Fargo's fourth season, helmed by Noah Hawley, frequently finds itself at the bottom of fan rankings for the Coen brothers-inspired anthology series. While it deviates from the show's established tone with fewer overtly quirky characters and a slower pace, it remains a strong crime drama, enriched by compelling performances and a narrative that echoes earlier Coen brothers films. The 11-episode season is well-suited for a weekend binge.
The original Fargo film, a 1996 dark comedy crime drama, set the stage for the series, which typically follows a new cast of characters navigating the snowy American Midwest. Season 4, however, marks a significant departure. Set in 1950s Kansas City, Missouri, it trades the familiar wintery Minnesota backdrop for an urban, autumnal setting. This shift is further emphasized by the absence of the iconic Minnesota accent for most of the main cast.
The plot centers on a tense conflict between two rival crime families: one Black, led by the shrewd Loy Cannon (Chris Rock), and one Italian, headed by the aging Donatello Fadda (Tommaso Ragno). A fragile peace is maintained through a tradition of exchanging sons, with each family raising the heir of the other. This arrangement is disrupted by Donatello's death, leading to his impulsive son Josto Fadda (Jason Schwartzman) taking the reins. Josto's poor decisions escalate the rivalry into an all-out war, characterized by significant bloodshed and unforeseen developments. Josto's volatile girlfriend, Oraetta Mayflower (Jessie Buckley), serves as a standout character, embodying the season's closest nod to a classic Coen brothers archetype and notably retaining the Minnesota accent. Timothy Olyphant also contributes a charming performance as U.S. Marshal Dick "Deafy" Wickware.
The narrative unfolds deliberately, demanding attention to its numerous characters and their morally ambiguous actions. The season places a notable emphasis on the pervasive prejudice of the era, adding a layer of social commentary that distinguishes it from previous seasons populated primarily by white characters. The connections between season 4 and season 2 offer a particularly rewarding, though unrevealed, narrative link.
Rather than leaning into overt dark humor, season 4 adopts a more understated and subtle approach. Chris Rock delivers a career-defining performance, and Schwartzman excels as the flawed heir. Buckley's portrayal of Oraetta is also a significant highlight. The season's stylistic leanings are more reminiscent of the Coen brothers' 1990 film Miller's Crossing, a straightforward crime drama that, like season 4, foregoes much of the brothers' signature flourish for expertly told, quieter storytelling.
This thematic link is not unprecedented; earlier seasons of Fargo have drawn parallels to other Coen brothers films. For instance, Emmit Stussy in season 3 shares visual similarities with Nathan Arizona from Raising Arizona, and Billy Bob Thornton's character in the first season evokes Anton Chigurh from No Country for Old Men.
The drastic changes in season 4 – its setting, tone, and narrative focus – likely contributed to its initially lukewarm reception. Viewers expecting the lighter, more humorous tone of films like The Big Lebowski or O Brother, Where Art Thou? may have found Miller's Crossing's comparative seriousness jarring. However, the shift in atmosphere does not detract from the season's quality as a crime drama.
Viewed independently, Fargo season 4 stands as an intelligent, methodical, and thoughtful crime drama. While it may not provide the laughs some viewers anticipate, it delivers a satisfying narrative experience for those seeking a more grounded exploration of crime and consequence. All seasons of Fargo are currently available on Hulu.