Fargo S4 was not as good as the previous three seasons. However - it was still much better than most other shows on TV and at times had some incredible moments with some profound insight into the human condition. The idea of Goldilocks and how that story links to human nature and race was very interesting: When we think someone sleeps in our bed, or sits in our chair, we unleash the bear inside of us. The woman who plays the serial killer nurse steals the show and I wish she had more screen time.
63 Reviews
Not the best season, but it was definitely worth watching
SCR5085 December 2020
Warning: Spoilers
I found it very enjoyable. Not as good as season 2 and 3, but definitely a solid 7 stars - probably 7.5. The only thing that I found weird is that it has little to none to do with Fargo, the location. Sure, the evil nurse has a Minnesota accent, and at one point Chris Rock calls in reinforcements from Fargo (which does not really materialize), but that is about it. Did not know Chris Rock could act so well though. All in all definitely worth the watch, I liked it.
Encapsulates season four as a whole
loganholley30 November 2020
Warning: Spoilers
The first thing on my mind when I finished watching the first episode of Fargo's season was almost indifference. If it weren't for the meticulous period detail, excellent performances, and the name Fargo alone, I probably would have forgotten it. Having been a massive fan of this series since season two, I knew I was getting myself into a slow burn. So I decided to stay with it. Some episodes were great, others didn't do it for me. Throughout my viewing experience, I kept telling myself 'the ending will be great, though'.
Now that I've seen that ending, was it? Yes and no. I'm not going to say this is my favorite episode of season four, but it's one of the better ones for sure. One of my issues overall with season four is the sheer amount of characters you have to keep track of. Of course, you have your main characters who get a lot of screen time, but you also have a looooot of minor characters who are important to the plot but easy to forget about until they're brought up again. This episode doesn't struggle with that, thankfully. If you're a fan of this series at all, you'll probably know that Noah Hawley does not like conclusive endings. They're not anti-climactic at all, but he looks to dangle loose plot threads in front of your face as others get tied up. Part of what works about the ending to each season of Fargo is this mystery of what happens next. It leaves you wanting more without stuffing you, and I respect that immensly. Without going into spoiler territory, season four is very much more of the same -- to its merit and to a fault. To its merit, it uses this to create this quiet, eerie atmosphere of not quite dread, but emptiness. Chris Rock is the best he's been all season in this episode, and he barely even emotes. It gives off this sense of finality that's all too unfortunate but, given Fargo's pedigree, works in its favor. To its fault, I saw the ending coming from a mile away. Remember how season three ended with the main character being killed right in front of his family by a side-character who has mistaken him as being disloyal? Granted, the emotional impact this scene has is much greater than that of season three, but I called it as soon as the episode started and I was not proven wrong.
Where my score goes from a 7 to an 8, though, is in the final reveal. If you had been paying attention to the names like so many outlets have, you might have seen this coming. I heard murmurs of it, but I sure didn't. Mike Milligan is probably my favorite character in the entire series, right next to Lorne Malvo from season one. He manages to be menacing and charasimatic in such a way that it's hard to keep your eyes off of him when he's talking. Although it ultimately serves to tie this to season two, I was not disappointed when I found out the kid (don't remember his name right now) essentially becomes him. That, my friends, is bad-***.
Now that I've seen that ending, was it? Yes and no. I'm not going to say this is my favorite episode of season four, but it's one of the better ones for sure. One of my issues overall with season four is the sheer amount of characters you have to keep track of. Of course, you have your main characters who get a lot of screen time, but you also have a looooot of minor characters who are important to the plot but easy to forget about until they're brought up again. This episode doesn't struggle with that, thankfully. If you're a fan of this series at all, you'll probably know that Noah Hawley does not like conclusive endings. They're not anti-climactic at all, but he looks to dangle loose plot threads in front of your face as others get tied up. Part of what works about the ending to each season of Fargo is this mystery of what happens next. It leaves you wanting more without stuffing you, and I respect that immensly. Without going into spoiler territory, season four is very much more of the same -- to its merit and to a fault. To its merit, it uses this to create this quiet, eerie atmosphere of not quite dread, but emptiness. Chris Rock is the best he's been all season in this episode, and he barely even emotes. It gives off this sense of finality that's all too unfortunate but, given Fargo's pedigree, works in its favor. To its fault, I saw the ending coming from a mile away. Remember how season three ended with the main character being killed right in front of his family by a side-character who has mistaken him as being disloyal? Granted, the emotional impact this scene has is much greater than that of season three, but I called it as soon as the episode started and I was not proven wrong.
