Tag Archives: DAVID THEWLIS

Tea & Review: Fargo – The House of Special Purpose

If last week’s Fargo was a symphony and the week before’s an interlude, this week’s can only be classified as a funeral march—although no one actually died. The solemnity was more in form than function, expressed through muted colors, elegiac music selections, and slightly more methodical editing. That is, until the final scene.

As was established in past installments, Season Three’s halfway mark is essentially the point of no return, the moment wherein the true stakes are established and the more farcical capers give way for darker plots. Think of the brutal killing of the hapless personal trainer in Season One, or the ambush of the Kansas City mobsters in Season Two. Both reversals were prime examples of the show’s ability to transitional naturally between tones per the story’s demands.

But this time around, the shift feels a whole lot starker.

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Tea & Review: Fargo – The Narrow Escape Problem

Whereas last week’s trip to Los Angeles was something of an experimental detour, “The Narrow Escape Problem” may be the most Fargo episode of Fargo thus far. All the ingredients are there: overly complex problem solving, tactless Midwesterners, oddly friendly police officers interrogating flustered first-time criminals. We even get a quirky framing device.

Speaking of which—the use of a fictional recording of Peter and the Wolf narrated by Billy Bob Thornton as a sort of thematic exoskeleton is definitely the most intriguing element of the episode, by far. It plays with the idea that the characters in Fargo are recurring archetypes, while suggesting a new perspective through which to view the somewhat familiar story being presented.

But as usual with this show, I have to ask: what does it all mean?

That is to say, the narration pairs up several of the major characters with Peter and the Wolf counterparts (as well as the respective instruments that represent them in the composition), but what exactly does that say about each of them?

Gloria (Carrie Coon), for example, is Peter, the central intrepid adventurer who ignores his grandfather’s warnings and defeats the villainous wolf. The analogue here is, of course, rather obvious. Thus far in the season, Gloria has repeatedly ignored the will of her superiors in order to bring down the people responsible for her stepfather’s murder. The thing is, though, she doesn’t actually know who she’s up against. Is she, like Peter, underestimating her opponent?

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