I like when a show changes its tempo for an episode. this is some The walking dead Does (or did) some time in a season, and it almost always worked on me. Most weeks, you get several plotlines that span multiple characters, creating a sort of revolving door sequence that can either be messy or spread satisfactorily depending on the episode. But “East / West” slows things down to focus on just one plot: the fate of Rabbi Milligan and a few others. Rabbi is on the run from both Faddas and the Canons, and has decided to build a track for the Liberals, Kansas, with a cannon, a ton where he has landed some money. Calamita is in hot pursuit, but so is Omi Sparkman, with an Italian Fella in the trunk of his car for good measure. It all comes to a head at a gas station during a terrible storm, where an act of God settles the issue, leaving Satchell to find his fate.
Unlike the texture and most of its occurrence, this is a fair summary of “East / West”. But this is too much of an episode about That texture, for better and worse. Rabbi and Satchell pierce a hotel (Barton Arms, wink wink) run by a pair of big white sisters who hate each other; His refusal for the budding has separated the building into two sides, the “East” and “West” of the title. Said side is different from a line running between them, and there is clearly symbolism at play here, but I’d be lying if I said it added a lot to me. I love the episode, but I wanted to love it; There is a lot of quirkiness and an obvious effort meaning Some, but it fails to cooperate satisfactorily.
For Good: The relationship of Rabbi and Satchell is one of the most interesting seasons that we have to offer, where I wish it could grab more attention. In this episode, it was appropriate to assume that the Rabbis would not survive it; There is a good chance that Satchel is going to end up as Mike Milligan from Season 2, and Mike’s ruthlessness and affinity for the Kansas City crowd is with the rabbi’s original, if desperate, decency. And heck, that decency is enough to target him on a show like this. He is trapped in an impossible situation, he tries to make a quasi-moral choice, which puts him on the wrong side of everyone, and he is the same. You can get as much of a death warrant as you can.
Keeping all of that in mind means most of the “East / West” suspects, when it is clearly not trying to be. The rabbi does not meet his fate until the end, but before that every moment feels laden with possibility. This is an act of choosing the hour to focus solely on her and Satchel’s story – the level of attention meant something Is going to be important, so even when the script is just spending time showing us the various strange inhabitants of the Arms, it never gets boring or dull. One of FargoThe big trick is how it often tries to approach abrupt scenes of violence from unexpected angles, and while that trick has lost its shock value over time (especially once you realize that working For there are only so many “unexpected” angles), this essentially means that even the most spontaneous conversation is laden.
Where it’s a bit rhymed, it’s nothing or not, a lot of it falls into that “odd for hell”, indicating that the show has always struggled. I have no doubt that all this is considered to be some kind of metaphor; Some scenes of the rabbi have a controversial conversation with a Bella painting, which resonates like someone hitting you over the head with a hammer. But to do this kind of work, the show needs to convince us that it is all for a purpose, even if that purpose is not immediately relevant. this season, Fargo Has lost its nose for such beliefs. “East” and “West” probably mean something (from the fact that both sisters hate “color”, but once more open about it than the other is definitely symbolic), as in Audbol Is a semi-random collection of. There is a fiddle regularly quoted How to win friends and influence enemies, Another Bella title for Texas for Oil, and an elderly general with a young niece who wants to hear fairy tales at dinner. Oh, and a man who quotes the Bible to all. (Revelations, I think?)
All this makes the deduction interesting to be foundational, but, as is often the case when symbolism fails to justify itself, it is a bunch of parts without the sum to look for meaning. Worrying what was going to happen means that it was never boring to let people wander off, but once we reach the end, we should be forced to think about what it means. Is not. Why does the episode happen in Black and White, only to switch to color when Satchel wakes up on her own? I think it’s a Wizard of Oz Context — They are in Kansas, Rabbi (and Calamita) are just sucked into a tornado – but nothing really means anything more than just making a reference. Is satchel’s life a dream in itself? Is he no longer in Kansas, even though he is still in Kansas?
About that tornado: It’s an exciting, grand sequence, but I’m not sure it’s a satisfactory conclusion to the story of Rabbi and Calamita. (I think it is technically possible that one of them escaped, but it seems unlikely.) Having a character in danger removed from a completely unexpected threat is a trope for the show, but While Trido’s apocalyptic saver behold, it doesn’t really say much about beyond “shit happens”. “East / West” choosing to spend so much time on this particular situation made me more inclined to like it , But it also establishes expectations for a conclusion that accrues that attention. I do not know what was achieved here.
It’s just, there really isn’t that much story there. The rabbi locates the place where he deposited the money, a pair bought by the brothers, who have used it to finance their kitchen appliance stores, is a decent diversion, but it is a starting point, No conclusion. There is a great sequence where the Rabbi goes back to the shop to catch the brothers, while Satthel waits in the car; The intensity between the rabbi finding out that he is bad, and White dealing with a white cop, is the liveliest episode he actually gets, but in the end nothing comes of it. The rabbi does not kill the brothers and he interferes with the police before things can go awry, and then later, he goes and dies for reasons that have nothing to do with it. Hell, if he had got the money, he might have died.
He has Pathos who is being killed just for trying to do something good for his birthday, and is gorgeous to watch and directs the entire episode. Scenes of sudden violence are appropriately moderated. I don’t think I ever got bored with it, and it takes a little bit of experience to criticize something, because it wasn’t as good as you wanted it to be. But “East / West” imperfections are endemic to weather imperfections as a whole. When it gets time to focus on its best characters, it works. When its target is larger, it stumbles. “East / West” divides the difference, for better and for worse.
- So, Barton Arms is a clear sign Miller’s cross. (And Barton Fink, I think.) The tornado is probably the same thing A serious man-What else have I missed?
- Satchel finds a dog named Rabbit and adopts it more or less.
- The billboard that annoys the rabbi is finally “The future is now!” At the end of the episode, Satchell stares at her. I don’t know if we’ll see him again; This may be as much as we get from Satchel’s story, although if that is the case, it would be strange that he wouldn’t just try and contact his parents and go home. I do not know that he had long believed with the Rabbi that he could trust himself.
- Episode opens with a shot Shabby building History of true crime in the west Sticking to a piece of broken frame; This is the first page of Chapter 7: “Liberals, Kansas 1950: Who Shot Willie Bupore?” It seems that Willie Bupore talks to gas station attendant Omi early; When the rabbi would later appear at the station, Will was gunned down. Possibly Calamita shot her, and Calamita was blown away, along with anyone else who could tell the story.
- Gona Miss Rabbi. Ben Whiswa was great.