Molly is clearly still haunted by Lester’s crimes, and will likely never stop searching for her answers. Lester, on the other hand, has put the past behind him, as seen with such little things as sticking up for himself to the Hess family and buying a new washer. In the future, he not only has a new wife and is a much better salesman and public speaker, but even his haircut is better and he just oozes confidence.
As for Gus, he obviously lost his job after the hearing about how he shot Molly, and is now working his dream job as a mailman. He has the family that he longed for, and with the Malvo/Lester case behind him, both Molly and Greta are safe. How he’ll react to Molly’s continuing investigations into the crimes remains to be seen. I’m sure he knows about it, but will he confront her about her obsession and ask that she simply move on?
Lorne is, of course, the wildcard in this equation. I like how the episode began and ended with Lester, both at the beginning of his final transformation, and at its climax. He’s still painting himself as the victim of the Bemidji crimes, and I wonder if telling lies for this long have affected his own memories of the events. Lester evidently believes in the teachings of Lorne Malvo, and I found it interesting how obviously shaken he is by the man’s appearance. At the moment, it doesn’t seem like Malvo notices Lester at all, but one has to wonder what would happen if he simply turned around and gazed into the eyes of his creation.
Remember, this is the first time the two have been in the same room together since Malvo came to his house that fateful night, murdering Verne and leaving Lester out to dry. As easily as Lester adopted Malvo’s philosophies, I doubt he’s forgiven the man for abandoning him to his own devices. Plus, Malvo is now the only person who knows Lester’s secrets and has the power to topple the new facade he’s built for himself. In a way, Malvo had the power to create Lester, and wields the power to destroy him as well.
It feels almost foolish to pick apart the smaller scenes of this episode, or the events that took place before the time jump. It all feels inconsequential in comparison, especially considering many of the characters have been left without justice for so long. All of Fargo‘s usual nuances and great moments are almost lost in that long shot of moving trees that took us from one stage of the story to the next.
Additional Thoughts:
- Great scene between Malvo and Wrench this week. It had a very Kill Bill feeling, similar to how the Bride gives Vivica A. Fox’s daughter permission to seek her vengeance if she wants. Considering Wrench is the only character we aren’t reintroduced to after the jump, my guess is he’ll be back.
- I can’t be the only one who thought Gus was going to die when he was on the phone with Molly, can I? The way the camera lingered on him, and then panned to the left, I was sure Malvo was going to walk into the frame and shoot him.
- Speaking of Gus, I’m so happy about his new marriage and family with Molly and Greta that I’m even more worried that something horrible is going to happen to one of them.
- Bob Odenkirk was, once again, at the top of his game this week, from his frustrating denial of Molly’s evidence in the beginning to the bizarre revelation that he and his wife have adopted a Sudanese Lost Boy.
- I’m still not sure what to make of Key and Peele as Budge and Pepper. I get that they will likely be the only ones crazy enough to listen to Molly’s theories, but find them a bit out of place in a show filled with characters we’re so much more familiar with.
- When we are reintroduced to Budge and Pepper after the time jump, I got the distinct feeling that they hadn’t left that room at all in the entire year. It’s like they’re stuck in some sort of limbo.
- Anyone else notice Stephen Root in the background talking to the new Lorne Malvo? He has been in a few Coen Bros. films, so it was cool to see him here. I’m interested to see what role he plays in the next episode.
- Molly has slowly been transforming into Marge Gunderson, and went full Marge this week with the pregnancy and the scene in which she’s wide awake while Gus mumbles to her in a half-asleep, half-awake state.
- The Widow Hess’ freakout at Lester for sleeping with her and lying about Hess’ insurance policy was great. Too bad we probably won’t see her again, because Kate Walsh continually steals each scene she’s in.
