Marvelous Mrs Maisel Nude Scene
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Marvelous Mrs Maisel Nude Scene
The Boob Tube: Visions of Female Nudity on and Beyond “The Marvelous Mrs. Maisel”
Home / Text / The Boob Tube: Visions of Female Nudity on and Beyond “The Marvelous Mrs. Maisel”
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I started The Marvelous Mrs. Maisel pilot with a certain set of expectations. A new Amazon original helmed by Gilmore Girls ’ Amy Sherman-Palladino! Give me the snappy script and dazzling period costume design; give me a space to sprawl out with some weird fast-talking women. You think you know Mrs. Maisel till a bombshell instant towards the end of the episode , as Midge (Rachel Brosnahan) performs for the first time; she’s angry, drunk on kosher wine, attention, and her own personal misery. She hits a fever pitch and suddenly, casually exposes her breasts to the audience, and to us. It’s a moment that confronts the intentions of the demure TV period piece and situates Mrs. Maisel in an ongoing conversation about the industrial and textual politics of nudity, especially across streaming networks. I’ll discuss here why I’m compelled by this particular “flash” point, and why the subsequent absence of female nudity throughout the rest of Mrs. Maisel ’s first season is significant. I’m also interested in the particular evolution of breast exposure on television – how their appearance has resonated with particular audiences, and the telling textual mechanics of their reveal.
TV auteurs of all persuasions – David Chase, Jill Soloway, Alan Ball, Lena Dunham, Ryan Murphy – have, at times, fashioned the female nipple into a bullseye at which to aim their boldest aesthetic and narrative choices. The naked breast contains multitudes of meaning: a history of censorship in visual media, associations of motherly dependency, a prelude to sexual acts, the veneration and essentialization of femininity. Though certainly female toplessness has a long filmic pedigree, HBO was the first TV network that allowed creators to openly engage with breasts as semiotic shorthand. Their appearance – more specifically, the context of their appearance – carries great analytic significance, from the controversial sexual violence of Game of Thrones , to the vulnerable corpses of Six Feet Under , to the Wild West gutter politics of Deadwood . Think of The Sopranos and its excess of anonymous, blurry background strippers, whose bodies so often frame scenes of toxic masculine exchange. The choice of exposing an actor’s body for stylistic/thematic gain (or simple titillation) has historically been the provenance of the cable showrunner – indeed, Maria San Filippo notes that “ female nudity distinguishes cable from network television.” And as the television landscape has diversified over the last 25 years, various shows on Showtime, Starz, FX, etc. have also come to leverage the boob’s textual baggage for their unique purposes (where would American Horror Story ’s queer body horror be without it?). In many ways, these networks construct an industrial dialogue that conflates “premium” viewing with the to-be-looked-at-ness of the breast.
The circumstances under which breasts appear telegraph the text’s creative intentions and often genre; they declare a political position on the body and on female agency; they even serve as a kind of network watermark. To this last end, Jane Feuer’s assertion that “quality TV is liberal TV” has interesting implications, as breast exposure has made the turn from association with adult (pornographic) television to adult (mature, sociopolitically progressive) television. Breasts have major power in the ongoing discourse of “quality” in the age of Peak TV. I’m most compelled by how streaming networks such as Amazon, Hulu, and Netflix have engaged that power as they enter this discourse with original content. New approaches to financial gatekeeping, as well as the juxtaposition of shows for all age demographics, has created a fascinating space for auteurs to explore new and different potential for “double exposure.” Netflix’s Sense8 , helmed by the Wachowskis, features long-take breasts, trans breasts, outside breasts and inside breasts, aggressively normalizing their appearance in a bid to explore human sexuality outside its simple physical mechanics. Joe Swanberg’s Easy (also Netflix) has a diverse handful of topless scenes in the vein of “normcore consensual.” Amazon’s moments of exposure become calling cards of empowerment for the female showrunners of Transparent , Fleabag , and of course Mrs. Maisel . Hulu’s Harlots and The Handmaid’s Tale center female nudity in stories of womens’ public discipline and private catharsis. Certainly these texts don’t always succeed in showcasing these bodies with respect, clear intent, or a lack of exploitation; they are, however, fascinatingly self-reflexive. Streaming networks increasingly code breasts/nudity as ground zero in their ongoing struggle to reconcile themselves with the historical narrative of network television and its regulation.
