If last week’s Fargo was a symphony and the week before’s an interlude, this week’s can only be classified as a funeral march—although no one actually died. The solemnity was more in form than function, expressed through muted colors, elegiac music selections, and slightly more methodical editing. That is, until the final scene.
As was established in past installments, Season Three’s halfway mark is essentially the point of no return, the moment wherein the true stakes are established and the more farcical capers give way for darker plots. Think of the brutal killing of the hapless personal trainer in Season One, or the ambush of the Kansas City mobsters in Season Two. Both reversals were prime examples of the show’s ability to transitional naturally between tones per the story’s demands.
But this time around, the shift feels a whole lot starker.
Continue reading Tea & Review: Fargo – The House of Special Purpose
Whereas last week’s trip to Los Angeles was something of an experimental detour, “The Narrow Escape Problem” may be the most Fargo episode of Fargo thus far. All the ingredients are there: overly complex problem solving, tactless Midwesterners, oddly friendly police officers interrogating flustered first-time criminals. We even get a quirky framing device.
Speaking of which—the use of a fictional recording of Peter and the Wolf narrated by Billy Bob Thornton as a sort of thematic exoskeleton is definitely the most intriguing element of the episode, by far. It plays with the idea that the characters in Fargo are recurring archetypes, while suggesting a new perspective through which to view the somewhat familiar story being presented.
But as usual with this show, I have to ask: what does it all mean?
That is to say, the narration pairs up several of the major characters with Peter and the Wolf counterparts (as well as the respective instruments that represent them in the composition), but what exactly does that say about each of them?
Gloria (Carrie Coon), for example, is Peter, the central intrepid adventurer who ignores his grandfather’s warnings and defeats the villainous wolf. The analogue here is, of course, rather obvious. Thus far in the season, Gloria has repeatedly ignored the will of her superiors in order to bring down the people responsible for her stepfather’s murder. The thing is, though, she doesn’t actually know who she’s up against. Is she, like Peter, underestimating her opponent?
Continue reading Tea & Review: Fargo – The Narrow Escape Problem
“The Law of Non-Contradiction” is undoubtedly the most atypical episode of Fargo thus far, and that’s saying something for a show basically filled with atypical episodes. In an unexpected move, especially this early on in a season, it takes a break from the Stussy feud that’s shaping up to anchor the season so that Gloria (Carrie Coon) can travel to L.A. and learn a bit of info about her late stepfather that in no way moves the plot forward. Yet despite that seeming pointlessness, or perhaps because of it, it may be one of the most fascinating hours of television I’ve ever watched.
The titular law is a logical theorem which states, more or less, that a thing cannot be both what it is and what it is not. The concept is exemplified in a few ways in the episode: Gloria can’t be both chief and former chief, Ennis couldn’t have “sorta” been her father, and Thaddeus (Thomas Mann) seemingly couldn’t have been two completely different people.
Continue reading Tea & Review: Fargo – The Law of Non-Contradiction
Two episodes in, the third season of Fargo already feels a good deal different from its predecessors. Like Seasons One and Two, this one takes place in the same Midwestern setting and, as I noted last week, contains character archetypes we’ve become familiar with. Yet despite these commonalities, Season Three feels apart somehow. It’s not just that it doesn’t seem to have the obvious plot and character connections the previous installments did; its distance from the original film, both in tone and time, in a way makes it feel more urgent.
Season One was so preoccupied with proving its worth as a successor to the movie that it, in a sense, had to occupy that same 90s temporal realm despite taking place in 2006. Plus, the need for audiences to understand how it was connected to the preceding story added a layer of detachment to the whole affair. Meanwhile, Season Two was a prequel whose outcome was, in the grand scheme, more or less inevitable. In comparison, Season Three comes off as both contemporary and more intimate.
Continue reading Tea & Review: Fargo – The Principle of Restricted Choice
The first two seasons of Fargo, building off of the original 1996 film, meticulously established a set of recurring archetypes: the idealistic yet overwhelmed cop, the resentful loser with a dark side, the dangerous and philosophically minded outsider, and several more mythically mundane figures.
In Noah Hawley’s Coen-flavored stories, the characters embodying these archetypes have collided in unique and often shocking ways, either by destiny, happenstance, or the fact that they exist in a world governed by “truth” rather than reality. It’s even possible, If one takes the otherworldly elements of the series a bit too literally, to interpret each season’s ensemble as vessels for the same group of immortal souls, eternally trapped by their own shortcomings in some kind of cosmic tragicomedy.
Continue reading Tea & Review: Fargo – The Law of Vacant Places