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.

House of Lies Implodes in Season Finale

Article first published as House of Lies Implodes in Season Finale on TheTVKing.

Showtime's House of Lies has spent two years crafting a set of characters, known as The Pod, who viewers love. Even while the rest of the world, bosses and clients, conspire against them, these four slingers of bull stick together and triumph over any foes. It's an inspiring group, full of teasing and affection. They may not be professional, but they get the job done.

That is, until the second season finale, "Til Death Do Us Part," when The Pod implodes in a spectacular and messy fashion.

"Til Death Do Us Part" is an interestingly structured episode, beginning with The Pod gathering for a wedding photo with one of their own, Doug (Josh Lawson), and his bride, Sarah (Jenny Slate, Saturday Night Live). From there, we get a non-linear look at each of the four main characters' day. Some, we only see briefly, while others get a longer segment. But it all culminates when the story returns to the photo shoot, where it all goes horribly wrong.

Marty (Don Cheadle) is an extremely self-destructive person. He is so focused on his own wants that he ignores everyone else's feelings, not realizing that he's making enemies that will come back to haunt him. He thinks he is bullet proof. And yet, the choices he makes, screwing over clients, ignoring those he should be caring about, and betraying his boss, are ones that hurt him, almost as if he doesn't want to bullet proof, and is turning the gun on himself until something can pierce the armor.

Is Marty really so unhappy that he wants to destroy his own life? If so, why not make positive changes, rather than purposely setting himself up for failure? Yes, the only way Marty could ever be happy at this point is to rebuild himself from the ground up. But his tear down is painful to watch, and the way he drives everyone away by the end of this season is rough.

He does still have his father, Jeremiah (Glynn Turman), and his son, Roscoe (Donis Leonard Jr.), by his side. But he can't be honest with them, so how can he ever really be connected to his family?

We have Jeannie (Kristen Bell), whom professes her love for Marty, and he blows her off. Why? Marty does love her. We see this. His reflection in the window scolds him for acting like a fool, and yet, Marty leaves her an insulting voice mail, rather than apologizing. At least Marty realizes that he needs her, but once again, he can't bring himself to admit it out loud, and is hurting both her and himself.

Then there's Clyde (Ben Schwartz), who looks up to Marty and fancies him a friend. Yet, Marty totally ignores him and screws up a project that Clyde worked very hard on. It's sickening that Clyde stabs Marty in the back, ratting him out to Julianne (Bess Armstrong), taking a client, and jumping ship to work for Marty's psychotic ex-wife, Monica (Dawn Olivieri). But Marty deserves this sort of treatment.

Doug is a special case because, while Marty does ignore him, Doug still holds Marty in high regard. Doug accepts Marty for who he is, like Jeannie, but actually goes even further. However, Doug has Sarah in his ear now, who is not a good influence on him, and so he, too, decides not to join Marty in his new venture.

It's hard to even understand how Tamara (Nia Long) fits in. I don't think she is playing Marty, per se, but she does use him for comfort when her own marriage goes on the rocks. Professionally, she respects him, but doesn't show him all her cards. They have a weird relationship. I can't quite figure out if she cares about him or not, or how much she might care. I also don't expect her to play a big role going forward, though would be pleasantly surprised if I'm wrong.

Things will have to improve for Marty next season; they can't possible get any worse, can they? He will surely make up Jeannie, whether he admits his feelings for her or not. Clyde will regret going with Monica, who is a nightmare, and come crawling back. And Doug will ditch Sarah, who is crazy and manipulative, which will free him up to return to Marty without the bad advice in his ear.

However, would a return mean that they are all as dysfunctional as Marty? Is it good that a bunch of misfits have each other, or do they just all enable one another's poor behavior?

"Til Death Do Us Part" has a few very sweet scenes. Doug tells Marty how he feels about him, despite Marty trying to dismiss him. Clyde admits that Doug is his best friend and finally says some nice things, which do feel genuine. Jeannie saves Marty's bacon. And the disaster at the end is hard to watch, but it's also a lot of splashy fun.

All in all, I am left pretty depressed by House Of Lies' finale. But it is great fun to watch, and it certainly leaves me excited for next year. Season two is an improvement over season one, more polished and tightly written, with stakes viewers can care about, and I can't wait to see what is in store for season three.

House of Lies will return to Showtime for a third run next winter.

'The Mayan Apocalypse' almost devastates House of Lies

Showtime brings the first season of House of Lies to an end with a near-apocalyptic series of events in "The Mayan Apocalypse." Using a framework story set at the party celebrating the acquisition of the firm by MetroCapital, the episode flashes back to show how The Pod copes with events moving towards that moment. Greg Norbert (Greg Germann) leaks to the team that a massive, class action sexual harassment suit could bring down Marco (Griffin Dunne), the sneaky mastermind of the deal. They search in vain for a woman willing to step forward. That is, until Jeannie (Kristen Bell) herself fesses up, rallying others around her, and the merger is killed.

