As you ascend the pinnacle of triumph, basking in the glory of your achievements, resting on your laurels becomes a folly of the utmost kind. And if the premiere of 'The Marvelous Mrs. Maisel's' second season serves as a testament, then Miriam "Midge" Maisel must heed this warning with utmost vigilance. Following a triumphant first season that garnered a flurry of accolades, including a plethora of Emmys, Amy Sherman-Palladino's creation embarked on its sophomore journey with skyscraping expectations.
Now, let me be clear, 'Maisel' remains a show of unparalleled magnificence. Yet, its return seems more a showcase of its Amazon-backed grandeur than a continuation of the captivating narrative that captivated audiences in its inaugural season. Barely a quarter of an hour into "Simone," Midge (Rachel Brosnahan, a joy to behold in every frame) and her father, Abe (Tony Shalhoub, stealing scenes with every utterance), are whisked away to Paris in a contrived plot revolving around Rose (Marin Hinkle, finally showcasing her acting prowess this season, and we are all the richer for it). Rose, fleeing to the City of Light to rediscover herself, seems to have left her troubles behind.
Yet, considering that Midge had just emerged victorious from a triumphant stand-up performance at the Gaslight (it seems only a fleeting moment since the season one finale, placing us in the depths of December 1958), one would think that indulging in an impromptu trip to Europe would be the last thing she would consider, especially when it comes at the cost of her burgeoning career. However, she manages to keep her comedic wit sharp, delivering an unplanned set at a French drag club, reminiscing about the highlights of the first season.
If the new season of 'The Marvelous Mrs. Maisel' teaches us anything, it's that to appreciate its greatness, one must marvel at its visual splendor, rather than scrutinize its narrative. The show's finest moments, particularly in season two, are the elaborately choreographed sequences that transform mundane moments into breathtaking spectacles. Only Sherman-Palladino, who wrote and directed "Simone," could transform the cacophony of a department-store switchboard room into a graceful ballet. Set to Barbra Streisand's rendition of "Just Leave Everything to Me" from the 1969 film 'Hello, Dolly!' (anachronisms aside, the Streisand tracks still blend seamlessly into the 'Maisel' universe), the episode opens by reintroducing us to Midge in her new role as a B. Altman switchboard operator/den mother, seamlessly navigating from one girl to another, offering solace and a back rub without missing a beat or a syllable of "B. Altman, where can I direct your call? I will connect you." Yes, we're quickly informed of the big news: Our Midge has been demoted from the makeup counter, following her husband's mistress publicly calling her a tramp, to the dismay of holiday shoppers.
But Midge doesn't have the time to dwell on her demotion, as she soon leaves her children (once again) in the capable hands of her parents' maid, Zelda, to chase after Rose. My take on this Rose subplot? It's a brilliant concept, but like Joel Maisel's aborted stand-up career, the timing couldn't be worse. Rose is experiencing a midlife crisis; a flashback reveals her confessing to an indifferent Abe that she's unhappy and feels her life lacks purpose, prompting her to flee to Paris. Given Abe's lack of attention, I understand why Rose took off — and once you witness her in her artistic abode, speaking French to her adorable new dog, Simone, you'd find it difficult to persuade her to return to New York. And her response of "I missed me, too" after Midge expresses how much she missed her? That's a profound and refreshing statement coming from a woman who has spent her entire adult life making her husband believe her face was perpetually adorned with cosmetics.
Regrettably, Maisel's excursion overseas hinders her triumphant return, primarily due to two significant factors. Firstly, by dispatching Midge to Paris, Sherman-Palladino faces the challenge of devising a purposeful storyline for Susie Meyerson (Alex Borstein, woefully underutilized in this episode), a significant oversight. While Susie valiantly attempts to maintain her client's momentum by granting an interview to The Village Voice, she's distracted by Harry Drake—the talent manager whom Midge infuriated last season by publicly ridiculing his star client, Sophie Lennon. Harry's revenge sees the hiring of two thugs to intimidate Susie, but their plan falters upon discovering they share a common bond from the Rockaways. The subplot becomes a reminiscence of the Danny Aiello/Mia Farrow segment in Radio Days, as the thugs, reluctant to harm a local girl, advise Susie to reconcile with Harry.
Secondly, the Paris detour poses a narrative dilemma as crucial plot developments are hastily shoehorned into the finale. The show desperately needed to address and progress the lingering question of Midge and Joel's relationship, and while "Simone" attempts to achieve this, it feels contrived. During a chaotic sequence at a drag club, where an accommodating American expatriate seamlessly translates Midge's impromptu, stream-of-consciousness performance into French, the audience is privy to a flashback revealing Midge's encounter with her estranged husband (Michael Zegen, still captivating but in need of a more defined role). It transpires that after accidentally witnessing Midge's performance at the Gaslight, Joel was devastated, resulting in him handing over his wedding ring.
A romantic stroll across a Seine bridge, surrounded by amorous couples, flips a sentimental switch in Midge, prompting her to frantically call Joel in New York, pleading for a resolution. Despite Joel's past indiscretions, he begins his journey towards redemption by wisely encouraging Midge to embrace her career and let go of their marriage. Their conversation is heartbreaking, yet Joel's words ring true: "For us to be together, you'd have to give up comedy." He knows he's often the butt of her jokes and that she represents "everything I wasn't." To his credit, he's finally evolved into a man who won't hinder her path to success. Midge departs Paris with a heavy heart, but as she strides alone in the episode's final scene, we recognize she's headed towards a destiny far greater than a mediocre marriage.
