by Lena C. Emery.jpegby Lena C. Emery.jpeg

As with Breaking Bad, Fargo occupies a universe where the moral scales seem to be weighted so that the good will be rewarded and the wicked punished—it will just have to come eventually, after everything is put just right.

Nowhere has this been more evident than in the series’ fifth and sixth episodes. In the former, the series’ protagonist, Deputy Molly Solverson (Allison Tolman), enters the home of murderer Lester Nygaard (Martin Freeman) without a warrant. She’s here looking for the murder weapon that will finally allow her to prove Lester killed his wife, and when she enters his basement, she immediately (and unrealistically) makes a beeline for his washing machine—exactly where he’s hidden the hammer that did the deed. Yet when she digs around in it, she finds nothing. Lester, unbeknownst to her (and us), has moved the hammer. As with so much of Fargo, this is about moral instruction: Molly will get her man only when she follows her own code exactly, only when she doesn’t get waylaid from her path by good intentions.

Todd VanDerWerff talks about the presence of God in Fargo. Via AV Club’s "God in the Details: The Dark Drama Looks Heavenward"
I don’t think I’ve seen an actor make the kind of transformation that Martin Freeman has made since Bryan Cranston so artfully evolved Breaking Bad’s Walter White.
Tim Surette, (x)


Cryptology Detail - Alyssa Monks - Contemporary Oil Artist Interview and Studio Visit - Warholian (by WarholianPics)

André Romão - Decapitation on Auguste Comtes’s statue, 2008-2012

My plane ticket to London has been booked, and I am more than ready to be there!

The world is changed because you are made of ivory and gold; the curves of your lips rewrite history.
The Picture of Dorian Gray, Oscar Wilde (via rhaegartargaryan)

Here I was surrounded by my family and my so-called mates and I’ve never felt so alone.”

Trainspotting (1996) dir. Danny Boyle


as I disappear 

joshua fox