He would ask very direct, very basic questions and the effect was achieved through a cold face and whatever activity he was engaged in. We saw him work throughout this week's episode alongside Dodd's daughter, but he spoke very little. Another example is in Zahn McClarnon's portrayal of Hanzee Dent. There are just certain defining characteristics that exist within Hawley's fiction that feel so true to what Joel and Ethan would have given us in the same spot. Think of Walter White and Hank Schrader or Walt and Gus Fring or virtually any of those kinds of moments and add the Coen feel to it and that's what you've got in Fargo.

Both were able to pull both humor and terror from all involved, which again points to both the writing and also to how effective Bokeem Woodbine continues to be in the role.

Last week, we saw Mike Milligan in two separate scenes, one with the now late Skip in the typewriter shop, and the other with Larsson. Also, these are shows that reveled in the tumbleweed-without-tumbleweed concept of intensity, where someone could get shot at any time, but also might not for another 15 minutes. In this way, it's very reminiscent to me of both Deadwood and even more so Breaking Bad, because the interactions are usually tinged with the potential for violence or escalated tension through intelligent, pinpoint wordcraft. We know it's going to go terribly wrong for Ed and Peggy, but by the week, the crescendo towards a reveal and a discovery adds a major source of tension and suspense to the show.įargo really shines in its sequences of confrontation, whether one on one, or one on group, or two on two, or whatever it might be. Heroes like Lou and Hank, scum like Mike Milligan and the Kitchen Brothers from Kansas City, and of course the rest of the Gerhardt family. What Ed may not realize as of yet is just how sought after this dead antagonist actually is and the level of individual that is after him. He also knows he brutally ended Rye's life after his wife, Peggy, hit the man with her car in the snowy Minnesota darkness. In terms of plot movement, we see Ed Blumquist notice the wanted poster and recognize that at the very least, even if he's not fully aware of who Rye Gerhardt is, the guy was a criminal. I continue to love most of what I'm privy to within the crime drama, which strikes the right cord on a stunningly consistent basis. It's all right there in Noah Hawley's adapted world of Fargo, a show I seemingly enjoy more by the week, even when it seems impossible. We've got family crime syndicates and Midwest mafia and squirrelly typewriter salesmen and people being buried alive and seemingly innocent people covering up murder and great '70's music and plenty of uncomfortable silence.

Since life provides no meaning, why live it? Since we know our future - death - why not embrace the future now and get it over with? Camus, of course, does not recommend suicide but an acceptance of our condition - that we are alive and desire to remain so, though we cannot. How sad is it to battle or struggle when there's no chance of winning? Here's a quote, taken from Camus and paraphrased by Mark Conard in his book, The Philosophy of the Coen Brothers: But, 'The Myth of Sisyphus' was also a theory posited by French philosopher Albert Camus, and it's here where the episode seems to make more sense. It was a story of the pointlessness and despair in fruitless labor. Fargo's third episode this season was entitled 'The Myth of Sisyphus,' referring to the Greek tale of the trickster king condemned in the underworld to eternally roll a boulder up a mountain knowing that it would then roll back to the bottom.

Sisyphus the myth review