Jeannie has been an interesting character to watch this season. Played expertly by Bell, she begins as a tough, secretive person, and ends as one who will expose parts of herself for the right reasons. She is never going to be the typical girl, perhaps, feeling more comfortable in the boys' club. But by getting in touch with a shameful moment, one that bonds her to her "sisters," she saves the day. Then she breaks off her engagement because, well, accepting the truth about this makes her accept the truth about not being ready for marriage, too.

To celebrate, she goes shot for shot with Marty (Don Cheadle). Why does she do this? Could it be that she just needs to get drunk after a long, difficult evening? Could it be to wash away the embarrassment, even if only for one night? Or is it to prove to Marty, The Pod, and herself that she is still as strong as ever? That admitting a sexual affair does not weaken her or her ability to do her job? Whatever the reason, it's a moving scene that certainly conveys a message, even if it is one left open to interpretation. Awards bait for Bell, perhaps?

It's gratifying to see the merger killed. If this hadn't happened, there is no telling where season two might go. Much is still up in the air, but at least Marty's entire world isn't destroyed in a single episode.

That doesn't mean that he escapes "The Mayan Apocalypse" unscathed. In fact, Marty faces a very difficult decision in this episode. He must choose whether to spend his time looking for ways to stop the merger or help his son, Roscoe (Donis Leonard Jr.) with a school project. He picks work over family, naively believing that family will wait, as they always do. However, this time it's one push too many. Not only does an upset Roscoe choose to live with his mother, but Marty's father, Jeremiah (Glynn Turman), is so ashamed of Marty's actions, that he leaves, too, at least, for awhile. As Marty's work life rights itself, his personal world falls apart.

How long will it take Roscoe and Jeremiah to forgive Marty and return? They are certain to do so. Jeremiah just needs some time to cool down, understandably. Roscoe's mother, Monica (Dawn Olivieri), has shown no characteristics of being a decent mom. Even if Marty doesn't always give Roscoe the priority he deserves, Marty is a much better parent than Monica because he accepts Roscoe and loves him unconditionally, and is usually dedicated to doing right by him. Balance will be restored. It will just take some time.

House of Lies has more special effects than most of its peers, frequently doing a freeze frame that Marty will walk and talk through. "The Mayan Apocalypse" takes this technique to the next level. Not only does Marty go into the clouds to turn around a plane, he also stages an elaborate massacre, shooting down many of the party attendees. These fantasy sequences enhance the show, and seeing them ratcheted up into something so elaborate makes for a satisfying finale.

House of Lies airs on Showtime. If you like my reviews, please follow me on Twitter!

The innocent man of Alcatraz

This week's escaped prisoner on FOX's Alcatraz is "Clarence Montgomery." Said to be the only innocent man locked up on The Rock, Clarence (Mahershala Ali, Treme, Alphas, The 4400) begins killing for real when he emerges in 2012. What's more, he slays other inmates in the 1960s, after Dr. Beauregard (Leon Rippy, Saving Grace, Deadwood) performs some experiments on him. So how can he be stopped, and why is he acting this way?

The case of "Clarence Montgomery" is a moving one, indeed. Here is a man that was accused of a crime that he didn't commit, likely because of racist attitudes. See, he is a black man who was dating the white daughter of his boss. It isn't surprising that in the 1950s this could happen to a person of color. But it's incredibly unfair, and so viewers will quickly begin feeling for this poor man, to whom circumstance has dealt a bad hand.

The story of "Clarence Montgomery" comes to a tragic ending. Trapped by Hauser (Sam Neill) and company, Clarence's friend, Emmitt Little (Glynn Turman, House of Lies, The Wire), shoots Clarence dead. The alternative would have been to be locked up in Hauser's secret prison, and after the tortures Clarence has already undergone, death seems preferable. But that doesn't make the tale any sadder.

"Clarence Montgomery" extends fans' knowledge of what is going on in Alcatraz prison, circa 1960, as it expands Dr. Soto's (Jorge Garcia) information, as well. Soto knows about experimentation going on elsewhere, but didn't think the same things happened at Alcatraz. Until now. But what is the goal of the Alcatraz tests? Surely they are related to the disappearance of everyone in 1963, and their reemergence now. Thus, they are another piece of the larger mystery that is slowly unfolding.

