has left his long term career as a lecturer following a failed stint at Columbia and is now working at an advertising agency, while her mother Rose is given a more prominent role in a supporting storyline of her exploits as a matchmaker which gets her into a feud with other New York-based women pursuing her clients. There are also recurring appearances from Midge’s long term rival comic Sophie Lennon played with snarling attitude by Glee’s Jane Lynch. We also see a frequent role from Luke Kirby as real life comedian Lenny Bruce; a close friend and potential love interest for Midge, Kirby’s billing upgrades from recurring in the first three seasons to Main.
One of the show’s major strengths, perhaps never better exemplified than this season, is the harmonious balance between humour and drama. Midge’s gig opening at a strip club earns more than a few laughs and in another show this could be exclusively played for laughs but it’s the deftness of touch that marks it apart. We really care about Midge and those around her and root for them to overcome the obstacles 60s New York throws at them, such as ex-husband Joel’s relationship with Mei his colleague at his club that risks incurring the wrath of his staunchly Jewish parents. The fast paced dialogue is delivered expertly by its cast and helps make it one of the most sharply written and observant shows on television.
The performances really do elevate the show with Brosnahan never better than as the eccentric and lively Miriam, contrasting her close friend the foul mouthed Susie or her uptight parents Rose and Abe. It is to the show’s credit that it maintains an ensemble feel as Miriam’s storyline can feel like it is lacking in momentum on occasion.
One of the criticism’s labelled at the show, especially in its third seaso,n is that it needs a change of pace and there is enough forward movement here to dispel such worries. Susie opening her own agency adds both laughs but also some character development and a change of direction for the pair. With season five recently announced as the show’s final season the change in direction for certain characters makes sense and sets up a grandstand conclusion with Midge seemingly on the cusp of finally making it big and overcoming the numerous hurdles thrown her way throughout the shows run.
The Marvelous Mrs Maisel’s fourth season is one of its strongest to date, moving the show into another decade but not losing any of its copious amounts of charm. With the stunning production design that audiences eat up in their droves, it remains one of the best looking shows on television and the colour palette and costumes are nothing short of exquisite. The performances and scripts continue to be a core foundation on which much of the series’ success lies but it is the balance between pathos and laugh out loud comedy that really surprises, showing a maturity and depth to the show that some may not expect. Here’s hoping the show delivers on its promise and goes out with the final season it deserves.
Chris Connor
