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Fargo - Season 2 - a new true crime chapter takes us to 1979 Sioux Falls - Mon on FX


Hi, I'm nortonff. I spend my life going into threads to say that I don't care about the topic of the thread. It's a really good use of my time.
I finished Season 2 this week and I didn't really liked it.
It just didn't gave me that "Fargo movie style" that Season 1 did. Maybe I just miss Malvo and an "elevator from S1 type of scene".


I just wanted to say that I watched both seasons the the past two weeks. Season 1 did not really sway me but season 2 was incredible!

... and I was a big fan of the UFO angle. Haters gonna hate
More like reasonable people sometimes disagree. I'm not a hater just because I think the whole UFO element was shit for rational reasons I've taken the time to explain.


at last, for christ's sake
just watched episode 8 and yeah, found it a less perfect season than the first for now. Too predictable at times, too convenient at others, storyline ain't really all that, a bit too self indulgent. Of course cast, direction, overall production value are fantastic. Still, a bit underwhelming


More like reasonable people sometimes disagree. I'm not a hater just because I think the whole UFO element was shit for rational reasons I've taken the time to explain.
On that note, i thought all the symbols in Ted Danson's house were about the UFO, at first.

Also the whole symbol speech from him at the end made me laugh, because it made little sense (no, the "heart symbol" is hardly universal and understood by all cultures, same with the symbol of a "home" as a square with a triangle on top) but i took it as a character flaw (someone desperate for meaning, after the horrors of WWII), and appreciated it that way, rather than the authors trying to spin some bland rhetoric.


I'm recovering from the flu so I caught up with the new season.

Loved it more than season 1. Maybe because I like Patrick Wilson very much with this role. Thought the story was a bit meh, but the characters where so much fun that I needed to finish it.
Thanks, griffy!

I forgot to post this a few weeks ago when it went up:

- Onion A|V Club's Polite Fight: Finding the line between ending and epilogue in Fargo season two
The internet’s most pleasantly polemical program finally returns to give the final two episodes of Fargo’s sophomore season the analysis they deserve.

While neither Gus nor John wholeheartedly endorses commenter Meth Lab Shenanigans’ feeling that the final episode of season two was largely unnecessary, John clearly found more to appreciate in these last two episodes than Gus did. John contends that in handling everything from the highly anticipated manifestation of the UFOs to the fate of Kansas City hitman Mike Milligan, the season-two finale deftly retreads thematic ground that the show has been juggling all season. Gus doesn’t really disagree, but feels that in many instances, the finale revisited themes in a way that removes their nuances, hitting its points on the nose.
On that note, i thought all the symbols in Ted Danson's house were about the UFO, at first.

Also the whole symbol speech from him at the end made me laugh, because it made little sense (no, the "heart symbol" is hardly universal and understood by all cultures, same with the symbol of a "home" as a square with a triangle on top) but i took it as a character flaw (someone desperate for meaning, after the horrors of WWII), and appreciated it that way, rather than the authors trying to spin some bland rhetoric.

I just finished season 2 and I'm sure this has been brought up but does anyone have screen caps from the bar that hanzee shot the bartender at? The paneling on the top of the bar were the same symbols as in Ted Danza's room I think.

Also I'm going to mirror what a lot of people were saying season 2 was incredible television up until the last two episodes. It sort of retroactively hurt the entire season for me.
- Radio Time: The Coen brothers on the Fargo TV series
The Coen Brothers have admitted they aren't exactly regular viewers of the Fargo TV series, the small-screen spin-off of their Oscar-winning 1995 movie.

"We're just not very interested," Joel Coen says in the latest issue of Radio Times. "I mean, we're perfectly happy with it. We have no problem with it. It just feels divorced from our film somehow."
But while other filmmakers, such as Woody Allen, who is currently working on a series for Amazon, are turning their hand to television, the Coens, who have just finished work on their latest film Hail Caesar!, say they'd rather stick to the big screen.

"Here's the thing," Joel said. "We work short. Our longest movie (2008's Oscar winner No Country for Old Men) is two hours two minutes. It's just not how we think about stories. I mean, after two hours with a character we feel we're pretty much done with them."

Ethan added, "Would it be interesting to do something like that at some point? I don't even know where you'd start frankly."
- Bokeem Woodbine interview with Warming Glow
I’d seen you in quite a few things previously, but Fargo is probably the most memorable thing that you’ve done. I’m kind of curious as to how it’s changed your life and career, to play a part that was just so visible in such a big series?

