Fargo Season 4 Episode 9

If last week's Fargo featured a climactic shootout at a train station that felt strongly influenced by The Untouchables, "East/West" looks back even further in film history for inspiration. By far the most stylish episode in the season, "East/West" is brief but welcome detour ahead of Season 4's final two episodes. Fargo is an American black comedy-crime drama anthology television series created and primarily written by Noah Hawley.

It is inspired by the eponymous 1996 film written and directed by the Coen brothers, who are credited as executive producers on the series alongside Hawley. Following an anthology format, each season is set in a different era, with a different story and mostly new characters and cast, and some minor overlap. Each season contains several references to Coen brothers' films. Where other episodes of this season have had to bounce around a half-dozen plots and three times as many significant characters, "East/West" is deliberately spare in both story and style. Most of it is just about Rabbi trying to retrieve some money he once hid in a feed store in the town of Liberal, Kansas, while Satchel hides out at the rooming house, with Constant Calamita and Omie Sparkman on their trail. It's much slower than any previous installment this year.

But it's also much more interesting, because everything feels of a piece, rather than trying to make mismatched parts like Doctor Senator, Gaetano Fadda, and Oraetta Mayflower fit into the same picture. Shot in black and white, with that startling shift to color after a tornado, the episode follows Milligan and Satchel, who are definitely not in Kansas anymore. The two hole up at the Barton Arms in Liberal, Kan., "the pancake hub of the universe," for a couple of days so that Milligan can find his bearings and figure out where they should go from there. As Satchel stays in the room, bonding with a stray dog of Toto-like proportions, Milligan heads into town to retrieve $5,000 in ill-gotten cash that he had tucked in the walls of a feed shop. Only the feed shop is now a catalog store, and the wall is gone, leading Milligan to conclude that the new proprietors have his money. Though sticking with movie nods, the shift from black and white to color was an obvious parallel withThe Wizard of Oz, but I'd also throw in a little bit ofPleasantville.

The world doesn't shift to color due to some big, emotional moment or outburst, but it does represent Satchel beginning to map his own future and find his own way in life, now that he's all alone. Fargo Season 4 Episode 9 will continue to bring black comedy and thriller crime into the story. However, something extraordinary is going to come up ahead. Fargo is an anthology series, which brings newness in every season. The fourth season of the show seems to be standing up to the mark in its excellence. The ninth episode is just a step away from the finale.

If you love Chris Rock, you know Fargo Season 4 Episode 9 is coming up soon. This is the fourth season of the anthology black comedy-crime drama. This season will have 3 more episodes up to 11 episodes. Even though it was postponed due to Covid-19, the season is very well received. Even if you haven't seen the other seasons you can watch this one. So, here's everything we know about the upcoming episode.

As an anthology, each Fargo season possesses its own self-contained narrative, following a disparate set of characters in various settings and eras, albeit in a connected shared universe centered on the Midwestern United States and the titular city of Fargo, North Dakota. The fourth season is set in November 1950 in Kansas City, Missouri and follows two crime syndicates as they vie for control. The cast is led by Chris Rock, who plays Loy Cannon, the head of a crime syndicate made up of black migrants fleeing the Jim Crow South who have a contentious relationship with a fictionalized portrayal of the Kansas City mafia. Other cast members include Jessie Buckley, Jason Schwartzman, Ben Whishaw, and Jack Huston. List of episodesThe fourth season of Fargo, an American anthology black comedy–crime drama television series created by Noah Hawley, premiered on September 27, 2020, on FX and concluded on November 29, 2020. The season was originally scheduled to premiere on April 19, 2020, but this was postponed due to the COVID-19 pandemic.

Rabbi and Satchel find themselves in black and white, too, as well as in Liberal, and as guests at a rooming house called Barton Arms, a former home of a murderous family now split literally in two by warring sisters and stocked full of eccentric guests. They find a little dog named Rabbit locked in their room's armoire – one of many Oz references – and meet many of the brilliantly-named guests, including Hickory J. Milch, off to Texas to make a fortune in oil, and Pastor Roanoke. The place is like a filing cabinet for characters with really Coen-y names and quirky backstories that can't fit in any overarching narrative. The hidden money is mostly gone, having been discovered by a pair of brothers who took over the store.