Where my score goes from a 7 to an 8, though, is in the final reveal. If you had been paying attention to the names like so many outlets have, you might have seen this coming. I heard murmurs of it, but I sure didn't. Mike Milligan is probably my favorite character in the entire series, right next to Lorne Malvo from season one. He manages to be menacing and charasimatic in such a way that it's hard to keep your eyes off of him when he's talking. Although it ultimately serves to tie this to season two, I was not disappointed when I found out the kid (don't remember his name right now) essentially becomes him. That, my friends, is bad-***.
Short but Satisfying
wilfredlucas30 November 2020
Warning: Spoilers
The conclusion is basically what fans hypothesized, but to see it happen and become true in an epic manner is really satisfying.
Every character got what they deserved: Josto and Oraetta meeting a somber end and eternally forgotten, Loy getting the tragic implications of both winning and losing, Ethelrida travelling to become a writer and make a path for herself, and Satchel, of course, becoming Mike Milligan. The title of the episode couldn't be more apt. Fargo is truly about the struggle for the American dream, and in the end, not everyone wins and the winner could still be the loser.
I was not a fan of some casting choices at the start of the season, but I grew to love Chris Rock, Jessie Buckley, Emyri Crutchfield, and Ben Whishaw. The music is fantastic, as well as the noir-esque cinematography. Hoping to see another season soon!
Every character got what they deserved: Josto and Oraetta meeting a somber end and eternally forgotten, Loy getting the tragic implications of both winning and losing, Ethelrida travelling to become a writer and make a path for herself, and Satchel, of course, becoming Mike Milligan. The title of the episode couldn't be more apt. Fargo is truly about the struggle for the American dream, and in the end, not everyone wins and the winner could still be the loser.
I was not a fan of some casting choices at the start of the season, but I grew to love Chris Rock, Jessie Buckley, Emyri Crutchfield, and Ben Whishaw. The music is fantastic, as well as the noir-esque cinematography. Hoping to see another season soon!
Great season 4
george_cherucheril30 November 2020
Warning: Spoilers
There has been criticism of season four. I am not one of these critics. I love season four. Television is full of garbage. Fargo is the exception. Every episode was riveting. Characters are well defined. I loved the approach which explains Mike Milligan's back story. I understand Mike so much more than I did before. I teared up when Rabbi died and Satchel was left alone. Rabbi was a good man in a bad circumstance. Loy was a businessman and not a gangster. He also fell into it because of circumstance. Loy released Zero Fadda back to his family. I loved the scene when Lot and his family find that Satchel was back home. I teared up when Loy died in front of Satchel and again moments later during the closing credits where we see Mike deep in thought going down the same road where he once walked after Rabbi died. It was powerful.
Kansas City is far from Fargo
danosleeb14 February 2024
Warning: Spoilers
Definitely not the best season of Fargo. Roles were miscast, more social messaging than story, and an unsatisfying end. Thankfully the show returns to form in season 5.
Still better than most television and serves as a passable Mike Milligan origin story but the child version of the character doesn't quite seem to line up with the adult version of season 3. Chris Rock and Jason Schwartzman are entirely unconvincing as crime bosses and of course the Fargo signature supernatural storyline goes nowhere. I hope they do another historical setting for season 6 but fingers crossed they pull off a more charismatic tale.
