The Heap

Molly faces pressure to close the case, while Lester starts to feel like a new man.

What I Liked:

The cinematography is solid, and each scene perfectly implements its beautiful and mesmerizing music score. On top of that, each actor gives a strong performance, with Billy Bob Thornton and Martin Freeman being the clear standouts.

Malvo is one of the most intriguing individuals you will see on television, with Thornton's portrayal being nothing short of superb, along with Freeman's portrayal of Lester.

Lester's transformation sees him become arguably the most interesting character on this show, even more so than Malvo. One year has passed, and he is now the Insurance Salesman of the Year. It will be interesting to see what happens now that he's spotted Malvo in Las Vegas.

What I Disliked:

Chaz is still in prison one year later, even though his fingerprints weren't on any of the items in evidence, and Lester's were. Forensics would have discovered this long before the time jump.

Given this is a setup episode, there are some uninteresting portions, mainly the scenes between Gus and Molly.

Overall:

Though not the best this show has offered so far, this is still a great setup episode. Fargo has been a highly enthralling show to watch so far.

8/10

King Cadmium.

The eighth episode of Fargo's first season, titled "The Heap," directed by Scott Winant and written by Noah Hawley, marks a significant narrative leap forward, taking place a full year after the violent and chaotic events that dominated the earlier episodes. This time jump allows the series to explore the long-term consequences of the characters' actions and the lingering shadows cast by Lorne Malvo's (Billy Bob Thornton) reign of terror. The episode's title, referencing the philosophical paradox of the heap, aptly symbolizes the central question of identity and change: how much can be removed from a "heap" before it ceases to be what it is? This metaphor resonates deeply with the episode's exploration of whether the characters have truly changed or remain fundamentally the same beneath surface transformations.

The episode opens with Lester Nygaard (Martin Freeman) having successfully framed his brother Chaz for the murder of Lester's wife, Pearl. Lester's newfound confidence and assertiveness are on full display as he navigates his life with a hardened, almost ruthless demeanor. His interactions with the Hess family, particularly Gina Hess's confrontation where Lester intimidates her sons with a stapler, showcase his evolution from the timid, bullied man we first met to someone who now wields power with unsettling ease. Freeman's performance here is a masterclass in subtlety, conveying Lester's complex blend of charm, menace, and self-assuredness. His acceptance speech for Insurance Salesman of the Year, delivered with practiced ease, contrasts sharply with his earlier persona, underscoring the theme of transformation and the masks people wear.

Meanwhile, Deputy Molly Solverson (Allison Tolman) returns to work after recovering from her shooting, now pregnant and married to Gus Grimly (Colin Hanks), who has transitioned to a quieter life as a mailman. Despite these changes, Molly remains doggedly committed to the case, still convinced of Lester's guilt and obsessed with tracking down Malvo. Her unwavering dedication is portrayed with warmth and determination, making her the moral center of the series. The episode highlights the tension between Molly's persistence and the institutional pressures she faces, particularly from Chief Bill Oswalt (Bob Odenkirk), who is eager to close the case and restore peace to Bemidji. This dynamic reflects the broader theme of truth versus convenience that runs throughout the series.

Lorne Malvo, now sporting a new look with grey hair and a goatee, appears in Las Vegas under the alias "Dr. Michaelson." His presence in the episode, though brief, is chilling and serves as a reminder that the chaos he embodies is far from over. The scene where Lester spots Malvo at a bar is particularly striking, as it momentarily strips away Lester's veneer of confidence and reveals the lingering fear and vulnerability beneath. Malvo's transformation raises questions about identity and reinvention, paralleling Lester's own changes while suggesting that some core truths remain immutable.

The episode's direction and cinematography effectively convey the passage of time and the emotional states of the characters. Scott Winant uses the stark, wintry landscapes and muted color palette to evoke a sense of isolation and unresolved tension. The pacing is measured, allowing moments of quiet reflection to balance the narrative's undercurrents of suspense and impending confrontation. The editing weaves together the disparate storylines with clarity and purpose, maintaining narrative momentum despite the temporal leap.

Thematically, "The Heap" delves into questions of identity, transformation, and the persistence of core character traits despite external changes. The paradox of the heap serves as a metaphor for the characters' struggles to shed their pasts and reinvent themselves, only to find that fundamental aspects of their nature remain. Molly's continued obsession with justice, Lester's moral decay masked by success, and Malvo's enduring menace all illustrate this tension between change and constancy. The episode invites viewers to reflect on the nature of selfhood and the limits of personal reinvention.

The episode was well-received for its bold narrative structure and strong performances. Martin Freeman's portrayal of Lester's transformation was particularly praised, as was Allison Tolman's portrayal of Molly's steadfast resolve. Some critics noted that the time jump, while effective in refreshing the narrative, created a degree of narrative distance that required viewers to adjust to the new status quo. However, this shift also opened new avenues for character development and thematic exploration.

"The Heap" is a thoughtful and compelling episode that advances Fargo's intricate narrative while deepening its philosophical inquiry into identity and change. Through nuanced performances, evocative direction, and a richly layered script, the episode challenges viewers to consider how much people can truly change and what remains beneath the surface. It balances suspense with introspection, setting the stage for the series' final confrontations and resolutions. As a meditation on the paradoxes of human nature, "The Heap" exemplifies Fargo's unique blend of dark humor, moral complexity, and storytelling sophistication.

This episode was SO bad, I had to stop watching and come here to write this review.

Essentially, this is nothing but a FILLER episode. In fact, at one point it got so bad, they showed Gus and Molly watching television then cut TWICE to what they were watching. Using the fictional television program as filler. Fine - show them watching TV. But then don't use the television program itself to fill up screen time.

And what IS it with the bathroom scenes? It would seem the writer made a bet with someone to see how many bathroom scenes and puke scenes they could jam in one season.

The only saving grace of this episode was watching Kate Walsh act. She did a great characterization of Gina Hess. Other than that . . . This episode was the pits.