The Marvelous Mrs. Maisel

[Midge] needs to grow, or at least her stand-up routine does beyond the tame gags about her ex-husband or Jewsih guilt. Those remain the weakest part of "Maisel." ... These early episodes do certainly play to "Maisel's" considerable and well-established strengths. They're a romp through the English language, abetted by actors who remain effortlessly up to the challenge. As always, the writing and those performances are still what resonate, and they're just about flawless

As glittery fun, whether or not it ultimately sticks with you, it’s greatly entertaining. And for those who have enjoyed the first two seasons, that should be reasons enough to buy another ticket to the show.

The series remains full of magnetic charisma and talent. But a few too many moments left me saying, in the words of Midge and Susie, “That shoulda been something.” They’re gorgeous, but there’s not a lot of there there.

After a somewhat lackluster Season 2, it’s a treat to see Maisel shake off its own cobwebs and show us something new.

Ostensibly, the long arc here is your basic, mid-century feminist reckoning — a Bryn Mawr girl who followed the rules, got married, popped out two kids and then realized she’s too funny and too bright to not give herself a shot at becoming a star. We’ve followed her on that course, where the fun outweighs the frustration every time. This season, the show tried to capitulate with a negligible dose of stronger medicine.

“The Marvelous Mrs. Maisel” is one beautiful cosmetic makeover of a life and ignores a whole lot of other unpleasant realities associated with that time period. In the third season, depending on who you are, that can be difficult to do. ... It’s about song and dance and lightness and fashion, presented through the limited view of one delightfully funny woman.

At the centre, as Mrs Maisel herself, is Rachel Brosnahan, whose energy and exact comic timing still make the whole confection fizz.

Brosnahan is in fine, breathless form. ... The problem is, however, that not much happens. Or maybe too much happens. More than ever before, the show seems scattered. ... Of course, lavishing in the show’s crack dialogue, ace performances, and sumptuous cinematography is hardly time wasted, and sometimes even a justifiable enough distraction from the fact that the narrative seems a bit lost. The girl is so danged irresistible.

The moments when Maisel works — Midge on stage, Susie learning how to speak up for herself, the two of them trading insults as they scramble from job to job — are delightful enough to overwhelm the series’ many tics and useless subplots. It’s getting harder, though, not to think of how much better the show would be if it tossed aside a large chunk of the supporting cast.

There's clearly no reason for Mrs. Maisel to hang up the mic. But as any comic can attest, that doesn't mean there isn't room for fine-tuning and freshening up its act.

[Midge's family's] misery does not make for good company, or comedy. ... Thankfully, Midge never disappoints. [9-22 Dec 2019, p.12]

The result is both charming and frustrating, entertaining but a tad underbaked. ... Carping aside, Season 3 has its pleasures, which include, as always, Midge’s color-coordinated, accessories-to-die-for ensembles (there’s an apt joke about her ridiculously huge wardrobe); the totally capable cast; awareness of the casual sexism that was an accepted part of life in the late ‘50s and early ‘60s; some snappy writing (“By the way, irregardless is not a word”); vivid production design, from a Vegas casino to Miami; and Luke Kirby’s lively performance as Lenny Bruce.

Remains at times as good as it has ever been, while continuing to struggle with a focus that often strays either into things it doesn't do nearly as well or things I don't enjoy nearly as much.

“The Marvelous Mrs. Maisel” seems content, too content, to coast on its good looks and rat-a-tat dialogue. ... Season 3 could rebound in its back half. The focus could shift, real problems could arise, and Brown could get that juicy arc he deserves. Even without all that, the first five episodes are sure to please die-hard fans. The rhythms are still the same, the visuals are still excellent, and all your favorite faces are still chatting away.

Season 3 has 10 episodes, which means that there's still room for the series to delve into those [racial] issues, but if Maisel continues to skirt over the most serious issue of the time that it's set in, its claim of authenticity will deservedly be questioned. The spectacle doesn't hold up in the long term without substance and good writing becomes less relevant if you aren't talking about what matters.

Delightful escapism still has its place, but it usually comes within a tighter frame. More than ever in Season 3, Mrs. Maisel drags, or offers gags that are as uncomfortable and prolonged as a teeth cleaning.

"Maisel" has always trafficked in nostalgia, but Season 3 worships the past to a fault, spending far more time than necessary with the late 50s and early 60s ephemera. The show is stuck: Midge is becoming too boring, and everyone else is too ridiculous. The writers force the characters through change in an attempt to freshen the series and create more dramatic and surprising developments, but they have been pushed past believability.