It’s important to remember Barry is comedy.As dark as season three – and still so dark – each episode continues to produce more laughs than most untitled current comedies the other twoWhat makes the conflicting tone less jarring is how well they harmonize: Humor naturally arises from the absurd scenes our protagonists experience in the inherently absurd setting of Hollywood.
Take, for example, the extended chase scene that makes up most of the second half of “710N.”It’s the sequel to last season’s ‘Ronnie/Lily’: A well-choreographed action movie that works on this show because its stupid. Or take Mitch, a former drug dealer and current beignet chef in Los Angeles, who imparts sage wisdom to every customer, including designated characters, and in one particularly interesting case, another who has her own family drama. customer.
Mickey’s scene was probably the comedic peak of the episode — in large part because of the actor’s motionless expression. It pairs perfectly with director Bill Hader’s muffled still shots in all three of Mickey’s shows. He advises three of our regulars, giving the show a great excuse to give its characters some effective exposition of what’s going on and how they’re feeling.
First up is Sally, who lashes out at the algorithm killing her show and at BanShe who wants to meet up to discuss her new opportunities. Mitch may not be wrong when she points out that she shouldn’t hold back her ambitions by seeking opportunities from people who don’t support her work. After all, he once had the same experience at a fritter shop and finally realized he had to believe he knew what he had. After all, that’s how he ended up selling cookies. (Inspirational.)
Still, it’s hard to blame Sally for ending the episode with the opposite conclusion: Joining the writer’s room might provide the money and relationships she needs if she wants to live a long life in the industry.This is true even if New Medusa (a horribly plausible concept) is from Joplin. We hear more about the show in a perfect scene that casts Vanessa Bayer as Morgan Dawn Cherry, an executive with a direct rapport with Lindsay’s producer and agent. The conversation devolves into a back-and-forth of inexplicable grunts and facial contortions, all of which playfully convey meaning about the vibe BanShe is looking for.
This is Mickey’s first but not the last. When Hank comes into the store to vent about Cristobal, Mickey suggests they run the business together (a spin-off idea with potential). More crucially, though, he pointed to a number of very important red flags that should make Hank reconsider whether he wants to be with Cristobal. I mean, the guy didn’t mention he has a wife and kids! After all that Hank and Cristobal have been through, it may have been that huge lie that tore them apart.
But mostly, this episode is about Barry’s past finally catching up to him in every way. His old military buddy, Albert Nguyen, realizes that Barry may be behind the house bombing (and the monastery massacre) because he admits the perpetrators are ex-military. Taylor’s sister Tracy and her family of motocross stars are getting closer to finishing the job Julie and her son screwed up last week. And Sharon, the wife of Barry’s best friend Chris in season one, who did the most, inviting Barry to her own home and poisoning him. He didn’t even expect anything until he saw Kenneth Goulet’s business card.
The “710N” has repeatedly clashed with our expectations as to which of these threats is most important. Initially, it felt like the episode was building up a character-driven Veterans Dinner climax where Barry would be forced to confront his memories of the war – while Albert would simultaneously confront what he did or gather some vital evidence . The third and final conversation with Mitch prepared us for that, as Mitch gave Barry solid advice to test the waters with a Zoom meeting before meeting up with old friends.
Then this episode deviates entirely from that idea, dedicating a chunk to a long, tense, and very fun chase in Los Angeles. There are too many good moments here to list them all, but when Barry steals a bike and crashes the car, the tension really builds up on the freeway, through traffic and gunfire. The prospect of Tracy riding her bike to the roof of a used car dealership only to be killed by a self-serving salesman is another highlight.
But the final twist is the biggest because Barry Do Managed to take care of all the cyclists, he did attend dinner somehow. But the biggest threat in this episode isn’t the LAPD or grieving family members we expected; it ends up being the most humble of all, the friendly widow who’s known Barry for years. When Barry begins to gag at his food, Sharon utters the episode’s final line — “Go to hell, you bastard” — and there’s so much unexpected anger and pain in there. As a character, Sharon has a poignancy that Tracy doesn’t have as a stranger to us. Even if our protagonist doesn’t die at this point, she’ll be the first to actually leave her mark.
But the attacks show no signs of stopping. Even if Barry does manage to escape Sharon’s trap, Fuchs is busy recruiting potential replacements. Janice’s father, Jim, was a big man. To me, Janice is undoubtedly the most tragic death in the series, and murdering her is perhaps one of Barry’s most unforgivable acts. The episode casts him as a boss-level threat as he calmly arranges a meeting with Fuchs over the phone.
But Fuchs’ bite wasn’t enough at first. After being shot by Tracy’s thugs, he wakes up on a farm 20 miles outside Los Angeles. That’s not far from his home in Chechnya, but still enough for Fuchs to accept the possibility of leaving a life of crime for the second time this season. This time, the situation was even more tantalizing: Anita, Fuchs’ beauty therapist, really fell in love with him, she belonged to a larger community, and he could really do it on her own. He even had the respect and approval of her father, who told him to “obey the signs God has given you.”
But Fuchs is still finding excuses to abandon this new life and succumb to the temptation of revenge.So he reacted to Anita’s father’s advice the same way he reacted to the Chechen fable “Ben Mendelssohn”: He misunderstood and found a wrinkled type on the floor and grab it as a sign that he should see his original plan. Honestly, it’s a bit of a revamp of Fuchs’ storyline, but the point of it is that, at this point, nothing can shake his obsession.
We’re reaching a tipping point for Barry; even if he succeeds in eliminating the threat of every grieving family member trying to kill him, there’s no way to stop the cycle of violence at this point. He can continue to bribe those who want to kill him through nonviolent threats (genes) and “self-defense”. Ultimately, he will have to succumb to the punishment chosen by the victim. He can’t always do whatever he wants. It’s more than he deserves.
• Gene has the opportunity to teach acting masterclasses on TV thanks to a public rehab in his career. In a gesture of goodwill, he proposed that he team up with his ex, Anne Eisner, and even suggested she take the whole thing. Right to more Fred Melamed, to more Laura San Giacomo, and to putting your money where your mouth is!
• When Barry accidentally says “I love you” to Sharon on the phone, he makes it worse by first hinting at his breakup, then implicitly comparing the husband-losing Sharon to his own situation. (“You know what I mean, right?”) Not pretty, but fun.
• Not very conscious either: Barry loudly and openly dictated his apology to Sally, listing all the terrible things he’d said and done to her recently.
• Mitch: “This guy is like super MAGA trying to get me anti-CRT and the other guy shows me videos of dad rapping; it’s so fucking corny.”
• Fuchs: “What do you and your people call water?” Anita: “Water. Did you know you’re only 20 miles from Los Angeles? There’s a Starbucks on that hill.”
• Anita’s father: “I think she wants to be boyfriend and girlfriend.”