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.
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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 (City) anymore. “Fargo” has strayed from Coensville all season long, so it makes sense that an escape to rural Kansas would shift to “The Wizard of Oz” as a reference point rather than to the quirky denizens of Minnesota and North Dakota. We hadn’t seen Milligan and Satchel since the botched hit job sent them on the lam together, so it was a treat to spend some quality time with them before their fates were literally cast to the wind. That one hiccup aside, the episode is both a conceptual marvel and an example of how big ensemble shows can benefit from focusing on a couple of characters and sending the rest of the cast on vacation. 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. 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 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. It’s preceded by this line: “People seem good while they are oppressed, but they only wish to become oppressors in their turn.” This has been the show’s understanding of American power from the beginning, as a relentless tribalism in which entire ethnic and racial classes start at the bottom, gain legitimacy and then take it out on next disfavored group. “Life is nothing but a competition to be the criminal rather than the victim” is actually a piece of a quote from a letter the philosopher wrote to his lover, Ottoline Morrell. The Bertrand Russell quote that opens the episode speaks to the arc of the whole season.
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It needed an audacious, standalone hour like this week’s episode to reassert itself again. 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. comes knocking at her hotel door looking for chaos-causing Thor.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. She parties all night but the hangover is quite a doozy when S.H.I.E.L.D. While Darcy winds up marrying Howard the Duck ( Seth Green) in a ceremony led by an Elvis impersonator, Jane can't seem to resist the similarly besotted Thor.
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Jane Foster ( Natalie Portman) and Darcy ( Kat Dennings) who eventually get sucked into the fun. His earthly arrival gets the attention of Dr. And he's brought a lot of alien guests from the Grandmaster ( Jeff Goldblum) to Korg ( Taika Waititi) to various Guardians of the Galaxy and even some Kree. After promising his mother, Frigga (Josette Eales), that he will stay home and study while she's out enjoying the solstice, Thor heads directly to Midgard to get his party on in (where else?) Las Vegas.
#Power season 1 episode 9 full episode series
After a series of rather heavy installments, this episode is mostly a light-hearted romp fueled by a very funny vocal performance by Chris Hemsworth, who excels at turning Thor's naturally dopey exuberance up to 11.