| "Waiting for Dutch" | |||
|---|---|---|---|
| Fargo episode | |||
| Episodeno. | Season 2 Episode 1 | ||
| Directed by | Michael Uppendahl Randall Einhorn | ||
| Written by | Noah Hawley | ||
| Featured music | Jeff Russo | ||
| Editing by | Skip Macdonald | ||
| Production code | XFO02001 | ||
| Original air date | October 12, 2015 (2015-10-12) | ||
| Running time | 53 minutes | ||
| Guest appearances | |||
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| Episode chronology | |||
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| Fargo(season 2) | |||
| List of episodes | |||
"Waiting for Dutch" is the premiere episode of thesecond season of theFXanthology seriesFargo, and the eleventh episode of the series overall. It was written by series creator and showrunnerNoah Hawley and directed byMichael Uppendahl andRandall Einhorn, making it the only episode in the series with two directors. The title refers to theSamuel Beckett playWaiting for Godot, and toRonald Reagan, occasionally nicknamed "Dutch", who appears via archival footage.
As each season ofFargo follows its own self-contained narrative, "Waiting for Dutch", set in 1979, introduces a new storyline and cast, along with many new characters: in the episode, Rye Gerhardt (Kieran Culkin), the youngest son of Otto Gerhardt (Michael Hogan), the head of the Gerhardtmafia dynasty, who rules overFargo, North Dakota, attempts to threaten a tenacious judge (Ann Cusack) for financial gain while inLuverne, Minnesota; their face-off triggers a suite of events that will forever impact the lives of the Gerhardt family and the people of Luverne.
The episode was first aired on October 12, 2015, and was seen by 1.59 million viewers.[1] It received considerable acclaim from critics, who praised its writing, acting, and new set of characters, and considered it equally good, if not superior, toseason one opener "The Crocodile's Dilemma"; they also noted that the episode seemed to give the new season a different tone, with a bigger scale and more characters, while the episode's themes and characters were considered a fitting addition to the universe of theoriginal film and the works of theCoen brothers. It received threePrimetime Emmy Award nominations, winningOutstanding Cinematography for a Limited Series or Movie for cinematographerDana Gonzales.
In March 1979, the Gerhardt dynasty, led by unrelenting family patriarch Otto Gerhardt, rules overFargo,North Dakota. He has three living sons, the oldest being the fierce and ambitious Dodd (Jeffrey Donovan), followed by the calm and impassive Bear (Angus Sampson), and the indignant and impulsive Rye (Kieran Culkin).
The family's hierarchy, together with the entire fate of Fargo, becomes uncertain when Otto suffers a suddenstroke. Unaware of this event, Rye, who owes Dodd money, is tipped off by typewriter salesman Skip Sprang and follows Judge Irma Mundt to abreakfast diner inLuverne,Minnesota, and tries to intimidate her for financial gain. However, Mundt is quickly annoyed by his threats, ultimately spraying him withbug spray to make him leave; Rye impulsively shoots the judge in response, before also killing the cook and the waitress. In front of the diner, Rye witnesses the apparition of anunidentified flying object before being hit by a car. After a moment, the driver of the car simply drives away with Rye's body.
Minnesota state trooperLou Solverson (Patrick Wilson) receives a call reporting the shooting and investigates with his father-in-law, Sheriff Hank Larsson (Ted Danson). They notice skid marks, a car not belonging to any of the victims (Rye's) and a bloodiedbill outside in the snow. The pair deduce that the car belongs to the killer, assuming he came to rob the diner and left in another car, although they do not understand why. They eventually notice a shoe up in a nearby tree (a result of Rye being hit by the car). Lou comes home to his beloved wife Betsy (Cristin Milioti) and their daughterMolly. Betsy suffers fromcancer; Lou refuses to discuss the issue on most occasions, even with his father-in-law, and acts vague and unrealistically optimistic about her future when he does.
Meanwhile also, Ed Blumquist (Jesse Plemons), the localbutcher's assistant in Luverne, comes home to his wife, hairdresserPeggy Blumquist (Kirsten Dunst). Everything seems normal during dinner until Ed, following strange noises from the garage, finds their car with a huge hole in its windshield. He soon finds Rye, badly injured but still alive. Having seemingly lost his mind, Rye attacks Ed, forcing Ed to kill him inself-defense with a gardening tool. Peggy explains that she hit Rye with her car by mistake and convinces a confused Ed that if they tell the police, their lives will be ruined. They hide the body in their freezer.
InKansas City,Missouri, thelocal mafia looks to expand up north, particularly by absorbing the Gerhardt dynasty and therefore gaining control over Fargo and its surroundings. Having heard of Otto's stroke, which leaves his wifeFloyd (Jean Smart) and their sons dealing with apower vacuum, mobster Joe Bulo proposes that Kansas City move aggressively by acquiring or absorbing the dynasty as a part of them, or by, if needed, killing all of the Gerhardts. The decision is approved.