Still better than most television and serves as a passable Mike Milligan origin story but the child version of the character doesn't quite seem to line up with the adult version of season 3. Chris Rock and Jason Schwartzman are entirely unconvincing as crime bosses and of course the Fargo signature supernatural storyline goes nowhere. I hope they do another historical setting for season 6 but fingers crossed they pull off a more charismatic tale.
Despite its flaws, I liked where Season 4 ended.
fredschaefer-406-6232043 December 2020
Warning: Spoilers
It was a long wait for Season 4 of FX's FARGO, one of the most exceptional drama anthologies on current TV. And with so many productions held up because of the pandemic, it was a real treat when this show made it back on the air. The first three seasons did the impossible, they managed to equal, if not surpass, the Coen Brothers classic Mid Western noir from 1996, with stories of lawmen, and women, organized criminals, and crooked businessmen interacting in the heartland. The writing and acting were on another level, giving us riveting television. Season 4 promised to be their most ambitious yet, with a story built around organized crime families in early 1950s Kansas City, with a large cast of characters, and some offbeat casting
Yet when Season 4 arrived, many fans expressed disappointment, complaining that the story was too sprawling, with too many characters to follow, with plots and subplots that lost focus; there often seemed to be no one to root for consistently, while the themes of the show, which had something to do with history and identity and assimilation, were not clearly delineated.
The season opened with a quick history of organized crime in Kansas City, as the Irish and the Jews warred for control of the city despite uneasy truces. Ultimately, the Irish were victorious, only to have to contend with the up and coming Italians from the old country. By 1950 the triumphant Italians now had to face the challenge of Black Americans, who have come north from the Deep South seeking a better way of life, even if it's outside the law. The various clans have a tradition of exchanging sons as hostages to make sure both sides stay in line. The large cast of characters that caused so many complaints were introduced in the opening episode, "Welcome to the Alternate Economy:" the heads of the Fadda and Cannon families, the former being the established Mafia concern in the city, while the latter, headed by Loy Cannon, are the Black American upstarts, ready to cut out their piece of the illegal pie: the Smutney family, an interracial couple who operate a funeral home, and their precocious teenage daughter, Ethelrida; Oraetta Mayfair, a nurse with a Fargo accent so thick you could cut it with a knife, and high mortality rate among her patients; Odis Weff, a crooked cop with a raging case of OCD; Rabbi Milligan, a Fadda soldier with an interesting history; Josto Fadda, a second generation Mafia son who is everything Michael Corleone was not. Subsequent episodes enlarged this group to include: Gaetano Fadda, Josto's quick tempered and violent brother; Dick Wickware, a United States Marshall and devout Morman; Zelmare and Swanee, violent prison escapees and lovers being perused by Wickware; Satchel, Loy's son traded to the Faddas and kept under the watchful eye of Rabbi Milligan; Doctor Senator and Ebal Violante, the consiglieres to the Cannons and Faddas respectively. Add to that various ambitious and faithful soldiers in both crime families and it did prove to be a big cast for any TV show. Except for the Smutney family, most of these people would charitably be called "not nice" at best, and in the cases of Oraetta and Gaetano, downright evil. Even Loy, the Black man trying to take care of his own in a very hostile society, is shown to have no problem with murder, intimidation, and extortion. The villainous characters have always been one of FARGO's big draws, at least for me, and I think for other viewers as well. But this year there did seem to be an absence of virtue, a truly sympathetic character with whom to become invested. Ethelrida, whose high school history report bookends the season, is presented as this person early on, but then she all but disappears in many episodes, seemingly pushed aside for the more colorful characters before returning in the last two episodes where she becomes the catalyst that brings the various plot threads to together at the climax of the Fadda/Cannon gang war.
