The Law of Vacant Places

A twisted sibling rivalry leads to murder, mobsters and a cutthroat competitive bridge in a small Midwestern town.

What I Liked:

The cinematography is solid, and each scene perfectly implements its well-crafted and memorable music score. On top of that, each actor gives a strong performance.

V. M. Varga is an intriguing character, perhaps the most memorable despite only one scene, and I will be fascinated to see what unfolds with him this season.

What I Disliked:

This episode was noticeably slow for a premiere, causing several uninteresting portions, especially the scenes involving Gloria and her son.

Ennis' death was poorly done and confusing, with no clear explanation as to how he died, in what was an odd death for an unremarkable character.

Overall:

Though underwhelming, this is a pretty good premiere. One can only surmise this season will improve moving forward.

7/10

King Cadmium.

Fargo review Episode 1, season 3

Season 3, episode 1 (The Law of Vacant Places), of Fargo is banking on the success from the first two seasons. They are borrowing from most of what has come before in the hopes that the show's overall quirkiness will let them get away with repeating themes, plot elements, characters and even accents. If I wasn't watching Ewan McGregor's face on the small screen as Emit Stussy, I would have guessed from the accent that it was William H Macy from the film.

It's a great formula that the Fargo crew and show-runner Noah Hawley has created. But in this episode, it fails. First, the criminal is not half as menacing as Billy Bob Thornton was in the first season or the Kansas City Crew (and Mike Milligan) in season two. That might change, and I hope it does, fast.

The return of Marge Gunderson is also notable. No, not literally, but the only thing missing from Chief Burgle (played by Carrie Coon) is a pregnancy. Otherwise, we would swear it was our beloved Marge. And she's no Allison Tolman (Chief Solverson) from season one, who brought her own charm to the character. I can see myself coming to like Burgle, but she has yet to steal my heart. (wink, wink)

McGregor's characters are a split of the William H. Macy character from the film, Jerry Lundegaard. And so far, the sum of the two characters, Emit and Ray Stussy, is less than one Lundergaard. Jerry is a sleazy business man and criminal. Emit is a sleazy business man and Ray is a criminal. My hat is off to Macy for playing such a complex character that it takes two McGregors to play.

The plot did not grab me. It is different than the first two seasons, but it relies on too many coincidences for my taste. Events in a film or television show work best if they are part of the natural course of character in a particular setting. This plot relies too much on happenstance, so the already fantastic plot becomes improbable.

The sub plot with the younger brother Ray, his job as a parole officer, and his card playing with his girlfriend is interesting, but it adds little to the suspense, so far.

Rating: Matinée It is still an interesting show, even if I have seen most of it before.

I suspect this season will get better over time. Perhaps they should have made the opener a two hour episode to hook us. As for season four, if there is one, I recommend that show-runner Hawley step aside and bring in a totally different crew of writers. How about Tony Gilroy, Margaret Atwood or better yet, Stephen King? It needs something, or this ride will soon be over.

Peace, Tex

"The Law of Vacant Places," the premiere episode of Fargo's third season, written and directed by Noah Hawley, reintroduces viewers to the anthology's signature blend of dark humor, intricate plotting, and existential themes, while setting the stage for a fresh narrative exploring sibling rivalry, identity, and the elusive nature of truth. Set in December 2010 across various Minnesota locales, the episode deftly weaves together multiple storylines centered on the fractious relationship between brothers Emmit and Ray Stussy, both portrayed with remarkable range by Ewan McGregor.

The episode opens with a prologue set in 1988 East Berlin, where a Kafkaesque interrogation unfolds. A man named Jakob Ungerleider is mistaken for a Ukrainian immigrant and accused of murder despite his protests, encapsulating the season's thematic preoccupation with confusion, misidentification, and the absurdity of bureaucratic systems. This scene, rich in its homage to Franz Kafka's The Trial, immediately signals the season's philosophical depth and its exploration of truth versus narrative. The "true story" disclaimer that follows adds a layer of ironic commentary on storytelling itself, a hallmark of Fargo's self-aware style.