The music for the episode was provided by series composerJeff Russo. The opening scene also features the main theme of the1996 film, composed byCarter Burwell. The traditional song "Didn't Leave Nobody but the Baby" is played during the end credits, in reference to the Coens' filmO Brother, Where Art Thou?, in which it was also featured.[2]
The episode was first aired in the US onFX on June 17, 2014 and obtained 1.59 million viewers.[1]
"Waiting for Dutch" received critical acclaim. It was applauded for the season's early storylines and character development, as well as for its performances, especially fromKirsten Dunst,Patrick Wilson,Ted Danson, and guestsJeffrey Donovan,Nick Offerman, andKieran Culkin. It currently holds a perfect 100% rating onRotten Tomatoes: the critical consensus is "'Waiting for Dutch' sets up a promising second installment of theFargo anthology with a new cast of compelling characters and enough callbacks to reward existing fans."[3]
Ben Travers ofIndieWire gave the episode an "A" rating, highly praising the writing and performances, especially from Offerman and Dunst, stating "It's a coy play on a fictitious tale that still manages to feel real, despite some truly oddball antics and extreme scenarios. That authenticity carved out of a mad world is what we were looking for... and it's exactly what was delivered tonight."[4] Sean T Collins of theNew York Observer gave a similarly positive review, stating "Not only does the show have to maintain that level of care and quality, it must do so with noBilly Bob, noBilbo Baggins, and no out-of-nowhere star turn fromAllison Tolman [...] this was a surefooted hour of television, more in control of itself the more out of control things got."[5]
In a highly positive review, Terri Schwartz ofIGN gave the episode a 9.5 rating out of 10, concluding that "Season 2 improves upon everything that works in Season 1 to deliver a funnier, tighter and stronger new story with a great cast and fantastic crew. The series never takes itself too seriously and isn't afraid to have a little fun. Oozing with confidence, the Season 2 premiere kicks off what is sure to be a great new year of Fargo." He also stated that "despite such a robust cast of characters, Hawley never lets the storylines feel unwieldy. It's his writing that holds this series together, and it's clear he's spent plenty of time reevaluating the winning formula of Season 1 to put together an even stronger project here."[6]
Michael Hogan ofThe Daily Telegraph gave a positive review, finding it "promising" and stating "Performances were universally excellent. Dunst and Danson were terrific but outshone by Wilson, who was winningly phlegmatic and wearily wise."[7] Brittany Volk of theTampa Bay Times commented that "Noah Hawley delivered a fantastic first episode that sets a warm tone, with a bite of darkness. Okay, a whole mouthful."[8]
Scott Tobis ofArtsBeat gave a positive review, stating "'Waiting for Dutch' proves thrillingly adept at establishing the players in its byzantine plot [...] We get a sense of all the major players as individuals, but there are larger forces at play, too, particularly in the dust-up between the Gerhardts and the Kansas City mob, which Mr. Hawley stages as something like a corporate behemoth encroaching on a locally owned business."[9] Caralynn Lippo ofTV Fanatic called it "an incredible season premiere that put to rest any concerns that the series would not be able to live up to the nearly flawless [first season]. [...] For how large and sprawling the ensemble is, this premiere didn't tend to feel overwhelming and managed to give a solid feel for each."[10]
The episode's themes and characters were positively compared to those of theoriginalFargo film, and of the works of theCoen brothers in general.
Kevin P. Sullivan ofEntertainment Weekly favorably compared the themes of the episode to the work of the Coens, in particularFargo andA Serious Man: "Even thoughFargo has left behind the more superficial trappings that tied it to the original film, the diner scene is where we see the Coen color rise to the surface again.[11] Scott Tobis ofArtsBeat stated "For as much asFargo the TV show gets some distance from the Coens, Mr. Hawley seems determined to pay homage to the film with more than just callbacks. [...] Like the first season, andFargo the movie, the little guys stand to be crushed in the fight. For the Solversons, that means an investigation that puts Lou and Hank at risk while Lou’s wife, Betsy (Cristin Milioti), is weakened by cancer treatments. For the Blomquists, that means the extra misfortune of a hit-and-run cover-up on a person of great interest for all parties — the cops, the Gerhardts and the Kansas City mob."[9]
In the episode, Judge Mundt tells Rye Gerhardt the story ofJob, the central character of theBook of Job in theBible. Commenting on this, Sullivan said that "One element of the Coens’ signature character work has been finding the bitter humor inJob-like stories, tales of men and women who are tested by either the world around them or their own incompetence. Seeing the story appear in the season 2 premiere signals a dedication to a type of storytelling."[11]
Events in the story were inspired by the real-lifemurder of Gregory Glenn Biggs.[12]
