Is the second season of Fargo superior to the first? It sure seems like it, although it’s a bit apples/oranges. New stories, new characters, just the scenery, accents (for the most part) and type of humor are the same. So no more comparing the two. But what’s not to love about this show, especially this year? Let’s, instead of explaining the plot (which is secondary), list all the enjoyable moments of episode two, ‘Before the Law’.
Sam Malone
I love the way they’re consistently creatively putting the main titles together. The ‘true story’ – even though it’s obviously ridiculous – and the ‘telling it exactly like it occurred’ part, as well as the letters F A R G O in uncompromising widescreen.
I love the scenes in which a character whispers something in someone’s ear and we don’t hear it.
I love to see Jean Smart in a great show again (don’t love her hairdo, though, it makes her look quite old. I prefer the seasoned femme fatale look she had as Martha Logan on 24).
I love the line ‘Tell these bastards to go to hell in the fast lane’.
I love the voice of Brad Garrett (The Crazy Ones, Everybody Loves Raymond) who plays Joe Bulo.
I love the downplaying of Ted Danson. He must’ve worn a straitjacket underneath his winter coat during filming, to suppress his inner Sam Malone.
Snow
I love the off-beat, quirky stories the characters tell each other.
I love how these stories don’t necessarily have a clue.
I love the cello music.
I love the garage door tennis ball.
I love snow. Specifically snow on camera. There should be more shows shot in beautiful snow covered landscapes.
I love the fact it takes place in 1979.
I love Kirsten Dunst.
I love a really unrecognizable Jeffrey Donovan.
I love the wardrobe of Mike Milligan (Bokeem Woodbine, Southland, Saving Grace).
The Flintstones
I love typewriters.
I kind of love ties stuck in them.
I love how scenes build up to an anti-climax.
I love that Jesse Plemons (the so-mellow-it’s-creepy Todd on Breaking Bad) gained serious weight for his role as Ed Blumquist. He did gain weight on purpose, right?
I love how everything’s always ‘not adding up’.
I love how characters walk into a place and it slowly dawns on them something bad has happened there, but it’s not quite clear what exactly.
I love cars that drive by in slow motion, with the people inside looking straight at you.
I love a good Flintstone reference. And that’s a hard thing to pull off. You don’t want to make it sound too goofy.
I love the way Ted Danson gives you a look when he puts on his glasses. It’s like a nanosecond, but it’s there. I suggest you rewind.
Until the Very End
I love it when Constance (Elizabeth Marvel, The District, Person of Interest and Heather Dunbar on House of Cards) discovers an unusually big supply of toilet paper underneath the sink.
I love how ‘positively fascinating’ is a way to describe scary and possibly dangerous people.
I love that the scripts of the episodes are sent to Joel and Ethan Coen, they just nod and you know you’ve pleased the masters.
I love that one loose finger, ending up in the one place it shouldn’t have gone.
I love how I find myself watching from the very first moment until the very last roll of the end credits.
The Black Ox 