The modern face of television is a multi-faceted, vibrant, and diverse beast of many heads. But where it truly hits its strides is in its writing. Simply put, a great writing staff will make or break your program. Don’t chalk it up to bad acting, small budgets, or the like. If your program has a smart team of writers at the helm, it’s safe to say you’ll be fine. That’s what defines FX’s Fargo as a truly, massive hit. Sure, it’s a beautifully produced, acted, and amazingly vivid piece of Americana…but the biggest and most important punch that Fargo utilizes is its deeply philosophical but downright comforting sense of dictation and flow. And while it’s not uncommon to find a well-written show on TV today, the fact is that Fargo stands high above the rest of the competition. The gorgeously paced, deeply resonating words flow from script to screen effortlessly. It’s hard to find a better-written show on TV nowadays, and that’s the honest truth, dontcha know.
- FARGO — Pictured: (L-R) Ted Danson as Hank Larsson, Patrick Wilson as Lou Solverson. CR: Chris Large/FX
As Fargo heads toward the midway point in its second season, there has yet to be a disappointing episode to air. Each episode is written with a sense of purpose, a sense of prose, and a true understanding of how to engage audiences in a very relatable, but in a very deep and morally metaphysical method. While the first season focused on the brutal nature of the mindset of “taking care of you”, and by teaching its characters to be more selfish and impulsive, we learned the ruthlessly honest truth: selfishness and impulsiveness could get you in trouble, or better yet get you killed. In the second season of Fargo, the writing team has evolved those same morals, and elevated their game to the next level. This time around, it’s the issues of loyalty and honesty that come into question. How far do you go to save your own skin? Should you really go out of your way to do what’s right for your own good, or should you put your family and loved ones’ paths ahead of your own? You can probably guess that the internal struggle from each of the main characters in this season has caused quite a bit of trouble.
In a show that couples great writing with astounding actors and disturbingly beautiful scenery, it’s no surprise that Fargo is one of the best shows in later years. Taking the successful format of it’s cinematic predecessor, Fargo utilizes the humble, Podunk, American Midwest as its setting for brutally heinous and downright disgustingly dirty crimes. Watching the brilliantly concocted characters, including a young Lou Solverson (viewers will recognize from Season 1), and even a few nods to the original film, Fargo captures the ominous sense of brooding danger in every episode.
FARGO — Pictured: (L-R) Kirsten Dunst as Peggy Blomquist, Jesse Plemons as Ed Blomquist CR: FX
Seriously, if you haven’t caught any episodes of this show, do yourselves a favor an start now. There are only about 10-12 episodes per season, each with enough quality writing to carry a Hollywood blockbuster film. One thing is clear, these writers know what they’re doing, and as result, Fargo is the greatest show on television. You betcha.
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