I didn't find the sprawling cast a problem, to me, each episode played out like chapters of a Great American Novel, where character is plot, and the story takes its time getting where it's going. It's a question of journey not so much as destination. It was also a season that clearly wanted to take on some big themes, like class and race in America, the only problem with that is that so much else in popular culture is doing the same thing. I thought series writer and creator, Noah Hawley, was a little too heavy handed at times; too eager to let the viewer know exactly where he was coming from especially when he had street guys from the '50s mouthing sentiments that would more nearly come from a 21st Century Berkeley California Starbucks barista. There was definitely some on the nose dialogue. The pacing was a problem as well, but this might have more to do with the pandemic forcing a production shutdown before the last episodes were completed; this clearly necessitated some script editing, leaving some characters and potential sub plots on the cutting room floor. The season finale, "Storia Americana," had a run time of only 39 minutes, though it did wrap things up nicely. The shutdown did necessitate a time jump for the last two episodes, as the story speeded up to the summer of '51 with its green trees and lawns, while the previous episodes had been set in the dead of a mid western winter, a staple of previous seasons. I would note that the cinematography was feature film level excellent, making Kansas City and the countryside surrounding it especially striking.
One thing Season 4 had was plenty of ironic humor and violence, the latter often coming right out of nowhere, as when one villain trips, falls and blows his brains out. In "Nadir," there is a shootout in a train station between Zelmare and Swanee and Wickware and the police that is a great homage to the sequence De Palma shot for THE UNTOUCHABLES. There was a pie laced with a laxative by Oraetta (who is a true force of chaos) that sat on a table for a long time and caused a lot tension before it was consumed by one unwary character. This leads to a robbery scene like no other. Though the cast was large, so was the body count by the end of the final episode. And like in other seasons, the acting is off the hook; for me, the standouts were newcomers Giancarlo Esposito and Jessie Buckley as Gaetano and Oraetta respectively, both of them murderous monsters in very different ways. Old veteran Glynn Turman has tremendous presence as the Doctor, while Chris Rock might not register strongly at first as Loy, but he really comes into the character in the last episodes, and goes out strong in the finale. The episode "East/West" is also a homage of sorts to THE WIZARD OF OZ with its B/W Kansas countryside, but it is a showcase for Ben Whishaw as Rabbi Milligan who goes on the lam to keep Satchel safe. Jason Schwartzman, Timothy Olyphant, Jack Huston, Emryi Crutchfield, Karen Aldridge, Kelsey Asbille, Anji White, and Francesco Acquaroli are all equally great giving performances that kept me coming back to see what happened with their characters each week.
I will concede to the critics that of the four seasons of FARGO, this one is weakest, but that is only because the first three set the bar so high. Whatever the shortcomings, it was never unwatchable, and week end and week out it was the most interesting thing on TV. To me, it portrayed one of the essential dynamic truths of American history: that those pushed aside and disdained by whatever considers itself the mainstream always find a way to get their foot in the door, even if they have to shove somebody else on the margin out of the way. That those on the bottom always manage to get out from under any oppressive status quo if they scratch and claw hard enough. It's not pretty, and it's not fair, and it might not be what Noah Hawley intended, but I think that theme resonates.
The mid credits scene at the end of "Storica Americana," we are given a cameo that circles back to Season Two, giving me hope that Season Five, whenever we get it, will build on this great shared universe.
Yet when Season 4 arrived, many fans expressed disappointment, complaining that the story was too sprawling, with too many characters to follow, with plots and subplots that lost focus; there often seemed to be no one to root for consistently, while the themes of the show, which had something to do with history and identity and assimilation, were not clearly delineated.
