Creator Amy Sherman-Palladino and her husband/collaborator Daniel Palladino have seemingly tried hard to address complaints that their Emmy-winning Amazon comedy has been too boring, too privileged, too white, etc. "But there’s a bigger problem at the center of The Marvelous Mrs. Maisel, which for some of us isn’t a problem at all: It’s a low-stakes show," says Hank Stuever. "We’re so used to talking about, analyzing and praising high-stakes shows that we forget that most of what’s on TV qualifies as low-stakes. Network comedies are almost always low-stakes shows, as are crime procedurals and most dramas. Characters have ups and they have downs, but the fluctuations tend to be short and resolvable. It’s the television most of us grew up watching. Why, then, can’t The Marvelous Mrs. Maisel merely exist as a prestige iteration of the low-stakes show, featuring a character who is resplendent in her surroundings, quick with the cute quips and striving while not exactly suffering? Why can’t her panicky antics simply serve the show’s zany momentum, without unleashing existential crises or darker themes? In fact, isn’t the show honoring its period setting by keeping it light? That’s how America so capably managed to sweep most of its social injustices under the rug for so long — by keeping it light. I look at the manic sunniness of Mrs. Maisel as a subversive form of accuracy. Midge (played with thoroughly consistent pep, verve and vim by Rachel Brosnahan) is a low-stakes heroine in a low-stakes show with a set of low-stakes problems: Will she become a famous comedienne? (Maybe! Probably! Who cares?)"
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TOPICS: The Marvelous Mrs. Maisel, Prime Video, Alex Borstein, Amy Sherman-Palladino, Daniel Palladino, Liza Weil, Rachel Brosnahan, Visual Effects