The Fantastic Mrs. Maisel 4, review

The Fantastic Mrs. Maisel 4

We got to preview, a few weeks ago, the first two episodes of The Fantastic Lady Maisel 4, what is apparently the penultimate season of the series. A season finale that leaves us with some doubts, not only and not so much for the content itself of the final episodes themselves, but for our overall perception of the season just ended on Prime Video. Some elements have obviously changed compared to previous seasons, however we are not talking about the modalities of acting and the conception of the entire screenplay. Amy Sheridan-Palladino is now a certainty in this sense and carries her signature and style in all her products, from Una mamma per amica onwards to this acclaimed series.

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The Fantastic Lady Maisel 4, new work adventures…

What we say to men passes through an absurd male filter that we women do not have […]. My problem is always the language, but it's not what you say, it's where you are when you happen to say it and who is around when you say what you say in the place where you are.

If, according to Miriam, men have filters, she no longer has any. Not even the bail paid to get her out of her prison interrupts her in the middle of one of her one-woman shows that she doesn't shy away from keeping her in the jail too. We said it after our first look at this season's two opening episodes of The Fantastic Lady Maisel 4: Miriam no longer has any restraints in her language and in her attitude. She foul-mouthed, irreverent, not only her character but also the constant presence of burlesque, a new element that is quite risque, especially compared to the sober Jewish customs. Her shows have also been giving her a lot of trouble since the start of this season, and being clean is no longer just her friend and traveling companion Susie Meyerson, who becomes a little more independent over the course of these episodes. from a working point of view.



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There is no shortage of news even for the latter, which certainly plays a secondary role in the main plot, almost so as to follow a subplot of him. Increasing problems in the relationship with Mei, the young woman of Chinese origin, because she is unable to introduce her to her family, and that she becomes pregnant with her while she is trying to finish her studies to become a doctor. A situation that makes the moment of the meeting even more difficult, always postponed, but the two have now decided to get married precisely because of the arrival of the baby.

... same acting style and lightness of the plot

There are two main problems The Fantastic Lady Maisel 4: on the one hand, the acting, increasingly theatrical, which in these episodes often caresses the stylistic features of the theater of the absurd, with several, exaggerated repetitions in the dialogues and staging of repeated situations that twist on themselves, extending the episodes exponentially and, we would dare to say, often unnecessary. On the other hand, the superficiality with which the themes in the plot are treated, which launches only digs never deepened on topics that are quite important, such as racial issues between the Jewish and Chinese communities, the ever-present stereotypes between the perception of man and of women in society, or the brief reference to Susie's alleged homosexuality. None of this is ever deepened, remaining in the background on the scene that is left to the representation of what is now divided between cabaret and musicals, depending on the construction and representation of certain scenes.




Generic photos A pretext also to talk about the short story on the occasion of this event meeting that Miriam had with a man who remains unknown and is played by Milo Ventimiglia, a brief appearance in the seventh chapter who however remains there, without further exploiting him. Why hire a well-known actor without adding value to him? We hope that his brief appearance on the scene does not end here, otherwise it would really be a hole in the water of no small importance, as well as nonsense.

The Fantastic Lady Maisel 4: in conclusion

Pass it undertone also the drastic change that Miriam's presence brings among burlesque women, who wish to be more considered and appreciated, one of the many occasions for vindicating women's rights that tend to take on tones that are sometimes annoying and itchy due to their excessiveness, if contextualized in an era like the one we live in, where the emphasis would like to be placed more on equality and gender equality. Some doubts and uncertainties therefore in our evaluation of this fourth and penultimate season, especially considering the narrative assumptions for the final season of which we were spectators. An ending… “heart attack”.

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