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You’re riveted, your focus unshakeable, and suddenly it all makes perfect sense. And suddenly it’s showtime, and everything falls into place. Altman), the ex, the friends, and very rarely, the kids-still mostly a non-entity, a fact acknowledged by the show in a rare piece of meta-humor that doesn’t diminish the strangeness of such a blatant blindspot. You’re just bumping along, yanked this way and that by the family (Marin Hinkle and Tony Shalhoub), the job (working phones at B. These scenes are so quietly thrilling, so charged, that it can sometimes feel as though one’s experience of watching the show mirrors Midge’s day-to-day. (A sequence in the season’s fifth episode, “Midnight at the Concord,” is particularly astonishing.) Those levels are met and, at least once, exceeded in the second season, Sherman-Palladino’s dialogue (and often direction) demonstrating how finely Miriam has honed her skills, but also making clear how increasingly difficult it is for her to bounce back emotionally from the radical honesty she employs in her standup. The first season’s finest moments were Midge’s first and final standup sets, two sequences that perfectly married (through the intoxicating patter of writer Amy Sherman-Palladino) the wounds, wit, and defiance of our heroine. The secrets pile up, but hey, at least the jokes keep coming.Īnd the jokes, they’re damn good-particularly when Rachel Brosnahan’s got a mic in her hands. They’re struggling to balance their joint ambitions with their personal struggles, and in Midge’s case, learning that leading a double life comes at a cost. As season two begins, Midge and manager Susie (the terrific Alex Borstein) are simultaneously dealing with the fallout from Midge’s takedown of Sophie Lennon ( Jane Lynch) and flying high from a triumphant set unluckily witnessed by Joel ( Michael Zegen), Mr.
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But things are rarely so simple, even when you’re beautiful and rich (and, of course, fictional). When we last left the Mad Divorcée of the Upper West Side, she was behind a microphone, arms raised in triumph, and it looked like she was headed for success and that she might not end up a divorcée after all. That’s also the secret of comedy, according to one Miriam “Midge” Maisel ( Rachel Brosnahan).