FARGO Goes Back On Its Return

 Article first published as TV Review: FARGO Season 4 on Seat42F.

After a more-than-three-year drought, FARGO returns to FX for a fourth season. The latest installment in the anthology drama goes back to 1950 and is set in Kansas City, an oft-mentioned place in previous seasons, though not explored all that deeply. The story centers around two rival gangs, one African-American, one Italian, both considered minorities by the rest of the locals, as they try to gain control of illegal activity in the area.

As usual, FARGO’s season is in no hurry to get started, though the fourth season premiere provides quite a bit more historical exposition than previous openers. This may or may not be necessary, we’ll see as the rest of the run unfolds, but really sets up context for where this gang war comes from and how it might play out. Having glimpsed what the dominant faction becomes decades in the future, viewers will feel plenty prepared to get going by the time the title makes its appearance, about a third of the way into the premiere.

The gangs are stocked with plenty of familiar faces, as well as a few less so, as is FARGO’s custom, introducing us to new, terrific performers alongside talented veterans. Comedian Chris Rock (Saturday Night Live) heads one side as Loy Cannon, a family man whose people are not going to be pushed around anymore, and has ideas for legitimate business success if only a funder would take a chance on him. On the other side is Josto Fadda (Jason Schwartzman, Bored to Death), son of the long-time ruler who, at first glance, appears to be unable to live up to his father’s legacy, though he likely will surprise us. Standing out among the rest are Ben Whishaw (No Time to Die) as an Irishman who works for the Italians and Glynn Turman (House of Lies) as Loy’s elder advisor.

While gangsters are a staple of FARGO, three other types of characters usually make up the universe, as well. There’s the hapless person who sees themselves as good, but gets roped into the evil. This seems likely to be filled by mortician Thurman Smutny (musician Andrew Bird), though his daughter, Ethelrida (E'myri Crutchfield, The Kicks), has a larger part thus far, a rarity for a minor in the franchise. Second is the kooky weirdo, which is brillianty filled here with Nurse Oraetta Mayflower (Jessie Buckley, Chernobyl). And third is the noble member of law enforcement, which is completely absent from episodes one and two, though Marshall Deafy (Timothy Olyphant, Justified) may take up that mantle in the third hour.

By leaving out the cop, the fourth season of FARGO feels drastically different. The closest thing we have to a hero at the start is Ethelrida, but she’s not taking an active role in anything, and certainly won’t be solving any big cases. Funny that in a period piece, it’s this missing element that stands out more than sets or costumes as moving FARGO in a different direction.

I love the FARGO formula, and adored the first three seasons. I’m not sure it needed a shakeup, but perhaps creator Noah Hawley disagreed, as they really did follow the same pattern (delightfully) thrice. However, given the quality delivered previously, I’m excited to see what they’ve come up with this for the senior round, and hope for more in the future.

Only two and a half hours in (I plan to watch more as soon as possible), I am digging the differences and the tale unfolding. There are lots of interesting personalities, and while one major arc may be clear, there are undoubtedly many others slowly simmering that haven’t fully revealed themselves yet. The ending is only sort of known, given this year’s general tie-ins to other seasons, and it should be a fun ride.

FARGO returns Sunday, September 27th on FX and streaming the next day on Hulu.

SATURDAY NIGHT LIVE Rocks the Halls Once More

Article first published as SATURDAY NIGHT LIVE Rocks the Halls Once More on TheTVKing.

Coming back to host another Christmas outing, the Jimmy Fallon-led installment of Saturday Night Live this past weekend is the best of the fall run. In fact, the whole show is on a bit of an upswing, at the good end of the cycle for a series that ebbs and flows over the years. Buoyed by a plethora of wonderful cameos, and joined by musical guest Justin Timberlake, who appeared in plenty of bits, as well, Fallon shows us what SNL should be.

It begins right off the bat with an opening that brings back Timberlake in a rapping (this time, wrapping) costume, with Jimmy and Aidy Bryant joining him. This isn't the only recurring sketch in the episode (Barry Gibbs himself shows up for Jimmy and Justin's "Barry Gibbs Talk Show"), and it's definitely a crowd pleaser.

There is some debate as to whether Saturday Night Live should rest on its laurels, reusing the same roles over and over again. However, the most memorable characters in the series have been ones who have returned many times. It's hard to come up with an hour and a half of new material every week, and as long as the performers and writers can do something new with the material, as they do for both of those follow ups this week, why not let them continue? They usually just build upon the past as a starting block, anyway.

A well-used surprise guest spot is always effective. Besides Gibbs, Paul McCartney pops in for the monologue, and Mayor Bloomberg and Madonna appear. I'm disappointed Chris Rock, seen in the closing, stays off stage, but overall, these are some big names that are not wasted, and that's appreciated.

Fallon is a veteran of SNL, which means he already knows what he's doing coming in (yes, losing it on stage counts as knowing what he's doing, as he did it back in the day, too). Hosts are not created equal, and sometimes it's hard to predict how a new one will act during the show. Going with Fallon, there's a known quantity that works, especially in the impressions department, and the episode plays to his strengths.

Timberlake has been a very frequent guest, and has hosted with success in his own right before. Combined with the already-wonderful chemistry he has with Fallon, he's a strong addition. From playing a Gibbs brother, to his spot-on mocking of Jimmy himself in the all-around funny Celebrity Family Feud bit, which has several hilarious moments, Timberlake adds much to the proceedings.

One of the most memorable sketches of the night, though, barely involves Jimmy or any other person who is not a regular cast member. The girls in the cast, including Bryant, Cecily Strong, Kate McKinnon, Vanessa Bayer, Nasim Pedrad, and Noel Wells, make a music video about having sex in their childhood bedroom. The tune is catchy, the lyrics are smart, and these women can carry a tune. It reminds me both of the highly successful Digital Shorts SNL used to have and the strong female ensemble during the time of Amy Poehler, Maya Rudolph, and Tina Fey. Might we poised for a second coming?

There actually was not a single dud in the whole installment. A couple of scenes were weaker than others, but still would have been great on any other week, when the bar wasn't set quite so high. After a couple of years of much mediocrity, it's great to see SNL get things together again, whether it lasts through the winter and spring or not.

Saturday Night Live airs Saturdays at 11:30 p.m. ET, returning in mid-January to NBC.