Something I think is fascinating about Fargo is that Steve Buscemi is a woman in it. I know it's easy to read that and kind of chuckle and move on, but I'm not joking. I'm not saying this in a quirky tumblrina old man babygirl way. I think it's an actual, purposeful choice by the Coen Brothers.
Gaear hates Carl because he never shuts up. He's gabby. He's chatty. Peter Stormare's character is the silent, stoic, macho man, and Steve Buscemi is the opposite of that. People only remember Steve Buscemi for his looks. He's funny looking. He doesn't have much physical beauty to offer and is thus unmemorable. Shep comes and kicks the shit out of him and he doesn't fight back. He's defenseless. He's the battered wife, not the agitator. By the time the climax rolls around, he's shrieking while non-fatally bleeding in a very conspicuous way. And, in the end, just like he killed Jean for being a nuisance, Gaear kills him because he feels the need to control him entirely, just how he felt about her.
I've seen some people question why the whole thing with Mike Yanagita is in the movie, and this is why. Fargo is a fundamentally feminist movie. Look at Jerry's character in the movie, and then look at Marge. Jerry is trying to operate in the patriarchy and he isn't being given his birthright because he is a fucking loser. He therefore plays around with his wife's life in the same way he plays around with cars and loans that may or may not exist, because he views his wife's life as precisely that: his property. He may have loved Jean, but at the end of the day, where she lives or die is every bit his call. Even if he can't be upwardly mobile in the social class, he can still maintain dominion over his family.
Enter Marge. Marge doesn't arrive until 20 or 30 minutes into the movie. Did you know that? It's easy to forget, because from the very second Marge Gunderson steps onto the screen, it's her movie. She has top billing in Fargo. She is the breadwinner of the house. Her husband takes her calls and cooks and keeps house, and he paints birds in their spare time. She has earned the respect of everyone at the precinct, and yes, ACAB, ACAB, ACAB, but this is essentially a fairy tale, so it's allowed.
When the two clash, it's like oil and water; William H. Macy is wilting in the presence of Frances McDormand. He is dissolving. And still, he tries to cut her off and undermine her and weasel his way out of interviews, and he looks like the most pathetic man on Earth in doing so. He is imperceivable as anything except a coward. One of the most striking moments in the film, if you're watching it in a feminist headspace, is when they finally catch Jerry and he's alone and half-dressed and crying and writhing in a filthy motel room, and it immediately cuts to Marge in bed with her husband. Oil and water! It doesn't matter who does what. She has a "man's job" and protects her husband and he has a "woman's job" and quietly works alone at home, and neither one "has" to be a "man" or a "woman". They can be themselves, and they're in love, and they've risen to the top.
And this is why Steve Buscemi is so fascinating! Because he's the proof that "woman" is not a biological definition but is a social status! He's everything men hate about women, but he has a mustache and a penis and a gun, and it's not enough. They smell him out in the water. The Coen Brothers would never in a million years have put both this and the Marge/Jerry parallels in on accident. It's a movie about cops and robbers and killers up in the Badlands, sure, but it's a movie about women.