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.

Be Sure to Attend WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP

Article first published as WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP Review on Seat42F.

I love that we live in the modern age where television can be done in many different models, not just the strict, twenty-some episodes per year for an indeterminate number of years commitment. If things had not been shifting as they are, we would never get a gem like WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP (premiering this week on Netflix) due to actor availability alone. Just look at the cast list, which includes Janeane Garofalo, Jason Schwartzman, Paul Rudd, Chris Pine, Elizabeth Banks, Christopher Meloni, Amy Poehler, Bradley Cooper, H. Jon Benjamin, John Slattery, Josh Charles, and many more. It would not have been possible to get them all together in a longer-format series.

WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP is actually a prequel to the 2001 film, Wet Hot American Summer. Whereas the movie covers the last day of the year at Camp Firewood, the eight-episode series is set eight weeks earlier, to the first day of the season. Practically all of the adult actors from the original, both major and minor characters, reprise their roles, with a new batch of kids tossed in, and a ton of guest stars who are often as famous, if not more so, than the central cast.

The question might occur to you, as it did me, is this necessary? The movie is terrific; I just re-watched it last night and laughed frequently. But it’s also irreverent, with a loose plot and relatively under-developed characters. It succeeds because of the jokes and the performances, not because of its depth.

Well, if the new version were an exact copy, I’m not sure it would work. Sure, we could enjoy a goofy sitcom over a longer period of time, but it would certainly get tiring if binge watching, as many Netflix subscribers prefer to digest their shows. Instead, WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP builds a much more complex story (i.e. can of vegetables), interweaving a number of running subplots, intriguing mysteries, and origin stories fans may not have known they even wanted.

Lest you worry that will take away from the style of humor that worked for Wet Hot American Summer, it does not. The silly gags are still present, Arty (recast) still the radio station, and the characters are the same as they ever were. They just have a little more to do, and what they do sometimes (but not always) has a little more importance. Continuity remains intact, as much as it ever was.

Given the short bits this four-hour comedy is broken up into, not everyone can show up right away. Most of the biggest stars are back in episodes one and two, with a lot of the smaller ones joining in episode three. The original ensemble is supplemented mostly by cast members from writer David Wain’s other TV show, Childrens Hospital (which also has Wet Hot American Summer stars), and Mad Men alum, along with Wain himself, so it takes even longer to get around to everyone.

Yet, it doesn’t feel crowded. Sure, Michael Ian Black, for one, doesn’t have a lot to do in the first few installments, but I’m optimistic that will change as the season goes on. Like the movie, WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP jumps around a lot, and that allows for lots of subplots.

Most importantly, though, it just feels like the magic is back. True, the actors don’t pass for sixteen-year-olds, but they didn’t in 2001, either, and the only adds to the conceit. I was enjoying the show so much, I couldn’t stop to write this after one or two episodes, and barely tore myself away after the third. As someone who loves the film, I think this iteration adds to, not takes away from, the work. I hope we eventually get to see even more of this terrific summer of 1981.

WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP was released last Friday on Netflix.

Bored to Death but "Nothing I Can't Handle By Running Away"

     Season three of HBO's Bored to Death comes to a close with "Nothing I Can't Handle By Running Away." Jonathan (Jason Schwartzman) tries to make amends with his biological father, grifter Bergeron (Stacy Keach, Prison Break, Lights Out), only to get kidnapped by some thugs whom Bergeron owes money to. George (Ted Danson) springs into action to save Jonathan, and brings along Ray (Zach Galifianakis) and his league of Super Rays (including The Office's Zach Woods), who are all in costume. Even though the bad guys have guns, a happy ending is found by all, in a slapstick, roundabout way. 

     Bored to Death is one of the most original, consitently funny series on television. Part buddy comedy, part film noir, and lots of other, less identifiable parts, "Nothing I Can't Handle By Running Away" embraces all of those signature elements, crafting a heck of a finale that should satisfy any fan of the show. It's odd that Jonathan, George, and Ray have now defeated actual evil people a couple of times, and remain unscathed. Yet, somehow, they do it. And it is quality television to a point where one doesn't spend much time pondering how unrealistic it probably is.

     The showdown in the stadium is meant to bring pure joy for the viewers, and that it does. No matter that three groundskeepers happen to be in a sort of mob, and can't shoot Jonathan, who isn't a deft or fast runner. George's commentary from the press box only adds to the hilarity of the scene, giving it a surreal quality. Not to mention the unathletic quality of the various Super Rays.

     But there is much, much more to Bored to Death than humor. The friendship between Ray, George, and Jonathan is heartwarming and strong. George and Ray do not hesitate to rush to their friend's aide when he is in need, with little worry for their own safety. It's why their friendship stands the test of time, even when Ray can't make things work with Leah (Heather Burns). Instead, Ray is reduced to seeking dirty, dirty elder love, including with a new lady (Lynn Cohen, Sex and the City) in the finale.

