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Summary of the Fargo finale: The Fast and the Dead

Review of Fargo The finale of the fourth season, “Storia Americana”, comes out as soon as I tell you that I’m crazy …

“The old way of the old world. Brothers, uncles, cousins. We now live in the new world. We need a new way. “- Fuck

“Storia Americana” opens with the eyes of many characters who died during this last chapter of Fargo a saga accompanied by the mourning sounds of Johnny Cash singing “What Is Man”. Some of the dead were extremely memorable, such as Dr. Senator or Swannie Kaps. Others barely registered, such as Antun Dumini or Omi Sparkman. But the number of bodies was terribly high, and you can̵

7;t blame Josto Fada for calling him as a way to get Joe Bullo not to execute him. “Weren’t there enough murders?” He asks.

Joe answers no by firing on Josto and Oraeta Mayflower, whose bodies will lie in an unmarked grave on the outskirts of the city. (At least he fulfills Oraeta’s cruel but appropriate final request: kill Josto first so she can watch.) The finale sided with Joe on this issue. Beyond Josto and Oraeta, who were sentenced to death by Ebal Violante

for allegedly plotting to kill Donatello (one of the few crimes this season that Josto is not guilty of), the victims of the episode include Dr. Harvard and Alderman Gillis (both shot and then set on fire by vengeful Josto), Leon and Happy and several of Happy’s soldiers (killed by Loy’s forces after he made a deal with Ebal) and finally Loy Cannon himself (stabbed to death by Zelmare Roulette) in revenge for telling the cops where to find her. and Suani).

Both children involved in the hostage exchange survive. Zero Fada smiles at Loy from the back of Ibal’s car as they leave the park, while Sachel later returns home (and begins reading Dale Carnegie, as Hank the salesman inspired).

But while Zelmare dipped the knife into Loy, I couldn't disagree with Josto.  It's always been a violent show (remember Lorne Malvo shot Moses Tripoli and the whole Fargo crowd back in Season One?) And while I haven't done my math, Season Two is probably in the game in terms of killing important players. .  But this year he had stronger characters in general (and in the young Lou Solverson, the center of gravity that was missing in this tale) and was more than episode-by-episode.  The three hours leading to Storia Americana were among the strongest this year (with East / West as the focus of the whole series), but the carnage here felt mechanical and numb.

Loy gets his montage “Today I run the whole family business” just because the genre demands it and he feels missing from Happy and Leon as such minor antagonists. Joe takes so long to bring Josto and Oraeta into the country that it looks like there may be a turnaround that allows one or both to survive; instead, you realize that Noah Hawley wanted to give us another funny look at Oraeta, which drives Josto crazy.


Bokeem Woodbine as Mike Milligan


Loy’s death at least made sense as Zelmare stabbed him as he witnessed a blissfully peaceful moment for his reunited family, as if they had come to embody the Future Is Now billboard that Satchel had passed on his way out of Liberal, Kansas. Chris Rock was hired in part because his verbal gifts seemed appropriate for the material, but Loy couldn’t say anything before he died, just staring in shock and grief at his son, who had returned incredibly only from a few dead scenes earlier. We knew what the future held for Satchel even before Bokeem Woodbine arrived on stage in the middle of credit as the elderly Mike Milligan, who was still walking with Gail Kitchen, thinking about the boy he was, and reloading his pistol the way Ravin saw him. do. And in that respect, Loy’s death was one of the most inevitable this season. But there is still emotion about how Rock plays him, how the sequence is set, and how the scene just before with Ebal kills Loy’s dreams, even before Zelmare has a chance to kill the man himself.

The idea of ​​Ebal modernizing the family not only fits into what we saw about the Kansas City union in the second season, but also with the bigger arguments for this season for America as a country built to grind the dreams of individuals and certain groups. Ebal is able to thrive by moving away from old-world attitudes toward valuing the family above all else and managing things more like a conglomerate. And little businessman Loy can’t survive against the bigger corporate machine. If Zelmare had never darkened his door, it was still clear that Loy would have lived a smaller life than the one he thought he was building, and who felt strong even at the end of this bumpy, crowded season. Still, one can’t help but look at the 39-minute execution time (the shortest for the season, with only a few middle chapters approaching its brevity) as the story ends before it’s over. From the point of view of the spectacle, it is difficult to overcome one or two blows from the station shootout and the twister killing Rabbi and Kalamita, but the emotional end of things so far felt empty. Loy’s death hit hard, but Josto and Oraeta fought until the end of the cartoons, while Ethelida barely appeared at all, even after her new fame gave a big spark to the penultimate episode of the season.There were gaps of about 18 months between each of the first three seasons of Fargo , length driven by the desire to photograph each of them in the gloomy winter of Calgary. Then three years passed, partly because Hawley was busy with other television and film projects, partly because he was waiting for inspiration to return to this world. This season offered moments that felt as inspiring as anything the show has done in the past, but they felt rarer and also couldn’t overcome the casting and storytelling choices that were more hesitant than previous seasons. . Season three sometimes stumbled in these areas, especially with the two characters played by Ewan McGregor, but he closed as hard as the first two years. This ended with a whimper, followed by a reminder of

Fargo at best with the Bokeem Woodbine cameo. The anthological nature of Fargo means that there is no real baggage for a hypothetical fifth season, which can still be excellent if Hawley has the right inspiration and performs harder than here. The TV is better when

Fargo is great. The fourth season, unfortunately, offered only periodic views of what the show could be. Hawley doesn’t need a new way; he just needs to figure out how to make the old way work the way it used to.

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