The season opened with a quick history of organized crime in Kansas City, as the Irish and the Jews warred for control of the city despite uneasy truces. Ultimately, the Irish were victorious, only to have to contend with the up and coming Italians from the old country. By 1950 the triumphant Italians now had to face the challenge of Black Americans, who have come north from the Deep South seeking a better way of life, even if it's outside the law. The various clans have a tradition of exchanging sons as hostages to make sure both sides stay in line. The large cast of characters that caused so many complaints were introduced in the opening episode, "Welcome to the Alternate Economy:" the heads of the Fadda and Cannon families, the former being the established Mafia concern in the city, while the latter, headed by Loy Cannon, are the Black American upstarts, ready to cut out their piece of the illegal pie: the Smutney family, an interracial couple who operate a funeral home, and their precocious teenage daughter, Ethelrida; Oraetta Mayfair, a nurse with a Fargo accent so thick you could cut it with a knife, and high mortality rate among her patients; Odis Weff, a crooked cop with a raging case of OCD; Rabbi Milligan, a Fadda soldier with an interesting history; Josto Fadda, a second generation Mafia son who is everything Michael Corleone was not. Subsequent episodes enlarged this group to include: Gaetano Fadda, Josto's quick tempered and violent brother; Dick Wickware, a United States Marshall and devout Morman; Zelmare and Swanee, violent prison escapees and lovers being perused by Wickware; Satchel, Loy's son traded to the Faddas and kept under the watchful eye of Rabbi Milligan; Doctor Senator and Ebal Violante, the consiglieres to the Cannons and Faddas respectively. Add to that various ambitious and faithful soldiers in both crime families and it did prove to be a big cast for any TV show. Except for the Smutney family, most of these people would charitably be called "not nice" at best, and in the cases of Oraetta and Gaetano, downright evil. Even Loy, the Black man trying to take care of his own in a very hostile society, is shown to have no problem with murder, intimidation, and extortion. The villainous characters have always been one of FARGO's big draws, at least for me, and I think for other viewers as well. But this year there did seem to be an absence of virtue, a truly sympathetic character with whom to become invested. Ethelrida, whose high school history report bookends the season, is presented as this person early on, but then she all but disappears in many episodes, seemingly pushed aside for the more colorful characters before returning in the last two episodes where she becomes the catalyst that brings the various plot threads to together at the climax of the Fadda/Cannon gang war.
I didn't find the sprawling cast a problem, to me, each episode played out like chapters of a Great American Novel, where character is plot, and the story takes its time getting where it's going. It's a question of journey not so much as destination. It was also a season that clearly wanted to take on some big themes, like class and race in America, the only problem with that is that so much else in popular culture is doing the same thing. I thought series writer and creator, Noah Hawley, was a little too heavy handed at times; too eager to let the viewer know exactly where he was coming from especially when he had street guys from the '50s mouthing sentiments that would more nearly come from a 21st Century Berkeley California Starbucks barista. There was definitely some on the nose dialogue. The pacing was a problem as well, but this might have more to do with the pandemic forcing a production shutdown before the last episodes were completed; this clearly necessitated some script editing, leaving some characters and potential sub plots on the cutting room floor. The season finale, "Storia Americana," had a run time of only 39 minutes, though it did wrap things up nicely. The shutdown did necessitate a time jump for the last two episodes, as the story speeded up to the summer of '51 with its green trees and lawns, while the previous episodes had been set in the dead of a mid western winter, a staple of previous seasons. I would note that the cinematography was feature film level excellent, making Kansas City and the countryside surrounding it especially striking.
One thing Season 4 had was plenty of ironic humor and violence, the latter often coming right out of nowhere, as when one villain trips, falls and blows his brains out. In "Nadir," there is a shootout in a train station between Zelmare and Swanee and Wickware and the police that is a great homage to the sequence De Palma shot for THE UNTOUCHABLES. There was a pie laced with a laxative by Oraetta (who is a true force of chaos) that sat on a table for a long time and caused a lot tension before it was consumed by one unwary character. This leads to a robbery scene like no other. Though the cast was large, so was the body count by the end of the final episode. And like in other seasons, the acting is off the hook; for me, the standouts were newcomers Giancarlo Esposito and Jessie Buckley as Gaetano and Oraetta respectively, both of them murderous monsters in very different ways. Old veteran Glynn Turman has tremendous presence as the Doctor, while Chris Rock might not register strongly at first as Loy, but he really comes into the character in the last episodes, and goes out strong in the finale. The episode "East/West" is also a homage of sorts to THE WIZARD OF OZ with its B/W Kansas countryside, but it is a showcase for Ben Whishaw as Rabbi Milligan who goes on the lam to keep Satchel safe. Jason Schwartzman, Timothy Olyphant, Jack Huston, Emryi Crutchfield, Karen Aldridge, Kelsey Asbille, Anji White, and Francesco Acquaroli are all equally great giving performances that kept me coming back to see what happened with their characters each week.
