The entertainment industry needs content, dangerous re-enactments based on reboots and duplications, sequels and previews, extended universes and crossword puzzles. In a way, we get what we want because customers also have the content they need and take the risk out of it. We are not satisfied with just the things we already love. Not surprisingly, then, that Noah Hawley decided to build an anthology series based on a hit movie. What is surprising is his selected of hit movies: Fargo–A president made by incomparable famous filmmakers will not change. In fact, it’s a kind of quixotic nonsense that could easily become a movie from the Coen Brothers: A young writer, over his head, thinking with the Smoking Chief Executive, sharply pointing to the “o” of “Fargo” saying, “You know, for TV! Hawley, though, had a vision of how one works, starting with source material.
Adapting every movie The Coen Brothers will have a hard time — they have sensitivity in every aspect of their movies — but if you had to do it, Fargo is the best choice because there is Marge Gunderson. One of the few real people the Coen Brothers have given us, Marge is the little character that forms the basis of the chaotic, Persian movement and is also the most interesting part of the story. Unlike the opposite, say, Friend, which shines the face of the world outside the bowling league, Marge is a key part of her community. She has the ability to cheer, cheer and cheer, even though she is aware of a more difficult world where people eat other people in the woods for no good reason. The latter may know how connect a room, but Marge’s humanity and charm remain Fargo the universe from the plane to each other, which is useful if you want to continue a story for more than two hours.
So, you would expect Hawley to have a role in Marge in her television adaptation Fargo. Instead, he created all new characters and stories. Humanity and love still exist, but Marge does not. This was a wise move because it meant moving away from the unseen valley of sight another player plays a famous character. But he reversed that advantage by using characters that resembled those in the film, so you think the first few episodes, “He’s Marge, he’s William H. Macy, there’s Buscemi,” and so on. Hawley even calls this game, freely uses music, player, and works from Fargo and other films from the Coen Brothers universe. The danger is that it looks like a collection, and no one wants to compete with Frances McDormand.
One thing you can learn from some of the experiences in the first season of the show is that Hawley used these references as more than just observational knowledge but instead loaded Easter eggs to create naming expectations. We are set up to believe that Martin Freeman’s Lester Nygaard – harassment, browbeen, threats, kidnappings, and almost murder – is almost like Macy’s Jerry Lundegaard: a compassionate man who is overwhelmed by the powers that be. and selfishness is suppressed. When the police realize that Lester was involved in the murder of his perpetrator, his wife and the police chief, we are just waiting for his final humiliation. But after an age of taking something smaller by assault with a “gosh”, he stops and opens the way for his brother to plead guilty. Lester is not an unscrupulous loser but a smart socialist, more like Walter White than Jerry Lundegaard. With that change, we gratefully acknowledge that everything we asked ourselves about what was going to happen. It is a new story, not an update.
In all three seasons, Hawley has been able to stay in the Coen Brothers universe without being overwhelmed by it, and it looks like next season will be no different. Established in 1950 in Kansas City, Dansal 4 will tell the story of two organized crime families who seek to cement their power over “abuse, drugs and narcotics”. Familiar territory, but not entirely: one of African American crime families. Coens an gotiye an awesome array of American stories, but they have hardly given up on the African American experience and rarely do Black players play important roles. When asked about the lack of diversity in their films as #OscarsSoWhite movement left, they replied it varies considerably but “you can only write what you can.” Going to discuss system issues in the industry, Ethan suggested that studios believe that viewers are not shown for films that show different casts, so those films are not made. Joel admitted that “you do not know what people will love until you find it.” In other words, we may receive more than we already love, but we want more than we already receive.
Fortunately, FX and Noah Hawley are testing these theories, although it’s a pretty safe story but for Chris Rock there’s a huge audience in what he says the best part that it will ever have. Of course there is very little risk of switching from a custom idea Fargo in the first row into a row. In this quarantined universe, it will be fun to see Hawley expand the world of the Coen Brothers in ways that go beyond their precious dreams.