“Even removed from the extraterrestrials and murderous Midwestern crime families, the world of Fargo is a violent and disturbing one, and Hank attempts to do his part by creating an Esperanto-like universal language.”
“Like the film, as much as Fargo looks like it’s set in our universe, dashes of the absurd emphasize that the series works under its own logic.”
“Will Ed and Peggy get what they deserve? What do they deserve, exactly?”
“Throughout Season Two, Fargo has maintained an impeccable balance between comedy and tragedy.”
“One of the most impressive aspects of Fargo this season has been the show’s ability to digress without ever losing focus.”
“The voice of a fictional Ronald Reagan (played with a perfect mix of jocularity and sincerity by Bruce Campbell) looms over ‘The Gift of the Magi,’ setting a tone in the first act that never wanes throughout the episode.”
“In Noah Hawley’s show inspired by the Coen brothers’ work, a high body count and a willingness to laugh at it have been no less a part of the universe, in some ways serving as the most direct connection between the series and the film.”
“With The Leftovers being a show about faith and hope, and the desperation in holding onto such ideals, Matt deems Mary’s relapse into a comatose state as a test of his faith.”
“Gallows humor is a trademark of just about all of the Coens’ work (and Fargo in particular), and Noah Hawley and his writers have done a brilliant job of coming up with gags worthy of their show’s namesake.”
“On The Leftovers, returning to your old self isn’t as easy as going from Point A to Point B, it’s a constant struggle and effort.”
“The little side comments throughout “Waiting for Dutch” keep the episode light on its feet, but never in a way which overwhelms the story or characters, making for a fantastic start to the season.”
“If The Wrath of the Lamb doesn’t quite work as a series finale, it’s only because it wasn’t really supposed to be one.”
“Another week of Hannibal, another gripping second act septic.”
“Instead of merely asking viewers to care about a victim with whom we have no ties, Fuller tugs on our heartstrings by having his antagonist target the family of the protagonist we’ve gotten to know for nearly three full seasons.”
“If last week’s “The Great Red Dragon” was centered around the two killers who now share the villainous duties on Hannibal, “And the Woman Clothed with the Sun…” has a broader focus.”
“The sound of Hannibal has always been one of its strongest elements, thanks in large part to Brian Reitzell’s terrifying score, and the auditory depiction of Dolarhyde’s plight is no exception.”
“Digestivo” feels almost like a bottle episode due to its concentration on Mason’s Muskrat Farm, and the close quarters are the perfect setting for seeing the characters play off one another.
“Perhaps the water from the beginning of the episode points more towards resurrection than forgiveness, and if the rest of the season is as strong as “Dolce,” one can only hope Hannibal’s fate will point in the same way.”
“Don’t allow yourself to be fooled by the “reveals” of True Detective.”
“As the plot of Hannibal continues to move forward, it also won’t stop looking back.”