It’s just been all positive. There hasn’t been one negative thing that’s come out of it, particularly in regards to my career. Without being braggadocious in the least. Just to give you an example how things have changed, I remember when there was a Friday not too long ago where I literally… My agent called me three times in about three hours with three offers for roles as a series regular that I didn’t audition for or even know about. They just came in. That’s like night and day. That’s never happened to me before, ever. That gives you an idea of just how things have changed.

Talking about not having to audition for stuff suddenly, I read somewhere that Mike Milligan was originally supposed to be a fat, bald, older Italian man and your agent just said “fuck it” and sent you in anyway to audition for the role. And then you nailed the audition and (Fargo creator) Noah Hawley changed his mind about how he envisioned casting the part.

You know what, though? That was a myth that was going around about that. As cool as that sounds, I have to tell you what really happened. That was a misinterpreted statement that I made in an interview early on, but basically what I said was that normally after seeing the material, I would call my agent and say, “This is the type of thing that is usually written for a pot-bellied Italian cat,” and normally my agent would say, “Go in anyway and just do your best.” And somehow…

It got twisted.

Exactly. It got twisted. It got misconstrued. Even though it sounds great, it’s not what happened. I’ve been trying to figure out how to get this straight, so I’m glad I got a chance to clear the air. I’ve been trying to figure how to do so.

Well, you just did it.

Yeah, Noah always intended for the character to be African-American. So, yeah.

What was your favorite aspect of playing Mike Milligan on Fargo?

I have to say the freedom, because we were married to the text, but outside of that, you really had the opportunity to just do things your way. There really weren’t too many times that I got a note. In fact, I never got a note that was so contrary to my interpretation of the scene that I had to do a restart or reshoot. Every adjustment that was given to me only enhanced my idea of how to approach the moment and everything just coincided with how I felt, and I felt free to do what I wanted to do. Like I said, the text is the bible and I wouldn’t want to mess the text anyway. It was perfect as it was. But everything outside of that was really up to you.

So, the rhythm and the cadence of the way that he spoke, that was entirely your invention?

Yeah, absolutely. Yeah, that’s a good example of what I mean. They just let me get loose. It was exhilarating because it was such a big stage compared to some small indies I’ve done, or even I’ve been on mammoth projects like $200 million budget type stuff, where it’s basically, “Stand here, do your thing.” Well, not necessarily do your thing. “Stand here, do what we want you to do,” and then, “Thank you very much.” That’s great, it’s good to work on that kind of stuff, as well, but this was working on a huge stage, but still having the freedom to do things my way. That was just amazing.
Got done watching this in 3 sittings on blu. Spectacular work all around even though I didn't care for all the
stuff, I still loved it and again, magnificent performances, this show somehow manages to bring the best out of almost everyone and seeing Ted Danson again made me really happy. He's my favorite character even though there are others that over shadow him, he brought this warmth to the series which was appreciated and I guess the other fact is I really missed seeing him on screen. Last time I saw him in something that I was interested in/enjoyed was Becker.

I love both seasons but I don't know which one is my favorite one as both have different flavors which is my favorite thing about the series so far. I will say this though that the use of split-screens was brilliant and it made it fun to keep seeing different angles of the situation at the same time, which made it more engaging. Such a badass show.


Ewan McGreggor is staring in the lead roles for S3. He'll be playing twin brothers.


Emmit Stussy is the Parking Lot King of Minnesota. A handsome, self-made, real estate mogul and family man, Emmit sees himself as an American success story. His slightly younger brother, Ray Stussy, on the other hand is more of a cautionary tale. Balding, pot-bellied, Ray is the kind of guy who peaked in high school. Now a parole officer, Ray has a huge chip on his shoulder about the hand he’s been dealt, and he blames his brother, Emmit, for his misfortunes.
Warming Glow notes that Hawley was on EW's radio show this week talking Fargo and had the following to say about S3:
Noah Hawley stopped by Entertainment Weekly on Tuesday, he confirmed that a sibling rivalry between the two will play a major role in the next installment of the anthology series.

“Yeah, I think that’s a safe assumption,” says Hawley. “The fun thing with the show is that for whatever reason I had to figure out how to tell what purports to be a Coen brothers story, and it always tends to start with a catalyst. The first year was two men in an emergency room, the second year was a woman driving home with a man stuck in the windshield of her car, and this year it starts with these two brothers.”

Hawley went on to explain: “There is an old wound between them that sort of gets reopened and re-litigated, and that rivalry becomes contentious and that sort of puts all the events in motion. The fun soup of it is you have to have enough moving parts that everything is on a collision course, but which parts are going to collide? There’s this element of randomness to it, which I think adds to the truthiness of our fake true story. So, it starts with Ewan and Ewan as brothers. It’s not as big character-wise a story as the second year, but I’m really excited about it.”

