The Marvelous Mrs. Maisel just keeps getting better and better, so I am really excited to see what the season finale has in store. But let鈥檚 focus on episode seven, 鈥淧ut That on Your Plate,鈥 which features an excellent guest-starring turn from Jane Lynch and some commentary about women that may as well have been written about 2017 instead of 1958.

When the episode opens, we are treated to an incredible montage of Midge honing her act. She draws on her own experiences, plus things she overhears in her daily life, and works and reworks the jokes until they really sing. By the time the opening credits roll, she has a 鈥渢ight 10,鈥 as in a really solid 10 minutes of material (and actually, it鈥檚 11 minutes).

So Susie tells her it鈥檚 time to stretch her wings by playing other clubs. She goes to agent Harry Drake to see if Midge can open for his client, the popular comedian Sophie Lennon. He has to see Midge first to see if she鈥檚 got the right stuff, but before he does, Midge and Susie go to one of Sophie鈥檚 shows. She is a brash, overweight, lower middle-class housewife from Queens, and the audience eats up her Larry the Cable Guy schtick.

I made that comparison because Dan Whitney, the man behind Larry the Cable Guy, is actually a smart, well-spoken family man, but I have encountered several people who don鈥檛 believe that. They think Larry is Larry, just like people think Sophie is Sophie.

When Midge gets invited to Sophie鈥檚 house, she discovers the comedian lives in an incredibly lavish Manhattan apartment complete with butlers and maids and is actually a tall, thin, beautiful, articulate society woman. It really throws Midge, though not nearly as much as Sophie鈥檚 advice throws her. Sophie tells Midge she can鈥檛 be herself on stage. She has to have a gimmick, a persona, or men won鈥檛 find her funny.

Midge takes great umbrage at this advice and her criticism of it comes out in both the most amazing and the most horrible way possible 鈥 she reveals Sophie鈥檚 real identity during a set at the Gaslight, where Harry is in the audience to see her perform before he鈥檒l give her the opening-act gig.

It鈥檚 a great set, as Midge blasts the idea that a woman can鈥檛 be attractive and funny at the same time, but it also completely torpedoes Susie and Midge to Harry 鈥 and deservedly so. While Midge is right about how she shouldn鈥檛 have to be anything other than herself on stage, it鈥檚 not cool to sell out Sophie like that. And obviously, since Sophie is an established comedian with a high-powered agent, things are about to get very tough for our dynamic duo.

Meanwhile, Joel is living at his parents鈥 house and has taken a job at a plastics company. He makes a good suggestion at work, which is probably going to lead to a sizable raise, a promotion, and eventually a move to California. He steps up to be the person it sounds like he never was when he tells Abe that he鈥檒l have Midge and the kids completely taken care of when he gets this raise. It鈥檚 really sad to hear him say that moving to California is no big deal because the kids don鈥檛 need him, and it gives Abe pause. I do wonder what Abe will do with all of this information. I don鈥檛 want Midge and Joel to get back together at all, but the kids should have their father in their lives and Abe knows it.

Speaking of Abe, I鈥檓 very surprised that the two bombshells that dropped in episode six didn鈥檛 come to fruition here. There was no fallout from him finding out about his daughter鈥檚 arrests, except maybe that it鈥檚 what spurred him to find her a divorce lawyer? But I thought there would be more to it than that. And nothing happened with the recording of Midge鈥檚 first set, which you know would cause ripples in certain circles because it would be so obvious who it is and who she鈥檚 talking about. Hmm. Maybe in the season finale, one or both of those things will be addressed.

Finally, Rose finds out from Abe that Joel tried to come back to Midge and she turned him away 鈥 and she is fit to be tied. But she鈥檚 more upset about the fact that her husband and daughter kept this from her than the fact that Midge didn鈥檛 take Joel back. It culminates in a pretty great moment where Rose vents her frustration at Midge, by railing on her about her mysterious new fur coat in the middle of temple.

Poor Rose. She can鈥檛 trust her family and her psychic is gone. That鈥檚 rough.

Odds and Ends

I鈥檓 very sad that this is the end of Drina the psychic. She and Rose were delightful.

Susie and Midge are just so great together. I can鈥檛 say enough about their friendship. I actually teared up a little when Susie teared up over how good Midge鈥檚 act is getting.

Susie: 鈥淪h*t, there鈥檚 like water on my face.鈥

Midge: 鈥淭hose are tears.鈥

Susie: 鈥淪he got a lot of us through the Depression.鈥

Midge: 鈥溾ow old are you?鈥

Susie: 鈥淚鈥檓 not tellin鈥 you.鈥

Midge: 鈥淲hy do women have to pretend to be something that they鈥檙e not? Why do we have to pretend to be stupid when we鈥檙e not stupid? Why do we have to pretend to be helpless when we鈥檙e not helpless? Why do we have to pretend to be sorry when we have nothing to be sorry about?鈥

Abe: 鈥淢iriam doesn鈥檛 have a type. My God, before Joel, you were with that ultra-white Palmer Witherspoon. He was like a pole vaulter from Triumph of the Will!鈥 This was an incredibly good joke on Abe鈥檚 part, so for those of you who didn鈥檛 Google it and are wondering, Triumph of the Will is a rather infamous Nazi propaganda film.

Susie: 鈥淛ackie, how disgusting is the women鈥檚 room that the men鈥檚 room is less disgusting?鈥

(Photos via Amazon Studios)