Welcome, my friends, to the dawn of a fresh chapter in Miriam Maisel's fascinating journey. For those of you who, like me, marveled at the "Pilot" episode months before delving into the subsequent "Ya Shivu v Bolshom Dome Na Kholme," one might have assumed a lapse of time in Midge's life. But, as we all know, assumptions are often misleading. The truth is, the charming tête-à-tête between Midge and the retro-chic Lenny, and the subsequent events of "Bolshom," unfolded mere moments after the series' captivating premiere.
That explains the fire in Susie's eyes as she loiters outside the Maisel apartment, furious after being stood up by Midge, who had promised a 9:30 a.m. meeting following her arrest-worthy performance. This was the same day Midge dashed to Lenny's rescue, dashed to an aerobics class, dined alone, declared her independence, and, of course, dazzled in another enchanting dress. But, dear Susie, your anger is misplaced; Midge simply forgot, not intending to leave you hanging. As Susie exclaimed, "Now that I know, I wasn't even in your..." before realizing her first client resided in a palace.
It's a delight to see someone finally take in the majesty of the Maisel abode, where others seem to overlook its grandeur, as if it were a mere "regular degular shmegular." Let me clarify, this sprawling two-bedroom apartment, adorned as Midge's parents' home, is nothing short of "fucking Versailles," as Susie aptly put it, befitting a king like Charlemagne. Alas, I must confess, I failed to spy an airplane in the bathroom.
After Susie's witty rant about Midge's tardiness, her sticky-handed offspring, and her enviable access to not just one, but two Buckingham Palace-esque homes, it's time to delve into the real matter. The business at hand is, indeed, business, as the naturally gifted Midge had agreed to embark on a stand-up comedy journey under Susie's guidance. However, now, sober and sans the devilish influence of red wine, Midge attempts to shirk her destiny once again. It's understandable, given she barely recalls her electrifying performance the night before, let alone her liquid-fueled promises. Perhaps our heroine must refuse her calling twice, the first time being the result of an overpriced pinot noir?
Midge desperately strives to convince Susie that she is not the same woman she encountered the night before. Instead, she portrays herself as the conventional housewife she once was, before her downtown stage debut. To illustrate this, Midge accidentally performs a mini-set, while Susie, observant as ever, jots down notes as Midge plays it off as if she wasn't truly "Made For This." Although Susie's assessment is spot on, it's understandable why Midge is hesitant to embark on a new journey. Earlier, during her aerobics class, Midge realized that if nothing changes soon, she'll be relegated to the dreaded divorcee corner, surrounded by the likes of Martha Kilgallins. Remember how divorcees were perceived in the early seasons of 'Mad Men'? That's the future Midge fears, along with the prospect of breaking a sweat during her workouts. Gone are the days where she, as a mother of two, would simply grab her Lythe-line to indulge in cheesecake later. Now, she'll have to—dare I say it—find a second husband.
Determined to revert to her role as a gracious hostess and housewife, albeit with a lighter emphasis on the "wife" part, Midge invites the entire family over for a Yom Kippur make-up dinner. Joel's mother, Shirley (Caroline Aaron), arrives with matzo meal in her purse, panicking over the event's success. Despite Midge's assurances that the party isn't "for that"—a subtle reminder to Joel of what he's missing—she still wears a stunning red dress, as Rose advises. Joel takes notice of the dress, and I can't help but wish it were in my size. The elephant in the room—Joel's infidelity—is a topic everyone tries to avoid, but Abe cannot contain his disdain for his errant son-in-law.
The night quickly spirals out of control. Joel's father, Moishe (Kevin Pollak), suggests that Midge, an "old maid" like his widowed sister, should start doing puzzles featuring baskets of puppies. If that wasn't enough, Moishe reveals that he, not Joel, owns the Maisel apartment and plans to sell it now that the "kids" are splitting up. Midge is stunned—her husband lied to her, she faces unexpected homelessness, and she's been unknowingly living "hand-to-mouth" for four years, with only her father-in-law secretly supporting her family. Moishe's offensive remarks about her aimless, Bon-Bon-filled future only add insult to injury.
A screaming match erupts, and Midge flees to the Gaslight to perform a set heavily influenced by Russian Literature and the Old Testament. It's humorous, feminist, and expletive-laden—far more entertaining than it sounds. Unfortunately, one particular word, "balls," lands Midge in handcuffs for the second time in 48 hours. If that's a crime, every seventh-grader in New York City might unwittingly have an arrest warrant out for them. As the episode concludes, a much more subdued Midge is escorted out of the Gaslight by two officers, amidst waves of applause from the audience.