Rabbi floats up into the sky destined only for oblivion, rather than a magical city where he can dance with a lion and murder witches. And when Satchel opens the door from their room to go looking for his guardian, the episode's harsh monochrome sheen converts to color. It's not the dazzling greens and yellows and reds of Oz, but it's a future for the kid, who only has his little dog for companionship now as he sets off in search of his own future. I'm not sure why Fargo Season 4 Episode 9 was shot in black and white.

Director Mike Uppendahl and cinematographer Dana Gonzales, himself a Fargo director elsewhere in the season, make it seem stark and intimidating. "East/West" announces itself as an atypical outing from the start, with a Bertrand Russell quote, and a slow pan over some rubble that lands on some pages from the book The History of True Crime in the Wild West. Specifically, it lands on a page from the book's seventh chapter, "Who Shot Willy Bupor? (Freeze the frame and you can read a somewhat baffled account of the episode's final moments.) Then the image switches to black and white and the events leading up to Omie and his captor's arrival at the fateful gas station. When we last saw Omie Sparkman — former boxer and Loy Cannon loyalist — he was promising his boss that Constant Calamita would soon pay for the crime of killing Doctor Senator .

In "East/West," Omie begins the episode on a journey to make good on that promise, one that takes him to a middle-of-nowhere gas station somewhere between Kansas City and the town of Liberal, Kansas. That's a major development in this season's storyline, but it also mostly serves as a framing device for the episode, season four's oddest episode and as wild a departure as the series has ever attempted. Though the episode invites comparison to the Wizard of Oz, it's also deeply informed by the Coen Brothers' filmography, more so than the typical installment.

The hour finds Rabbi and Satchel on the road, trying to flee Constant Calamita's pursuit. Their journey leads them to the Barton Arms' hotel in which they encounter a whole house of colorful characters despite the black and white presentation. There's a chatty Dale Carnegie disciple, an aspiring oil tycoon on his way to Texas for a fresh start, and a strange pastor traveling with his mother. The whole hotel is split right down the middle, a product of deep-seated ideological differences between the pair of sisters that own the business.

It takes a large number of people to create such amazing visuals for the show. The writing credits for the latest season go to Lee Edward Colston II. The characters are brought to life by a stellar cast. The main cast of Fargo Season 4 Episode 9 are mentioned below. The fourth season is set in 1950 Kansas City and follows the story of two crime syndicates as they vie for control of Fargo. The cast is led by Chris Rock, who plays Loy Cannon, the head of a crime syndicate made up of black migrants fleeing the Jim Crow South who have a contentious relationship with the Kansas City mafia. Other cast members include Jessie Buckley, Jack Huston, Jason Schwartzman, Ben Whishaw, Salvatore Esposito, and Timothy Olyphant.

Rabbi finding out the place where he stashed the money was bought out by a pair of brothers who used it to finance their kitchen appliance store is a decent twist, but it's a starting point, not a conclusion. Rabbi doesn't kill the brothers and he interrupts the cop before things can get too bad, and then later, he goes and dies for reasons that have nothing to do with any of this. Hell, if he'd got the money, he might still have died. As bottle episodes go, this is not one to remember and while many will enjoy the art and the black and white visuals, the episode leaves the plot stuttering and the pacing a bit of a mess -which has actually been a problem throughout this season. Ah well, with 2 episodes to go this feels more like a proverbial deep breath before the final plunge.

I'm not sure why it reintroduces the concept of The History of True Crime in the Midwest, the fictional book from which the stories told by the Fargo television show are ostensibly drawn. I'm not sure why the story we see referenced in the book, or rather a torn-out page from the book, is…the thing that happens in this episode, rather than the thing that's been happening in all the other episode. Particularly if you look closely at the fine print, which begins "Two African Americans, two Italians, and an Irishman walk into an outlying gas station," you'd know that the titular mystery, "Who Shot Willy Bupor? One of the challenges of serialized television shows, especially plot-heavy thrillers like "Fargo," is that the demands of moving the various subplots forward can keep individual episodes from having their own distinct flavor. The fourth season has fallen into that mid-season trap a little, sacrificing the thematic purposefulness of the early episodes for a little too much plate-spinning.

