‘The ultimate single woman’s icon’: how Mrs Maisel is an inspiration across the years

From defiantly turning her back on male approval to her seamlessly snappy defiance of the ‘women aren’t funny’ trope, Midge is a warrior whose example still resonates

The best line so far in The Marvelous Mrs Maisel – the Emmy award-winning comedy drama about a New York-50s-housewife-turned-standup-comic – isn’t a joke she delivers in a set on a dingy club stage. It isn’t even one of the endless, off-stage zingers by creator Amy Sherman-Palladino (also behind Gilmore Girls). It is, in fact, the searing three-word reply that Midge (Rachel Brosnahan) fires at her husband, Joel (Michael Zegen), halfway through season one, when he asks why she won’t give their marriage another shot: “Because you left.”

In that moment, Mrs Maisel becomes the ultimate single woman’s icon. In a world that measures her success and identity by her marital status, she makes the decision to be a single mother and blindly embrace whatever is ahead. While the social stigmas attached to being unmarried might have relaxed since Midge’s time, the reality today is this: in 2019 five hospital trusts and six clinical commissioning groups banned single women from accessing IVF; our prime minister once said the children of single women are “ill-raised, ignorant, aggressive and illegitimate”; single people feel priced out of owning a house while couples have a double income; and – take it from someone who knows – if you’re not standing on a soapbox shouting “single, fierce and independent!”, friends and family assume you’re sitting at home feeling sad with the cat (or without the cat, because the landlord won’t allow it).

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The Marvelous Mrs Maisel season four review – the zip and bounce are back!

After a meandering third season, Rachel Brosnahan is back on ferocious form as a ‘girl comic’ fighting to regain her career

After a treacly, uneven third season, The Marvelous Mrs Maisel (Amazon Prime) appears to have found its fangs again. “Revenge … I crave it. I am completely consumed by the need for it,” purrs Midge/Miriam (nobody seems to call her Midge any more), rediscovering her sharp edges, now back on a small stage in a dingy nightclub, with an act that is heavy on the F-word. This show is never better than when Miriam is having to fight tooth and nail for her spot in the limelight, and it is a welcome relief to see her having to do it again. “That’s life. Shit happens,” she declares, ending the routine on a surprisingly acerbic note.

I say surprising because, 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. Season three all-but guaranteed that Miriam was going to make it big, until her seemingly certain path to stardom and home ownership hit not so much a road block as a solid brick wall, when she accidentally(ish) outed the biggest star in the world to his adoring audience. It appears that few picked up on the Judy Garland references that felt a little ahead of their time, but it was enough to get her fired from her fame-making tour, and bring her back to where it all started.

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