Like most of the fanbase, I wasn’t sure how to absorb the five-episode season, although Emily VanDerWerff’s review in Vox was particularly insightful and I resonated with several of her points. Yet, he has taken over directorial duties entirely in season three and his vision is doubling down on the aesthetic and romantic motifs he had established previously. Making people wait was all part of the game.Īnsari directed several episodes in the second season in which he paid homage to European cinema (especially the Italian tradition, for example: check Vittorio De Sica’s Bicycle Thieves against the series two opener). According to interviews with the cast and creators, time was just as much a part of the series’ subtle investment in European cinematic traditions. Still, the gulf of time between the second and third season seemed to not entirely have been the fault of Covid or Me Too. If they would, in fact lead to anywhere – especially after an allegation of sexual misconduct against its co-creator and former lead actor Ansari AND a global pandemic put the third series on hold. Only two main characters? Changeless bucolic setting in Upstate New York? Just five episodes? The gradual evolution in the stylistic agenda and content were clues, it just wasn’t clear where they would lead.
The stylistic retreat to a sparse, meditative cinema seems like a punch in the gut. Still, given that background, the third season of Master of None splits a room. The second season became enthralled with arthouse cinema and expanded on its meditation on the being of relationships. The first season dove into social commentary and dipped its toe into emotional stuff, but never veered too far outside of a personality-driven comedic format. Master of None has been tiptoeing away from its comedic roots from the beginning.
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