It needed an audacious, standalone hour like this week's episode to reassert itself again. Another point of criticism that I have about this is that there aren't enough zombie action bits as there were in the first Zombieland movie. Much like the Walking Dead series as become, Double Tap seems more focused on its characters rather than the group facing the sparse groupings of mindless zombies. However, that was some of the fun of the first movie and Double Tap takes away that element. Of course, the ending climatic piece in the third act gives us the best zombie action scenes of the feature, but it feels a bit "too little, too late" in my opinion.

To be honest, this big sequence is a little manufactured and not as fun and unique as the final battle scene in the first film. I know that sounds a bit contrive and weird, but, while the third act big fight seems more polished and staged well, it sort of feels more restricted and doesn't flow cohesively with the rest of the film's flow . There are some problems that are bit glaring that Double Tap, while effectively fun and entertaining, can't overcome, which hinders the film from overtaking its predecessor.

Perhaps one of the most notable criticism that the movie can't get right is the narrative being told. Of course, the narrative in the first Zombieland wasn't exactly the best, but still combined zombie-killing action with its combination of group dynamics between its lead characters. Double Tap, however, is fun, but messy at the same time; creating a frustrating narrative that sounds good on paper, but thinly written when executed. It's fun sequence of events that follows, but adds little to the main narrative and ultimately could've been cut completely. Thus, I kind of wanted see Double Tap have more a substance within its narrative.

Heck, they even had a decade long gap to come up with a new yarn to spin for this sequel…and it looks like they came up a bit shorter than expected. Returning to the director's chair is director Ruben Fleischer, who helmed the first Zombieland movie as well as other film projects such as 30 Minutes or Less, Gangster Squad, and Venom. Thus, given his previous knowledge of shaping the first film, it seems quite suitable for Fleischer to direct this movie and , Double Tap succeeds.

Of course, with the first film being a "cult classic" of sorts, Fleischer probably knew that it wasn't going to be easy to replicate the same formula in this sequel, especially since the 10-year gap between the films. Luckily, Fleischer certainly excels in bringing the same type of comedic nuances and cinematic aspects that made the first Zombieland enjoyable to Double Tap; creating a second installment that has plenty of fun and entertainment throughout. Basically, if you were a fan of the first Zombieland flick, you'll definitely find Double Tap to your liking. Credit to the show, though, for giving us a colorful cast of characters at the Barton Arms.

Rabbi returns to his hotel to make a plan, and while he does that we see Satchel try to convince Rabbi to let him bring the dog along the next time they step out. The ironic way in which Liberal is grounded in reality is that it's deeply racist. Rabbi spends most of his time there becoming steadily more annoyed and dangerous after spending the entire season, more or less, being characterized as unusually compassionate, at least for a gangster. He begins to take particular issue with a guy putting up a billboard which, half-completed, reads "The Future Is…". The episode jumps back in time one day, catching up with Rabbi Milligan and Satchel Cannon who are also on the road and driving past that same gas station. They arrive in the town of Liberal, Kansas where Rabbi plans to rest for a few days.

During that awkward dinner, Hunk begins analyzing the story of Goldilocks, describing her as the classic example of an outsider in search of oneself. It's an archetype that also fits Dorothy Gale, and both of our weary, troubled heroes this week. Rabbi Milligan was the son of an Irish family, cast out into first a Jewish clan, then an Italian one, never finding the home that felt just right. He leaves Satchel Cannon alone but prepared, even if he didn't offer his usual warning first about what it means if he doesn't come back.

We don't know what's in store for the rest of the Cannon family, but unless all the Mike Milligan hints are a really convoluted head-fake, we know what's in store for Satchel. He'll be OK, but he won't fulfill the dreams of either his biological father or the surrogate one who cared for him in the Fadda house. He'll survive without ever getting to where the clouds are far behind him. The one sticking point to that cynical thinking, which the show has expressed since the changing-of-the-guard sequences in the season premiere, is that Black people are an exception to the rule.

The Irish and the Italians may take that route to broad cultural acceptance, but there's nothing an exceptionally clever leader like Loy Cannon can do to advance his race from oppressed to oppressor, even if he succeeds in his war against the Faddas. The show is aware of this fact, most plainly in the co-opting of Loy's credit card idea by white bankers, and yet here's that Russell quote anyway, preceding an episode that doesn't have much to do with it. With storm clouds gathering overhead, Rabbi pulls into the station and finds the attendant dead in the garage doorway. He peers into the general store, and sees Constant standing over an injured Omie, his gun raised. Rabbi accidentally bumps into a drum, alerting Constant. The assassin shoots at Rabbi, hitting him as he tries to reach his car.

