The episode commences with Midge overseeing the movers as they pack up her apartment alongside Joel, interspersed with nostalgic flashbacks of the once-blissful couple's life in their Riverside Drive abode. The memories of their first night at home, bringing baby Ethan home, double-date nights, and their renowned New Year's Eve parties flood Midge's mind as her former home is dismantled. The scene is underscored by Barbra Streisand's "Happy Days Are Here Again," yet one wonders if "Memories" wouldn't be a more fitting choice.
Midge, now officially a single mother of two residing in her pink-hued childhood bedroom with her parents, is unlikely to be concerned about the musical accompaniment. Unable to hide forever amidst the dog figurines and matinee idol photographs, she eventually ventures to the Gaslight, seeking clarity on her career path. Despite Susie's claim of uncertainty about Midge's comic persona, armed with eight business cards, the young woman has already mapped out her path. She identifies herself as a "stalker" on stage, delivering a stream-of-consciousness personal comedy subtly infused with political undertones. Always a planner, Midge promptly jots down her priorities besides honing her material.
With the knowledge that 30% of comics have not perished from microphone-related mishaps, Midge decides to familiarize herself with the technicalities of her craft. This leads her to the Village's Music Inn, where Susie introduces her to the underground party records hidden downstairs. These records, a subgenre of comedy catering to adults only, are filled with risqué content. Midge purchases one by Redd Foxx, a real-life comedian similar to the many celebrities mentioned throughout Maisel, including Lenny Bruce.
Amidst political discussions, Midge and Abe debate the candidacy of either Senator Kennedy or Richard Milhous Nixon. Abe disdains both prospects. Let's hope no one reveals the next 15 years of American history to him.
It is then that Midge chances upon a predominantly female protest in Washington Square Park, rallying against the city's proposal to incorporate a car lane in the scenic park. Led by the real-life Greenwich Village activist Jane Jacobs (Alison Smith), Jane invites anyone in the crowd to speak at the rally. Despite Midge's admission of ignorance about the issues, Jane selects our heroine from the crowd to share her story. For the fifth time in four episodes, Midge delivers an impeccable impromptu set, touching upon the patriarchy's oppression of women through shoe advertisements. The villagers love it, and a politically involved Black woman, admiring Midge's richness and privilege, applauds her enthusiastically.
Emboldened by this political awakening, Midge accompanies Susie to comedy clubs, eager to observe the veteran stand-up comedians. She witnesses an eccentric ventriloquist (Ambrose Martos) claiming that his dummy committed suicide backstage. Following him is a mainstream comic named Howard Fawn (Aaron Serotsky), so mainstream that he's convinced Midge is an L.A. spy sent to spy on him or, worse, steal his act. "Are you kidding me?" Howard asks Midge, incredulous. "You can't do my act." He's right, but Midge retorts that she could do it better, "and in heels!"
Susie, not one to beat around the bush, promptly dragged Midge out of the club, steering her straight towards the illustrious Copacabana. While Susie had never tread the gilded halls of the renowned nightspot, Midge had visited the venue with Joel on their anniversary the year prior. Yet, Susie remained indifferent. Despite Midge's visits to two other comedy clubs this evening, the lavish Copa held a special place in her heart. She envisioned herself standing there one day, dressed in a white gown, opera-length gloves, basking in the spotlight. As this dream materialized in her mind, Midge and Susie retreated for a late-night snack of 25-cent fries, 25-cent hot dogs, and a conversation, albeit fleeting, about the essence of friendship – all without a cent spent.
Midge's acquisition of a new friend was indeed fortunate, as this episode broadened her horizons beyond the realm of comedy. She also discovered that the childish Joel was even more of a disappointment than she had imagined. Despite his incessant pleas for a life "more" than their Upper West Side routine, the newly single man had relocated... to the Upper West Side? After a brief stint crashing on the couch of one of the Maisel couple's friends, Joel had rented a one-bedroom apartment mere 10 blocks away from their home, in a building that resembled theirs to a tee. The only notable difference was that he had swapped Midge for his secretary-mistress, Penny Pan, who was content to play house. The actual Mrs. Maisel, or Penny as she might be mistaken for, was right to point out that Joel was merely living a "Methodist version" of their marriage.
At this juncture, one must wonder: can anyone truly trust Joel and his porcelain ducks to refrain from baptizing Ethan in Penny Pan's name while Midge is away?