To return to Mrs. Maisel , we see these discourses projected onto Brosnahan’s breasts in a few ways. Narratively, the character’s shrugging-off of her nightgown in public serves as a flipping-off of 1950s standards of (wealthy) feminine decorum. We see Midge self-disciplining throughout the episode: removing her makeup after her husband has gone to sleep, dressing herself immaculately in layers of expensive clothing, and carefully de-fanging her own wit in order to elevate her aspiring-comedian husband. The character proudly flashes her own goods to rowdy strangers in a bid to claim the space and to re-claim herself. Mrs. Maisel ’s moment also questions what a fun, sassy period piece geared to female viewers is supposed to look like by giving nudity a surprise factor: Midge’s nakedness reminds us that our cartoonishly beautiful lead is also a vulnerable and corporeal being. That surprise, however, is coupled with a reminder that we’re watching Amazon; paying watchers who are familiar with the landscape of this and other streaming networks have come to expect “breasts with a message” and are prepared to read beyond titillation or prurience. Brosnahan never again appears topless throughout the first season of Mrs. Maisel , and the absence of her naked breasts speaks nearly as loudly as their presence. Their exposure in the pilot is so thematically laden that, though we don’t see them again, their meaning haunts the corpus of the text. We are reminded each moment Midge is onscreen that her potent bodily signification of angst, celebration, weakness, power, sensuality, and banality can be exposed at any moment, with the simple pop of a button.
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It's telling that this manages to be one of the sexiest scenes of the year without having any actual sex in it. Midge Maisel and Lenny Bruce have been friends and comic sparring partners for over two seasons, but in an extended night-out sequence in the new third season, their chemistry goes from playful to downright sizzling. "You're staring," she tells him. "So are you," he replies, before they share a sultry dance and a realization that neither of these comic geniuses can think of a single funny thing to say about it. Although they, ultimately, don't decide to take things further that night, the moment where Lenny puts Midge's hand on his neck as she burrows closer is one of the most swoon-worthy things to happen on screen all year.
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Mrs Maisel: Why Midge Works In A Strip Club In Season 4
By John Orquiola
Published Feb 26, 2022
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Midge is now working in a burlesque house in The Marvelous Mrs. Maisel season 4 but there are good reasons for this unusual career choice by Miriam.
Warning: SPOILERS for The Marvelous Mrs. Maisel Season 4, Episode 3 - "Everything Is Bellmore" and Episode 4 - "Interesting People On Christopher Street"
Why is Midge Maisel (Rachel Brosnahan) working in a strip club in The Marvelous Mrs. Maisel season 4? Miriam's drastic career change has surprised and confused the few people who know about it, like Susie Myerson (Alex Borstein) and Lenny Bruce (Luke Kirby), but it also makes sense in terms of how Midge is licking her wounds after she was fired from being Shy Baldwin's (LeRoy McClain) opening act. There's a method to Mrs. Maisel's madness in season 4 , although it's also a sign that she's in hiding after her public humiliation after Shy dropped her from his world tour.
Midge discovered The Wolford, a Manhattan burlesque club, after she ended up in jail for the fourth time in The Marvelous Mrs. Maisel season 4, episode 2, "Billy Jones and the Orgy Lamps." Midge got thrown out of one of her old comedy club haunts and she was arrested for prostitution in a misunderstanding. But when Midge and Susie shared a cab with a stripper Susie also bailed out, they entered her place of work and Miriam realized that there was an opportunity for the club to have a new emcee and comic to introduce the female acts on stage. By Mrs. Maisel season 4 , episode 3, "Everything Is Bellmore," Midge is now The Wolford's in-house comic and she's held the job for a few months as the series time jumps from summer into the fall of 1960.
There are two main reasons why Midge is working at the strip club. The first is she needs a steady income. Midge bought back her Upper West Side apartment from her father-in-law, Moishe (Kevin Pollack). The money Midge earned from her Shy Baldwin tour went to paying for the apartment, which left her funds depleted. Now that she is assuming all of her family's financial burdens, Midge has to pay for numerous expenses, especially after her parents, Abe (Tony Shalhoub) and Rose (Marin Hinkle), moved in with her. Midge has also been demoralized after Shy fired her and she is wary about the demeaning way she's been treated in the New York comedy club circuit. Since doing stand-up at the Gaslight doesn't pay, Midge found herself a place where she can perform for a captive (if hostile) audience and earn a reliable paycheck.
The other reason is that Midge is regrouping for the next phase of her career... whenever she figures out what that will consist of. Miriam has done this before; after she lost her confidence in The Marvelous Mrs. Maisel season 1, Midge performed comedy at house parties until Susie made her realize she was hiding from her career. Midge is similarly hiding out at The Wolford, but at least she can tell jokes on stage somewhere that Mrs. Maisel's haters, like Daily News gossip columnist L. Roy Dunham, don't know about. The Wolford's audience may be rude but Midge can mock the men in the crowd who will go home afterward and lie to their wives about where they were all night.
Meanwhile, Midge is also trying to "change the business," as she told Susie she wanted to do, by implementing necessary fixes to The Wolford. Midge has been crusading for better treatment and the workplace safety of the performers. Mrs. Maisel also laid down the law about the club's male manager entering the women's dressing room unannounced. Of course, Susie isn't thrilled about where Miriam now works, and Midge's husband Joel (Michael Zegan) was right when he told her that working in a strip club is a step backward when Mrs. Maisel was opening for Shy Baldwin just a few months ago. But The Wolford is a safe place for Midge - or it was before Midge accidentally fell off the stage at the end of The Marvelous Mrs. Maisel season 4, episode 4.
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