Back in 2010 Minnesota, the episode introduces Emmit Stussy, the "Parking Lot King of Minnesota," whose polished demeanor and apparent success contrast sharply with his younger brother Ray, a parole officer struggling with jealousy and financial woes. McGregor's dual performance is a standout, capturing Emmit's suave confidence and Ray's downtrodden frustration with equal conviction. The tension between the brothers is anchored in a childhood dispute over an inheritance-a Corvette versus a valuable stamp collection-that sets in motion a chain of events marked by petty grievances and escalating consequences.

Ray's girlfriend, Nikki Swango (Mary Elizabeth Winstead), injects energy and wit into the narrative. Her sharp intelligence and fiery spirit complement Ray's desperation, and their plan to reclaim the prized Sisyphus stamp from Emmit introduces a compelling subplot. The episode's dark humor shines in scenes involving Maurice LeFay (Scoot McNairy), a hapless parolee coerced into stealing the stamp, whose bungled efforts lead to unintended violence and chaos. The visual storytelling, including a memorable sequence where an air conditioner falls from a rooftop, showcases the series' flair for blending the mundane with the macabre.

Parallel to the Stussy brothers' drama, the episode introduces Gloria Burgle (Carrie Coon), the determined yet beleaguered police chief investigating a bizarre murder. Her struggles with her stepfather's involvement in the case and the malfunctioning automatic doors at her precinct serve as metaphors for the season's themes of isolation and systemic dysfunction. Coon's nuanced performance grounds the narrative in emotional realism, providing a moral compass amid the unfolding chaos.

"The Law of Vacant Places" adopts a darker, more subdued color palette than previous seasons, reflecting the season's somber tone. The cinematography by Dana Gonzales employs muted hues and careful framing to evoke a sense of coldness and alienation. The episode's pacing is deliberate, balancing character-driven moments with plot advancement. Jeff Russo's atmospheric score complements the mood, weaving subtle tension and melancholy.

The episode explores identity, perception, and the elusive nature of truth. The title references a bridge-playing principle about probabilities and unknowns, metaphorically aligning with the characters' struggles to discern reality amid deception and misunderstanding. The Kafkaesque opening and Gloria's challenges underscore the season's existential inquiry into how narratives are constructed and how truth is often obscured by circumstance and bias.

The episode was met with acclaim, particularly for its writing, direction, and performances. McGregor's dual roles were widely praised for their complexity and distinction, while Winstead and Coon were lauded for their compelling portrayals. Some critics noted that the episode's deliberate pacing and dense thematic content required attentive viewing but ultimately enriched the storytelling.

"The Law of Vacant Places" is a strong and sophisticated season opener that reaffirms Fargo's reputation for blending dark humor, intricate plotting, and philosophical depth. Through masterful performances, evocative visuals, and thoughtful writing, the episode immerses viewers in a world where identity and truth are fluid, and where small choices ripple into profound consequences. It sets a promising foundation for a season that challenges audiences to question the nature of reality and the stories we tell ourselves.

This pales in comparison to what the other 2 seasons pulled the viewer in as they considered watching more. I assume this is because of the expectations all had based on those past two season premiers.

The real staying power of a show is when one doesn't find oneself going to the computer to check on other 'news' or E-mails because the plot was boring.

Far too much unnecessary footage wasted on character development but in fairness once the 'out of town' Brit showed up as well as the comeuppance for the clueless perp it found its' legs.

I hope this doesn't meander into a swamp the way 'Taboo' did - great acting and a continuous 'deus ex machina' plot twists lacking any coherence.

loved the first episode of this new season.

like the two previous seasons (as well as first season of true detective) you slowly get immersed in the story, the environment, the characters.

it is slow, very slow, but in an incredible tensed way that you cannot get your eyes off the screen.

the humour is very very witty and delicate i found myself laughing many times at the subtle jokes, pauses and characters always being confused by the situation they are in, same style of humour as the movie and first two seasons.

awesome, hope the whole season will be like this premiere!