     George, unlike Ray, is making strides with family, too. Learning from Jonathan and Ray how to be a father figure, he is able to reconnect with his daughter, Emily (Halley Feiffer, Mildred Pierce), and throw a wedding for her and her completely inappropriate fiance, Bernard (David Rasche, Rubicon, Ugly Betty). With all of this love to give, he may even manage to make things work with Josephine (Mary Steenburgen, Danson's real-life wife, and a delightful addition to the cast). Thus, George ends "Nothing I Can't Handle By Running Away" in the best place of the trio.

     Jonathan is left in a very weird spot at the end of season three. For one, he doesn't realize that Bergeron does, indeed, return to try to save him, rather than just running away. Which means, Jonathan misses a connection with his dad that will hopefully be revisited, should HBO wisely order a fourth season. Even bigger, Jonathan decides not to tell Rose (Isla Fisher, Wedding Crashers) that they are half brother and sister. It's disturbing, though not having been raised together, the incest is technical, rather than ingrained. Still, Jonathan can never really be happy with someone he knows he is related so closely to. And thus, it must end in a big, messy way, with her furious for having kept the secret, and likely not even wanting a sibling-esque relationship with him. The drama!

     Please, HBO, bring back this quirky, wonderful series for a fourth season!

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Bored to Death finds "Two Large Pearls and a Bar of Gold"

     HBO's Bored to Death's latest installment is called "Two Large Pearls and a Bar of Gold." Jonathan (Jason Schwartzman) is tasked with protecting some family jewels for his ex-girlfriend, Patty (Casey Wilson, Happy Endings, Saturday Night Live), on the eve of her wedding, and brings Ray (Zach Galifianakis) and George (Ted Danson) along to help. But things get complicated when Patty insists on carrying out a pact she made with Jonathan, which entitles her to one more roll in the hay with him. Then things get hairy as a masked bandit attacks and steals the jewels. Jonathan puts the clues together, and realizes that Patty's father, Henry (Rene Auberjonois, Boston Legal, Star Trek: Deep Space 9), is the thief, as he wants the insurance money.

     It's nice that George and Jonathan are good again. Their separation is as hard on the audience as it is on the characters. With George and Ray independently growing closer, Bored to Death creates a Three Amigos relationship that plays very strongly. In "Two Large Pearls and a Bar of Gold," this relationship is shown as much as ever, with the three spending a lot of time together on another crazy adventure. It's like their complete, non-judgmental acceptance of each others' eccentricities that gets the flow going. Their pleasure with each other is our pleasure with the series.

     Ray needs his friends right now. Leah (Heather Burns) catches him playing in the bathtub with Belinda (the great Olympia Dukakis, Steel Magnolias, Mr. Holland's Opus), and she kicks Ray out. Ray strays with Belinda after having a fight with Leah, and his heart truly belongs to his girlfriend. Ray blames it on a case of "elder love," which doesn't really explain anything. But he is sincere in wanting to make up with Leah, and for that reason, despite his nasty actions, it's hard not to root for Ray to win his lady love back. Plus, Ray and Leah fight and split up way too much, and it would be nice to see them more stable.

     George is heading for stability with Josephine (Danson's real life wife, Mary Steenburgen, Curb Your Enthusiasm). Though he has problems with impotence in "Two Large Pearls and a Bar of Gold," they are two kindred spirits who share a love for pot. While George claims to be unavailable for a female companion, Josephine is already latched on, and George doesn't seem to mind. What will be the true test of their relationship, and could potentially ends things, is if George puts Jonathan and Ray ahead of Josephine. Which he most likely will, given their platonic closeness.

     Wilson is hilarious in sitcoms, and Bored to Death is no different. She brings just the right level of crazy to be believable as an ex of Jonathan's, but not too over the top that he would resist her. Similarly, Auberjonis, a fantastic performer in his own right, is wholly sympathetic in a role that could easily be a villain. They continue the wonderful lineup of guest actors this season, which includes Sarah Silverman, Patton Oswalt, Dick Cavett, Bebe Neuwirth, and, of course, John Hodgman and Oliver Platt. It is interesting, but not surprising, that Bored to Death, with its unique brand of absurdity, can attract such talent. But each appearance is wholly appreciated on its own merits.

     It's deeply regrettable that I forgot to review Bored to Death until now this year, and I am deeply sorry. But there are still two episodes left, so make sure to catch them. Bored to Death airs Mondays at 9 p.m. ET on HBO.

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

     Click here to read every review of Bored to Death I have written.

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Bored to Death ends second season

     Last night, HBO's Bored to Death finished its second season. It's a noir-comedy, and that if sounds odd, you should see it! I liked the second season way better than the first. The characters were better defined, as were their relationships to each other. The humor was tighter. Guest stars became recurring characters. Less case-of-the-week, and more play into an ongoing plot. Plus the cases-of-the-week they did have often came back up later, and they were just more fun.

     In the finale, Jonathan (Jason Schwartzman) contemplates whether he should let Nina (Zoe Kazan) move in after one night of great sex. By the end of the episode, Jonathan still hasn't made a decision. He's too involved with his friends' drama, and fighting with nemesis Louis (John Hodgman) to think all that much about it.

