Review of the 4th Season of “Fargo”

 The hit American drama series returns to screens after a gap of three years containing some social messages and comedian Chris Rock.

The comedian plays the role of a crime boss in a new story set in the city of Kansas (moving the drama from Minnesota).

FX premiered “Fargo” on Sunday night, celebrating its return to tv screens after the absence of three years. The season went through some delays primarily because of the pandemic (which caused the productions to shut down in March) and also because of the other commitments of the show’s creator and scriptwriter Noah Hawley, who has been heavily involved in the production of a superhero series “Legion” in the recent past.

The new season of Fargo has some grounds in a social message, which Hawley achieved by moving to a completely new location of Kansas, the setting and the surroundings allowed him to relay a neo-noir gangster drama, and he was careful to introduce racial and cultural dynamics to the overall plot that helped the story blend with socio-political landscapes of the present times.

It’s the story that metaphorically talks about disparate groups who have been completely left out of the “great American dream.” The premise of the story is rooted in the rise of two Kansas gangs, Irish and Jewish, as the story weaves itself inside the dominion of cinematically themed organized crime syndicate that also has elements of social climbing. The series moves towards a gang war between the mafia and the black syndicate, the culmination which takes the entire mid-season plot to build itself up. The gangsters who are alive have to choose between the two sides; there was no such thing as middle-ground towards the end as the series imitated a scenario of a civil war where the residents have to be on one side of the conflict or the other. 

Noah Hawley and the team have impressed in their unique way of storytelling that involves hiding a subtle social message in allegorical symbolism and gives you a feel as if you understand their point without the presence of any preaching monologue. The production designer Warren Allan Young also adjusted pretty well as he settled the viewers quickly from their usual expectations of dark woods and snowy ambiance to jubilant mid-century Kansas.

However, the change worked in its own way, but it snatched the core strangeness of “Fargo”; the thing which had made the series a phenomenon in the preceding three seasons. What we see in Season 4 is watchable in its own way, but it has deviated from its tried and tested route of grotesque comedy and has traversed a path of exaggeration.

Fargo Season 4 is not a bad story, in fact, it can blow minds in some aspects, but it is safe to say that it is not the “Fargo” we know of.

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Source:- https://broad-blogs.uk.com/review-of-the-4th-season-of-fargo/