Alcatraz does a lot of things right. The mystery is being doled out nicely, piece by piece, keeping fans engaged. Soto's burgeoning relationship with Nikki (Jeananne Goossen, Falcon Beach, The Vow) is sweet. Rebecca's (Sarah Jones) family secrets keep her heavily involved in the plot. Hauser's connections with local law enforcement justify much of how the team can do what they do. And the writers are very good at making viewers care about the prisoners, with intriguing, sometimes sympathetic, stories.

Unfortunately, Alcatraz also does a lot of things wrong. How are these prisoners adapting to 2012 so easily? Escpecially Clarence, who must adjust to completely different racial attitudes? The prisoners are confused by the internet, but not by the other technology all around them? They easily can get a job, often multiple jobs, without proper work history and references, when people around the country struggle to find work? None of them consider blending in for awhile and not committing crimes after being given this second chance? And in "Clarence Montgomery," we are expected to believe that Clarence is the ONLY innocent man in Alcatraz, given the history of the legal system? Really?

Perhaps I'm being picky. Yes, disbelief must be suspended to enjoy a series like Alcatraz. However, taken together they show a lack of foresight and depth to the universe presented. It makes it seem like the show doesn't have time to explore all the implications because they are being forced to stuff the stories into a crime-of-the-week procedural, which would be a logical conclusion, given the unfortunate glut of this type of programming on network TV. This is a grave mistake that could wind up killing the series quickly. Slow down, take time to fully engage with these issues, and Alcatraz could be something awesome, rather than a great show that falls apart under close scrutiny.

Hopefully, these wrongs will be righted soon. You can watch Alcatraz Mondays at 9:00 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! Article first published as TV Review: Alcatraz - "Clarence Montgomery" on Blogcritics.

House of Lies - "Pilot"

     In Showtime's House of Lies "Pilot," Marty Kaan (Don Cheadle, Hotel Rwanda, Picket Fences) leads his team of consultants to New York City to retain a big client. However, upon arriving he realizes that the bank they work for has asked another consulting firm to pitch as well, and this one happens to be number one, while Marty's is number two. And Marty's ex-wife, Monica (Dawn Olivieri, The Vampire Diaries, Heroes), whom he recently had angry sex with, works for the competition. Marty almost screws things up when he takes a stripper (Megalyn Echikunwoke, Supernatural) to a business dinner with the client, Greg (Greg Germann, Ally McBeal), the stripper has sex with Greg's wife (Anna Camp, True Blood, The Good Wife) in the bathroom, and Marty gives Greg a black eye. But then he comes up with an ingenious pitch, and things work out... for now.

     It's hard to know what to make of House of Lies. Apparently viewers are expected to root for a consulting firm which, by their own admission, cares only about getting as much money as they can from the client. These trends are reinforced by Marty's confessions to the camera, which while done with really cool camera shots, do not make Marty likable. Then again, neither does anything Marty says or does. He's a pathetic, despicable individual who is not at all worthy of any affection. Yet, for some reason, there's an attraction towards him.

     The one thing Marty appears to care about is his son, Roscoe (Donis Leonard Jr.), who likes to cross dress, and who tries out for the part of Sandy in his school's production of Grease. But even that is cast in doubt when Marty stops fighting for Roscoe due to the fact that Roscoe's rival's mother (Daphne Duplaix, Passions, One Life to Live) is hot. In fact, Marty and said mother slip out of the production to have sex in a vehicle. So there's that.

     Of course, there is someone that cares for Marty. Marty's dad, Jeremiah (Glynn Turman, The Wire) criticizes Marty's parenting, but does stick around and help out with Roscoe. If Jeremiah, who seems like a pretty decent individual, can like Marty, then perhaps we can do. But what has damaged Marty so badly, and what exactly is he seeking to fill his void?

     Marty is the latest in a long line of flawed Showtime characters who audiences flock to when they should be fleeing. The difference here is, unlike the stars of Nurse Jackie and Weeds, Marty is a boy. And like other similar Showtime shows, it does seem fresh, and different from its peers. So while it's hard to see exactly where House of Lies may be going, there is something about it that makes one want to watch.

    The biggest shame in the "Pilot" is there is scant little to do for Marty's team, who are excellent actors, all around. There's Jeannie (Kristen Bell, Veronica Mars, Forgetting Sarah Marshall), whom Marty is convinced will eventually sleep with him, and whose secret he is always digging for. Doug (Josh Lawson, Chandon Pictures) is good with numbers, but not with manners. Clyde (Ben Schwartz, Parks and Recreation, The Other Guys) is just plain fun. Each of these three are interesting, and should have a larger role. Perhaps they will, now that Marty and the main story has been introduced. It's hard to imagine Bell, in particular, would have taken the role if it is destined to remain the bit part it is in the "Pilot."

     Watch House of Lies Sundays at 10 p.m. ET on Showtime.

     If you like my reviews, please follow me on Twitter!