I will concede to the critics that of the four seasons of FARGO, this one is weakest, but that is only because the first three set the bar so high. Whatever the shortcomings, it was never unwatchable, and week end and week out it was the most interesting thing on TV. To me, it portrayed one of the essential dynamic truths of American history: that those pushed aside and disdained by whatever considers itself the mainstream always find a way to get their foot in the door, even if they have to shove somebody else on the margin out of the way. That those on the bottom always manage to get out from under any oppressive status quo if they scratch and claw hard enough. It's not pretty, and it's not fair, and it might not be what Noah Hawley intended, but I think that theme resonates.
The mid credits scene at the end of "Storica Americana," we are given a cameo that circles back to Season Two, giving me hope that Season Five, whenever we get it, will build on this great shared universe.
Had to end this way
DoubleOscar30 November 2020
Weak ending.
leebm-6908917 December 2020
I am giving it a 6 only cause for me the finale ruined it, it is so weak. But don't get it wrong the first 10 episodes which can be slow are really good and gripping. But again final episode was slow boring, and just a cop out.
'What is man?'
ianveatch30 November 2020
This season was a slow burn that never really reached the gravitas it's trying to portray. I love season one and two. Enjoyed a lot of season 3. Season 4 was just reaching too hard and never made a connection with me. I want more Fargo, but not if it keeps going in this direction.
It Will Go On!
Hitchcoc30 November 2020
If one is used to a nicely wrapped up, happy ending, look elsewhere. First of all, it's the Coens. Secondly, the war rages on, and almost all the soldiers are dead. But the war goes on. When the ninth episode ended, there was talk of some sort of mutual resolution. Unfortunately, like the young girl says at the conclusion, this is America and this is her report. The scenes in this final offering are stunning and incredibly brutal. It's about territory and dominance. Just like much of it is today. It's an uncomfortable thing to watch, but masterfully conceived and executed.
Loy, Josto didn't Reflect Era
rbost-702336 May 2022
Maybe it was simply the acting? Writing? Directing? But these characters were portrayed way too modern. Like last week's sit-com, drama, what have you. Fargo throughout paid pretty close attention to period details. Chris Rock, absent his ridiculous hair wasn't at all close. He sounded at times like his stand-up. His voice. Jason Schwartzman? Not even close. He must have practiced his lines watching the other Jason on Seinfeld. Enjoyed series nevertheless.
Disappointing
jhskyline2 December 2020
Closes up all of the loose ends, with a gritty but worthwhile cost.
NYPariah30 November 2020
Warning: Spoilers
Oh boy, what an ending to a gritty, dark season. Yes, the loose ends of the rope are burnt and melted off before the knot at the end gets tied, the final outcome is a clean finish to a world of deceit and frayed ends. It almost seemed too clean and easy for what the buildup was, but we got our answers. I craved for more repentance and suffering. Yet, this one will be have to be processed after looking back in my minds eye thinking on the overall season as a sum of it's parts. That's the art of it, the rollercoaster of feelings, and it was masterful. The more I think about it, the more satisfied I become with not just the ending, but the buildup to the end. Great show, and so we wait for the next emotional excerpt in this wonderful series...