Constant prepares to finish Rabbi off but is shot by Omie, who receives fatal gunshots in return. As the wind kicks into high gear, Rabbi struggles to raise his own firearm, only to have a flying plank knock the pistol out of his hand. Before Constant can kill Rabbi, a tornado sweeps him — and the entire station, and Rabbi's car — away. Recognizing there's no escape, Rabbi raises his arms to the sky and is sucked up into the tornado. That is one extra than the last three season of Fargo, which just had 10 each. It implies that after this week, there are still three more episodes are left.

Cold, icy, desolate, landscapes complimented the black and white film wonderfully. Maybe this thought won't age as well as I think, but a full Year of Fargo in black and white could have worked. BroadcastOriginal runSeptember 27, 2020 – November 29, 2020No. Of Episodes11Home video releaseDVD releaseBlu-ray Disc releaseSeasonsPreviousSeason 3Season 4 of Fargo was announced by FX on January 5, 2018 and was set to premiere on April 19, 2020.

However, on March 16, 2020, the season was delayed and eventually premiered on September 27, 2020. The fourth season takes place in Kansas City, Missouri in 1950. Before either Rabbi or Calamita can take a shot at each other though, the two of them are blown away by a tornado. We are not hopeful because every scene of Rabbi and Satchel so far had set up their heartbreaking separation. So when we see Satchel leave with nothing but the gun that Rabbi had left behind the day before and the dog, we are certain that he is leaving everyone behind. While Satchel who remains behind meets a dog named Rabbit who he befriends very quickly, Rabbi tries to gather his bearings and decides to retrieve $5,000 that he had hidden in a feed store in the past.

However, the feed store is no longer there and the wall that he had hidden the money in, is gone as well. Instead, he finds himself face to face with two brothers who have stolen his money and set up a store of their own. Ben Whishaw as Rabbi Milligan in 'Fargo' season 4 episode 9 (Photo by Elizabeth Morris/FX)The wind's really kicking up as Rabbi Milligan approaches the gas station. He spots legs sticking out of a door and quietly approaches a window. The wind whips around and makes a noise, causing Calamita to look up and spot Rabbi outside. He heads outside and shoots Rabbi once before he can make it into his car.

", the billboard was eventually changed to, the episode closing with Satchel stood before it. Did the phrase take on an empowering or foreboding quality for the vulnerable young man? My money is on Loy and co. being the first to track Satchel down , but I don't imagine the boy will appreciate being reunited with the father that traded him away. Presented in black and white, 'East/West' managed to advance the season's narrative while feeling a lot like a standalone episode, centring entirely on Rabbi Milligan and Satchel Cannon as they lay low in the town of Liberal. Meanwhile, the Fadda vs Cannon Limited war bled itself out back on the Missourian border.

Deliberately disorienting and strange, the better to mimic the world in which Satchel Cannon now finds himself alone, this episode of Fargo ("East/West") is by far the season's best. That future manifests itself in the tornado that strikes the service station where Sparkman, Calamita, and Milligan have their final shootout—before Calamita guns Sparkman down, before he's pulled into the vortex, and before Milligan is drawn in after him. The second set-piece is much showier, landing Milligan in the middle of a gunfight between one of Loy's henchman, Omie Sparkman , and the wraithlike Constant Calamita. Sparkman has set a trap for Calamita at the only filling station for miles around — one that happens to be eight or nine miles away from the Barton Arms — but when Milligan turns up looking for a treat for Satchel's birthday, he gets roped into a conflict. To this point, only the Kansas setting, the black-and-white photography and the little dog have suggested "The Wizard of Oz," but it's enough to justify the tornado that wipes all three characters off the map.

With the movie keeping the focus on the main quartet of lead Zombieland characters, the one newcomer that certainly takes the spotlight is actress Zoey Deutch, who plays the character of Madison, a dim-witted blonde who joins the group and takes a liking to Columbus. Known for her roles in Before I Fall, The Politician, and Set It Up, Deutch is a somewhat "breath of fresh air" by acting as the tagalong team member to the quartet in a humorous way. Though there isn't much insight or depth to the character of Madison, Deutch's ditzy / air-head portrayal of her is quite hilarious and is fun when she's making comments to Harrelson's Tallahassee (again, he's just a riot in the movie).