At long last, the episode titled "We're Going to the Catskills!" marks the triumphant return of Mrs. Maisel's Marvelous spirit. It's akin to indulging in a succulent pastrami sandwich on rye, paired with a frosty, cold egg cream - a culinary delight that transcends kosher boundaries. (Forgive me, kosher enthusiasts; while the show embraces Jewish culture, it doesn't adhere strictly to all its rules.) Even if I hadn't been born to parents who met in a Borscht Belt resort, reminiscent of the iconic 'Dirty Dancing' scene, I would still be smitten with this episode. "We're Going to the Catskills!" encapsulates the essence of what makes The Marvelous Mrs. Maisel such a captivating viewing experience. Amidst the minor quibbles from career-driven Susie and marriage-minded Rose, this episode gracefully sets aside intricate plotlines, inviting viewers to breathe in the crisp mountain air and immerse themselves in the fur-coat lectures that characterized a typical Jewish vacation in the Catskills during the 1950s.
However, I must voice my minor grievances too. For starters, am I alone in my concern for baby Esther? I understand that Midge is not a hands-on mother, and her story would lose its charm if Maisel depicted her as a mother who dutifully attends to her children's needs. I've resigned myself to Ethan being whisked away by a camp counselor the moment Midge and her family arrive at the Steiner Mountain Resort, never to be seen again for the duration of the Catskills-centric episodes. Such was the norm in those holiday havens; the children attended day camp while the adults indulged in shuffleboard and other adult pastimes.
However, Midge's persistent disregard for Esther, a baby who has yet to take her first steps, has transformed into a deeply distressing sight. Especially now, as 'Maisel' has made Midge's negligence towards her children a recurring punchline. Several jests are made about how the infant was left unattended in the car while the Weissmans checked in, and Midge nonchalantly requests one of the attendants to bring Esther to their cottage, as if she were a mere piece of luggage. Disregarding the fact that Midge is on vacation and still finds excuses to entrust this innocent little girl to round-the-clock babysitters, I find myself judging her harshly.As much as I admire Midge, I remain exasperated by her inability to, quite frankly, mature. Her irresponsible behavior is not just limited to her parenting; it spills over into both her professions—comedy and customer service. While it was customary for Jewish families to spend an entire summer in the Catskills, what gives Midge the impression that she can abruptly halt her stand-up career for two months? Fortunately, I don't have to chastise Midge about this, as Susie does it far more effectively than I ever could. (Still, I ponder how Midge convinced Mrs. O'Toole to grant her such an extended vacation while retaining her position at B. Altman when she returns in September—then I recall this is an Amy Sherman-Palladino production.) Nonetheless, let's put all that aside and savor the refreshing glasses of tomato juice. "We're Going to the Catskills!" is a visual masterpiece. Crafted and helmed by executive producer Daniel Palladino, the episode kicks off with a shot-for-shot remake of the title sequence from the 1962 film adaptation of 'To Kill a Mockingbird', beautifully establishing the season's leap to the summer of 1959. (It also serves as a witty joke involving Abe's meticulously crafted scale models of the family's suitcases and U-Haul trailer—just embrace the absurdity.)
As we arrive at the picturesque Steiner Mountain Resort, the exact locale in upstate New York captured in Michael Zegen's Instagram snapshot, before you can even utter "let's play cribbage with the grandmas," we're immediately enveloped in another splendidly orchestrated sequence, one that I've been praising this entire season. This time, our vantage point is set upon the Weissman family's charming cottage, where Midge and Rose assign the task of arranging and rearranging every square inch of their summer abode to a quartet of diligent bellhops, while Abe's barked orders echo, unceasingly, to his new assistant (leave now, Samuel, for you shall never be Jimmy). It's a symphony of chaos, played to perfection.
Midge indulges in a few days of basking in the sun, pampering her hair, and challenging herself in dance routines, only to be gently nudged back into the dual realities she left behind in New York. I must commend Susie for her assertiveness, surpassing even Rose's own — who would dare say no to a woman wielding a plunger? It's a mystery why it took her so long to realize that the Borscht Belt is a comic's paradise (why wasn't she booking gigs upstate as soon as Midge mentioned her "trip to the Catskills"?) But at least Mrs. Maisel's enterprising manager is now on the scene, making the most of every feeble lead.
However, it's going to be a challenge for Midge to redirect her focus on stand-up when Rose persistently chirps in her ear, during bird-watching, biking, and table tennis sessions, about the "perfect catch" she's found. This match seems almost too ideal to be genuine: Benjamin is a renowned surgeon and opera enthusiast seeking someone "unusual" — and he's the spitting image of Zachary Levi himself.
For a sought-after young lady, there's nothing more captivating than a man who remains unfazed by her alluring charms (Midge: "I'm Miriam Maisel." Benjamin: "You say that as if I should recognize the name") and her impressive 22-year tenure as a Steiner Fire Safety Captain. Despite Midge's apparent irritation with Benjamin's reluctance to comply with their staged boating date—merely a ploy to evade those pesky mothers—it's no secret that this guy ignites a spark within her.
While I remain somewhat skeptical of Benjamin, for anyone who appears so impeccable on the surface must harbor a hidden darkness somewhere. The closing moments of the episode subtly suggest that the esteemed doctor might share a common thread with the unfaithful Joel Maisel. Over the lake's sparkling fireworks, Joel, vacationing with his estranged wife and her parents, ostensibly to spend time with the unseen children, finds a moment of camaraderie with Benjamin over a shared cigarette. The constant whispers and sidelong glances from the resort's guests, reminiscent of Joel's troubled past with Midge, are beginning to wear on him.
However, Benjamin fails to provide the solace Joel seeks, responding with a cynical shrug to Joel's existential query about whether people can ever truly be forgiven for their transgressions. "You still committed the act, didn't you?" he says, his tone betraying a depth of experience. He counsels Joel that the surest path to avoid future blunders is to "remain distant from others."
Ah, Benjamin, what secrets do you hold? Alas, Joel is unaware that it is Midge who holds the key to unlocking Benjamin's guarded heart once again.