While the family dynamics of the Stussy family appear to be taking center stage for season 3, a lot of fans want to know if we might be seeing any Solversons (Molly! Lou! Both!) when the show picks back up in the year 2010. “I don’t know if we’re going to see any,” replies Hawley. “We might drive by a couple on the road. What’s fun about the show is that it always connects in some way, either to the movie or to one of our other seasons and I like that those connections are sometimes very literal like with the backstory of Lou Solverson, and sometimes they’re more tangential.”
There's more to the interview via the EW link above.
Sepinwall interview with Hawley about his new book, Legion, and Fargo S3:

What is the plan for Fargo season 3?

I've got a script. Obviously, I've got an actor in Ewan, who's phenomenal. The writers and i have been breaking story, we have the whole thing worked out, and we're just crossing the T's on outlines. We'll start shooting in the end of November and make 10 more.

Ewan's at a point in his career where I'm guessing he doesn't have to audition, but did you at least ask to hear his accent?

I didn't. That's probably dangerous. But we've had good luck so far. I remember showing Jeffrey Donovan the first episode (of season 2), and it's him and Kieran (Culkin) and Angus (Sampson) playing brothers, and Jeffrey said, "So, am I the only one who's doing the accent?" Angus was just this guttural thing, and Kieran wasn't even trying the accent, but Donovan is doing the hardcore northern Midwestern accent. I don't want to focus too much on it, accent-wise. We have a dialect coach. So we'll find something that feels organic.

How'd you come up with the idea of him doing a dual role like this?

To be honest, I didn't know what I was going to do for the third year. And then I took a nap, and I had the story. And part of the story about these two brothers was that they should be played by the same actor. I didn't overthink it. I just thought that was interesting, and would be exciting for an actor, and it's great to work with actors of a certain caliber in the film world, and this is a great hook for an actor to want to play with.

With season 2, you knew certain things. We knew Lou, and Hanzee tied in with Moses Tripoli. This is going to be almost entirely a new thing. Is that easier or harder so far?

On a certain level, it's easier, because you don't have one of your hands tied behind your back. With the second season, we knew at some point Lou had to be sitting on a front porch with a shotgun, and then the house we got didn't have a front porch, so, "Alright, fine, he's sitting on the lawn." But when in the episode did that happen? There were all these things that we said out loud that we then had to work our way around in the story. Now, we're not tied to any historical moment or fact or connection, so the fun is, "How is it similar or different? How is it a totally different story, but Fargo?"

With it taking place after the events of the first season, have you given much thought to how much, if at all, you might want to incorporate the survivors of that season?

I have given that a lot of thought, yes.

Would you like to tell me anything about that?

No. It's fun to find connections, both literal and tangential, either between the movie, or the different years of the show, but the fun of it is to maintain that surprise.

Last year, you had not only the Fargo movie, but Miller's Crossing and The Man Who Wasn't There. Have you figured out yet what other Coen touchstones, if any, you might be drawing on with this one?

No, nobody's starting a dry cleaning business. I don't want to say it out loud too much. For the second season, the Miller's Crossing parallel was pretty obvious. But this tends to go back to Fargo. It's a more intimate story. It's not as much of an epic, doesn't have as many moving pieces. But it still needs to have enough moving pieces to allow a certain level of randomness. You know all these things are on a collision course, but you don't know which of them are going to collide.

Could one of those moving parts be a hula hoop, by chance?

Maybe. That was one thing I think people missed in the second year was my homage to (Hudsucker Proxy). In the Waffle Hut diner, they have a placemat with a circle in the center that says, "You know, for kids!"

I can't believe I missed that.

Well, it was bloody, and we pan across it, but it's there.

Is there a Coen movie that you've thought over this time, "It's going to be really hard for me to work in a reference to that," or are you determined over time to fold them all in in some way?

No, I don't have an active determination. So I don't know. And some of them are kind of open to interpretation. Certainly, there's that moment at the end of season 1 where he's gotten Billy in the bear trap and is pointing the gun at the door that has a feeling like (Blood Simple). But they're still making movies, so it's hard to know where the line is. What I like is, when you make these homages or tell variations on these stories — when you bring three people to a cabin in a kidnapping story, and yet the dynamic is completely different — it creates this weird tension between a story that you know and a story that you don't know. Is it going to unfold in the same way as the one you know, or not? You're both reliving a story and watching a new story at the same time.
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