I'm guessing the only reason Coen bros decided to make this straight to Netflix was the unconventional format

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37249850)

(also a lib, no surprise)

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37272585)

https://splinternews.com/the-blinding-whiteness-of-the-coen-brothers-wild-west-1830565330

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37274145)

PrimevalHumming

Nick Martin

11/20/18 4:27pm

This went on my ‘nope’ list when I saw they cast that fucko James Franco. I love the Coen brothers, but I don’t think even they can justify casting this well-documented creep.

It makes me cast a side-eye at the Coen’s earlier movies, and re-examine how they have treated their women characters. It’s not going so well ....

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37274604)

Last episode was a letdown for me though, or maybe I am too dumb to appreciate it

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37274249)

https://www.youtube.com/watch?v=s8xpfhcwpDA

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37274676)

very sad

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37283898)

singing outlaw episode = worst

the rest = mixed bag

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37345258)

Bank Robbery one was great and very underrated. Well told and succinct.

Meal Ticket was long and boring with an incredibly dark payoff. Had a very Scary Stories to Tell in the Dark vibe.

Gold mining one was great. Especially because after the first three you're expecting the worst. Was funny too. "Good night, Mr. Pocket!"

Wagon Train story was probably the best plot, though the ending felt less impactful than it should have been. They did a great job slowly building that relationship, but the circumstances that put her in the position she was in were confusing. Where was the fiance while she was off chasing this dog? The idea that she's just sitting there laughing with the dog off on her own in unfamiliar territory was bizarre and out of character. The red herring w the helper boy that went nowhere. And it was too obvious where it was heading once he instructed her to shoot herself. I liked it, but it could've been much, much better.

The last one was just bizarre to me. I'm sure there was some context or symbolism I just didn't catch. When the younger guy was going on about how they distract their bounties with a story and then thump them, I thought it was because the three others in the coach were all bounties, and that's why the coachman wouldn't stop no matter what. But nothing came of it. Were they all dead? Were they just creeped out? Felt like the only one without any kind of payoff and probably the worst one to end on. The gold mining one probably should've been last.

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37372064)

I believe the two reapers symbolized the Coen brothers themselves and I really enjoy the rant the one reaper goes on about how easily humans are distracted, just tell them a story as long as they can see themselves in it. . . .

He says he loves watching people "trying to make sense of it." The trapper asks, "Make sense of what?" and the reaper says, "All of it." The woman then asks whether anyone succeeds.

The reaper is speaking about life and death, but I saw it also referring to the Coen brothers' movies, the critics/audiences reactions to them, and the search for symbolism.

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37389295)

The coachman not stopping seemed significant. And we noted how the luggage left with the coach instead of staying with the guests, so perhaps symbolic of the fact that nothing you're buried with comes with you to the afterlife.

(http://www.autoadmit.com/thread.php?thread_id=4134616&forum_id=2#37389335)