Best Season of the Series
QoS0075 March 2021
I can't understand the reviews for this season. The crowd is clearly split by fans who understood what happened versus those who didn't. Major tie-ins to Season 2 that bring the Kansas City story to life. So what if it doesn't take place in Fargo? The show is not about being in Fargo, it's about the chaos that derives from it. Season 1 - Billy Bob storms in from Fargo and initiates the plot. Season 2 - Fargo family mob causes the chaos because they won't side with Kansas City. Season 3 - Two Fargo brothers can't come to terms with each other, chaos ensues. Season 4 - Oraetta from Fargo initiates the entire family war, the whole debacle, and gets hers as the story comes full circle. Again, the show does not need to take place in Fargo in order for it to BE Fargo. Have an open mind here fans! Hawley and Co. knocked the storytelling and interwoven mythology so far out of the park that the ball can't even be seen anymore. Mike Milligan tie-in? WOW. Why did Satchel change his name? Because he mirrored it after the last name of the Italian mobster who got him out and saved him (check the credits). But what I haven't seen any comments on here about is Joe Bulo. Remember Brad Garrett's Kansas City character from Season 2? Rewatch this episode and catch an epic glimpse of him when New York sticks it to Roy in the final sit down (the man standing by the door when Roy walks out, I nearly jumped out of my seat when I pointed to the TV screen and yelled "that's him!." This season further brightens the magic behind season 2, while diving headfirst into the history of American crime. Series ranking in order: 4, 2, 1, 3. No offense to 3, which I very much enjoyed, but 4 turned the whole franchise into a full length feature film without requiring the purchase of a box office ticket. You're a genius, Noah. You really and truly are.
Short but sweet
fhmn30 November 2020
Warning: Spoilers
This episode was a fitting end to the story I felt good about it a 37 minute episode might not seem good but it is short and to the point which is the way I like it other than that I think this was one of the better ones the season wasn't that great but the last few episodes were good and acceptable not like season one or season two or even season three but it had its On way of dealing with the story and I think it wasn't that bad it was pretty good.
Plus this confirms that satchel is Mike Milligan!!
Season not worthy of the "Fargo" name
josef65430 November 2020
Warning: Spoilers
This season made for a decent watch, albeit an incredibly underwhelming one at that. I'll start off by getting my main gripes out of the way.
The know-it-all young girl: I found her to be incredibly annoying. The writers were obviously afraid to attach a young black woman with any negative attribute that would make her human so what we and up with is a boring know-it-all character whom I personally couldn't care less for. Also her character hardly progressed the story in any meaningful way. All she did was provide some very unneeded narration and hand the ring to Loy at the end.
The crazy couple: I really couldn't stand these two. They were obviously included only to provide even more diversity and they weren't likable at all. I found it incredibly stupid that these two characters somehow survived a shootout against the entire police (an obvious result of the writers obsession with girl power) force but even dumber that Timothy Olyphant's characters tried to arrest them after they had killed dozens of cops and civilians. This was of course done so the black crazy woman could escape and kill Loy at the very last moment, a cheap ripoff of Ewan McGregor's death at the very last moments of season 3. The difference being how the deaf hitman was a character I actually cared for and the fact that he was a hitman, someone who could easily murder his target, and not a crazy lady who would be on every most-wanted list after the train-station shootout.
Apart from these annoyances the story was okay albeit fairly predictable and lacking in terms of humor. I thought Chris Rock did a pretty good job in a serious role but I think his comedic side was under-utilized. This is still Fargo and dark comedy should still be provided. I liked some of the side characters but hardly anyone got any character development. The main strength that TV-shows have in comparison to movies is the time in which they can tell their stories and develop their characters, but I hardly felt anything during the many death scenes throughout this season. If the writers had put down as much effort on telling a good story as they did on trying to comment on Americas history of racism and writing characters that pander to the SJW crowd (an demographic who most likely won't watch this show anyways) this could have been a great season. Instead, it'll probably be the first one I forget.
The know-it-all young girl: I found her to be incredibly annoying. The writers were obviously afraid to attach a young black woman with any negative attribute that would make her human so what we and up with is a boring know-it-all character whom I personally couldn't care less for. Also her character hardly progressed the story in any meaningful way. All she did was provide some very unneeded narration and hand the ring to Loy at the end.
