YeahDaMU wrote: ↑Thu Mar 19, 2020 3:27 amIt's a bit odd:
Like you say, Ray Wise's benevolent character (who might be God?) does feel less effective than other moments of whimsy. It's leavened a bit because Winstead's character doesn't take his offer to heart and falls back into the more chaotic side of the Fargoverse. But it still felt more contrived than the flying saucer in S2. Maybe because it affects the narrative less and leads to Dunst's perfect "It's a flying saucer, come on, we gotta go!" Which emphasizes the absurdism instead of suggesting a hidden order beyond our ken. It reminds me of the spaceship in Life of Brian that picks up Graham Chapman during a chase and then drops him exactly where he left off.
I was alright with the saucer too. Fargo and The Man Who Wasn't There are at least in the same bleakly absurdist neighborhood where there's no guarantee of higher powers with our best interests in mind and a tendency to nudge things in our direction. It's not like I think less of the Coens when they dabble in the latter. If it gels with the movie, have at it. It's just that it can also be a tempting go-to for writers of longform fiction who fall in love with their characters and want to make fistpumpy moments for the audience. If the overriding tone of the series has gone elsewhere and it mainly seems in service of rollercoaster logic, that can jar.