- Network: Amazon Prime , Prime Video , AMAZON
- Series Premiere Date: Mar 16, 2017
Critic Reviews
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The fourth season has the potential to bring a greater sense of focus and purpose by homing in on the ways that characters are actively changing, rather than repeating old patterns.
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The witty banter flies fast and furious, reaching a hilarious apex in the premiere. [28 Feb - 13 Mar 2022, p.7]
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That’s the thrust of the fourth season – people making bold moves. After two years of life without the Maisels it’s a welcome change.
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This time around, Midge’s story might not always be as pleasant, but it’s much more powerful.
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There’s nothing very radical going on in the new season, at least not yet. ... For now, it’s a treat to wallow in the show’s zippy dialogue, sharp performances, and fabulous production design and costumes.
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It dawdles getting started, but the next-to-last season of this groundbreaking comedy series about a female comic breaking the testosterone ceiling of standup in 1960 returns to peak form as an on-fire Rachel Brosnahan catches Mrs. Maisel in the exhilarating act of inventing herself.
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Without the strong foundational forces of previous seasons (the divorce, the Catskills, Shy Baldwin), the show’s shallow construction becomes uncomfortably visible. Season 4, so far, is a sandbox of great actors and great hats, but there has to be substance to match the style.
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Overall, things this season seem more scattered than sophisticated, from the dialogue to the developing and continuing of certain plotlines and the indulgent set pieces.
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It makes for absorbing viewing, and Brosnahan throws herself into it with admirable force, her stand-up patter getting better with every season – but it does at times make it hard to enjoy being in Midge’s company.
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While the first two seasons were a lot of fun, Mrs Maisel found herself in a rut during the third, which paired huge set pieces with a meandering plot and episodes that felt far longer than they were.
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The fourth season of the 1950s-into-1960s period comedy The Marvelous Mrs. Maisel gets off to a shaky start.
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If you can tolerate Brosnahan’s mile-a-minute delivery, which doesn’t let up even when she’s arrested for soliciting, there are some great ensemble scenes.
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After setting the show and the character forth on a pretty thrilling trajectory for the first three seasons, this new one is a complete reset. As in, Midge Maisel is in exactly the same situation she was when we first met her: single, desperate, and obstinately pursuing a career in comedy even though she can’t land a gig or respect.
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Not your best stuff, at least based on the first few episodes. In fact, it just feels like you're hitting the same one-liners all over again.
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The series tries to have it both ways: Midge is overwhelmed by her sudden need to pinch pennies, but the camera still luxuriates, untroubled, in the palacial aesthetics of her apartment. The lens should be focused on restoring her conscience, not her wallet.
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The main character is coasting on her greatest hits, the show is coasting on its greatest hits and so my review is mostly that the things I like about the show remain, the things I don’t like about the show remain and there isn’t enough that’s different to shake it out of a rut.
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It gives me no pleasure to share that the show is now fixated on its characters complaining problems of the characters’ own making. In one episode, Midge literally thinks her biggest problem is not getting free milk. Worse, the once guillotine-sharp dialogue that made the Sherman-Palladinos favorites amongst TV snobs has been replaced with nonsensical dialogue that constantly loops back on itself.
Awards & Rankings
User score distribution:
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Positive: 14 out of 21
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Mixed: 5 out of 21
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Negative: 2 out of 21
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Feb 20, 2022There’re a lot icon times in this season. Every character is doing what they should do. They focus on their career and i love that!
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Feb 20, 2022
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Mar 30, 2022admirable
[ ad-mer-uh-buhl ]
adjective
worthy of admiration; inspiring approval, reverence, or affection.