The crazy couple: I really couldn't stand these two. They were obviously included only to provide even more diversity and they weren't likable at all. I found it incredibly stupid that these two characters somehow survived a shootout against the entire police (an obvious result of the writers obsession with girl power) force but even dumber that Timothy Olyphant's characters tried to arrest them after they had killed dozens of cops and civilians. This was of course done so the black crazy woman could escape and kill Loy at the very last moment, a cheap ripoff of Ewan McGregor's death at the very last moments of season 3. The difference being how the deaf hitman was a character I actually cared for and the fact that he was a hitman, someone who could easily murder his target, and not a crazy lady who would be on every most-wanted list after the train-station shootout.
Apart from these annoyances the story was okay albeit fairly predictable and lacking in terms of humor. I thought Chris Rock did a pretty good job in a serious role but I think his comedic side was under-utilized. This is still Fargo and dark comedy should still be provided. I liked some of the side characters but hardly anyone got any character development. The main strength that TV-shows have in comparison to movies is the time in which they can tell their stories and develop their characters, but I hardly felt anything during the many death scenes throughout this season. If the writers had put down as much effort on telling a good story as they did on trying to comment on Americas history of racism and writing characters that pander to the SJW crowd (an demographic who most likely won't watch this show anyways) this could have been a great season. Instead, it'll probably be the first one I forget.
And it all comes to an end.
mrewan200330 November 2020
Ham fisted. (Season 4 rating)
DrProfessor30 November 2020
Shows evolve, but Fargo has strayed too far from its roots. The exaggerated stereotypes, the hokey and/or melencolic soundtrack: derivative. This season was flavored like 'Oh Brother, Where Art Thou?' It's lost is base in reality and has joined the realm of camp.
An astonishing end to a great season!
evgenycaruana30 November 2020
What a fitting end to such a masterful season 4! You got to hand it to them but this was hands down a great ending to a season that did not have such a good intro but overall it pulled through to shine as a great season 4 as a whole! Cannot wait what they do next with Fargo. I highly recommend this series to anyone!
It's called Fargo for a reason
mrelisimon1 December 2020
Loved the finale. So well executed. Wonderful production and cinematography. Noah Hawley really seems to let the story tell itself visually without beating you over the head with dialogue.
It's called Fargo for a reason. There is a visual poetry in a cold midwestern winter. Ideas and intent are implied in a look or a colloquial phrase. When you splatter blood or fire bullets in it, the effect is amplified.
I think if people dislike this season because of the pace or the ambiguity, they might be better off rewatching 24 or Prison Break...something a little more 'spelled out'. You know, for kids!
It's called Fargo for a reason. There is a visual poetry in a cold midwestern winter. Ideas and intent are implied in a look or a colloquial phrase. When you splatter blood or fire bullets in it, the effect is amplified.
I think if people dislike this season because of the pace or the ambiguity, they might be better off rewatching 24 or Prison Break...something a little more 'spelled out'. You know, for kids!
Season 4 doesn't deserve to bear the name 'Fargo'.
server1030 November 2020
Some of the sloppiest writing I've ever seen.
There's almost no credibility to the plot, a total contempt for the audience's intelligence.
Season 4 doesn't have the wit and ingenuity that made the former seasons so great. The actors were great, but the plot just doesn't cut it.
Season 4 doesn't have the wit and ingenuity that made the former seasons so great. The actors were great, but the plot just doesn't cut it.
Great Season, Great Finale.
CulvertonSmith7 December 2020
The season on the whole did a fantastic job of giving viewers a brand new take on Fargo, while still feeling true to what the show is at its core. It was filled with great worldbuilding, intriguing characters, fantastic surprises, delightful dialogue, incredible cinematography, and everything else that is needed to create a great season of Fargo. The finale delivered as well, providing for a wonderful blend of drama, occasional dark comedy, and a couple of the most memorable moments of the entire season. Some things work out, some things don't, and I found "Storia Americana" to be a great showcase of how wonderful this show can be. It's unpredictable, ridiculous, and poetic in all the right ways. I had a really good time with Season 4, and I hope that if Season 5 is made in the future, it is an equally brilliant season of television.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
