OK: I've been a fan since the first season. I got my daughter--who is in law school--hooked into it. We cheered when "Mrs. Maisel" won the Emmy's. And this fall has been hectic and so I watched episode one today. If the rest of season two is as good as this one gag, then my time and emotional commitment is worth it.
Episode One, Season Two is fast paced just like last year's shows. Simply watch the opening and you will see what I mean. Things move in a typical post-modernist fashion with time and locale jumps as Mrs. Maisel accompanies her father to retrieve her mother who has run off to Paris (if you have seen any of the previous, you will understand this plot point).
After a provocative chat with her mother on the alleys of Paris, Mrs. Maisel discovers a drag bar and ends up being drawn to the stage (the stage is clearly an addiction for her). She launches into an improv while a New York ex-pat is translating (which is marvelous to watch as Mrs. Maisel rapid fires her monologue and is translated at an equal pace).
After another post-modernist transition to last season's good bye to Joel, Mrs. Maisel decides to exit. One French patron indicates he still prefers Jerry Leiws (and I appreciate this nod to French preference), but the line that is worth everything is when Mrs. Maisel's translator hurrries to her, handing her a piece of paper with the number of a psychiatrist. The New York ex-pat then says that this doctor has done wonders for a friend of hers, Sylvia Plath.
I laughed, guffawed, and nearly fell from my chair with this delivery! If you know Sylvia Plath, you should enjoy this line. If you don't know her, read about her. This bit is worth it all and speaks, also, to the quality of the writing of this show.
If you have NOT seen "Mrs. Maisel," you must. If ro no other reason, you need to observe and then reflect on why Mrs. Maisel names HERSELF "Mrs. Maisel." This little bit (also in Season 2, Episode 1) does more than capture the character; it holds a mirror to us today--in a post "#METOO" world--and challenges us to think about this same question.
Enjoy!
Episode One, Season Two is fast paced just like last year's shows. Simply watch the opening and you will see what I mean. Things move in a typical post-modernist fashion with time and locale jumps as Mrs. Maisel accompanies her father to retrieve her mother who has run off to Paris (if you have seen any of the previous, you will understand this plot point).
After a provocative chat with her mother on the alleys of Paris, Mrs. Maisel discovers a drag bar and ends up being drawn to the stage (the stage is clearly an addiction for her). She launches into an improv while a New York ex-pat is translating (which is marvelous to watch as Mrs. Maisel rapid fires her monologue and is translated at an equal pace).
After another post-modernist transition to last season's good bye to Joel, Mrs. Maisel decides to exit. One French patron indicates he still prefers Jerry Leiws (and I appreciate this nod to French preference), but the line that is worth everything is when Mrs. Maisel's translator hurrries to her, handing her a piece of paper with the number of a psychiatrist. The New York ex-pat then says that this doctor has done wonders for a friend of hers, Sylvia Plath.
I laughed, guffawed, and nearly fell from my chair with this delivery! If you know Sylvia Plath, you should enjoy this line. If you don't know her, read about her. This bit is worth it all and speaks, also, to the quality of the writing of this show.
If you have NOT seen "Mrs. Maisel," you must. If ro no other reason, you need to observe and then reflect on why Mrs. Maisel names HERSELF "Mrs. Maisel." This little bit (also in Season 2, Episode 1) does more than capture the character; it holds a mirror to us today--in a post "#METOO" world--and challenges us to think about this same question.
Enjoy!