     In fact, all three principal characters are pretty self-involved. They care about each other, but that's about it. Only Ray (Zach Galifianakis) truly loves a woman, Leah (Heather Burns). But while Ray is still thinking about her, he beds several other women this season, whom he doesn't seem to care a lick about. Jonathan similarly doesn't seem to let his most recent breakup affect him that much. Even Jonathan's pining over his ex in season one seemed more for his benefit than to make her happy. Thankfully, the pining did not really continue into season two.

     Self-involvment can be funny (think Seinfeld or It's Always Sunny in Philadelphia), but somehow this show makes it seem fresh all over again. Not to mention, the characters stay very likable. They're not mean to others; they let Vikram (Ajay Naidu) hang out with them instead of treating him like a driver. They just don't take much interest in others.

     The heart of the series is not love. It's the hilarious hijinks in a three-way bromance. Whether it's rescuing a lovely Korean tranny from his father's spa, or buying rubber bullets when high to stage a rescue from real bad guys. Jonathan did eventually go to lengths to save Ray from his stalker, but he cut an earlier stakeout short because he had to get to a job interview.

     George (Ted Danson) is the most clueless, but he mostly just rolls with whatever happens. He will occasionally take a stand, such as quitting the magazine in the finale. But when he's with Ray and Jonathan, he just seems along for the ride. It probably helps that he's usually incredibly stoned. I think he's also trying to recapture his youth through them, and there is a genuine father-son-esque bond between Jonathan and George.

     I have referenced three main characters. While it is true that Leah was upgraded to series regular for season two, she still wasn't in every episode, and had not independent plot apart from the main three. Hence, despite her name in the credits, she still comes across as a supporting player. As she should stay, because any dissolution from the three guys would probably bring down the show. Other actors appearing are quite capable, but the three men have a chemistry that defines the series.

     I could spend paragraphs dissecting each of the three leads. There is ample neurosis and depth to them all. But it's not necessary. The show is enjoyable at a surface level, as well as with some after thought. It's three A-list actors, taking a break from careers to film eight half-hours a year. I am very glad that they do. I look forward to a third season.


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Article first published as TV Review: Bored to Death Ends a Second Season on Blogcritics.

Bored to Death will leave you far from it

     HBO's Bored to Death began it's sophomore season two weeks ago.  Starring Jason Schwartzman as Jonathan Ames, a struggling writer, who moonlights as an (unlicensed) private detective, it's a truly unique show.  Ames is joined by his two best friends, George (Ted Danson), who is also his boss, and Ray (Zach Galifianakis), a cartoonist.  All are into pot, and each has their own brand of alcohol.  The show comes across as part noir, part screwball.  This season, Ray's girlfriend, Leah (Heather Burns) was added as a main character.

     Last week tied up some loose threads left after from last year's season finale.  Jonathan is hired by George's nemesis, Richard Antrem (Oliver Platt, The Big C) to find out if his wife, Priscilla (Laila Robins), is cheating on him.  While hiding in a closet, Jonathan is disturbed to see George come back and have sex with Priscilla, something that has been going on for awhile.  What's even more disturbing is that George forgets to keep track of the nights that Jonathan will be waiting in the closet, and it happens a second time.  Jonathan tries to cover up the tryst from Richard, but eventually Richard returns home to find both Jonathan and George in his closet.  In a true testament to just how weird the series is, and how accepting the characters are of each others' various flaws and vices, Richard, George, and Jonathan all go out for a drink afterwards.  It's also worth noting that Richard is George's foil, and the two are far more alike than different.

     The show is mostly about Jonathan.  George and Ray have subplots, such as Leah dumping Ray in the season premiere, and his struggle to win her back, but they are always minor to whatever is happeneing with Jonathan.  In fact, the main character often has two plots going on in each episode.  This week, his new girlfriend, Stella (Jenny Slate, Saturday Night Live) wants him to have a sleepover with her and her ex (Josh Gad, Back to You).

     A side note, the naked man in Leah's bed last week was played by series creator Jonathan Ames.  It is interesting to note that in a deleted part of the scene, Ray actually grabs Ames's penis as he runs past.  Ames says on his blog that it will be on the DVD.  Why would the creator put himself through something like that?  It's a brief glimpse into the mind making the show that fits totally with what we've seen.

     It's a weird show, a perfect vehicle for Schwartzman.  Ames feels like most of the other parts that the actor has ridden to fame, and so fits perfectly.  Somehow, even in weekly doses, it's still a thrill to watch Schwartzman work.  Danson, who has had one of the most successful, consistently wonderful careers of any television actor, shines once more.  I wonder if there isn't more than a little bit of the real Danson in George, who has had bright periods in his life, intermixed with faliure, but weathers it all with good humor and genuine niceness, though he's far from a pushover.  Galifianakis, who soared to notority after The Hangover also plays a part we've seen from him before.  The repeat performance of any of the leading men never comes off as stale, but more finely honed and aged.

     I recommend you tune into Bored to Death, which will have a new episode tonight 10pm on HBO.

For frequent mini-reviews and occasional tv news, follow Jerome on Twitter.