They commit to showing the nuances in their characters and the complexities all of them face, including Alex’s erratic artist mother, Paula, played by Qualley’s actual mom, Andie MacDowell. Still, Metzler, the writers, and the directors, including TV veteran John Wells, who handles four of the seven episodes that drop on Netflix today, refuse to sugarcoat anything. Certainly, there are moments of uplift in Maid, as well as some humor and levity as nerve-racking as the series can be, it is never too unsettling to watch. Around every corner, for Alex, there is always another setback and always another emergency.Ī different series might have turned Alex’s story into an inspiring tale of persistence, a sort of This Is Us, Housekeeper Edition. It’s an exhausting and demoralizing experience, and Maid, steered by showrunner Molly Smith Metzler, does an exceptional job of capturing every detail, as well as the intensity of knowing every tiny setback can legitimately become a major emergency. She tucks their 3-year-old daughter, Maddy (Rylea Nevaeh Whittet), into her car seat, then drives away from the trailer she shared with Sean and toward a life that involves scrubbing scummy toilets, having next to no money in her bank account, scrambling to find child care, staying in domestic-violence shelters or subsidized apartments crawling with black mold, battling over custody of Maddy, and filling out form after form (after form, after form) to get the federal assistance she desperately needs and that often helps by only the smallest of degrees. In the first episode, Alex (Margaret Qualley), a young mother in Washington State without a job or a college degree, makes the difficult decision to leave her boyfriend, Sean (Nick Robinson of A Teacher and Love, Simon), an emotionally abusive alcoholic. But Maid, a new Netflix limited series inspired by the memoir by Stephanie Land, makes that pressure palpable during practically every minute spent watching it. A lot of films and TV shows have told and shown us that.
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