Fargo Tv Quotes

After too many direct hits, all broadcast on live TV, the camera men and show producers, unable to tell the difference between this fight and the staged, blood-splattered events of previous programs, continued filming as Lawler, Jackie Fargo, and Tojo pulled Jerry off of the now totally beaten and bloodied Galento. Once Jerry had been adequately subdued and restrained, Fargo looked to the corner of the studio and saw Roy coldly watching the proceedings. “You son of bitch, you’re behind this!” Fargo screamed at Roy. Jerry saw Fargo screaming at Roy and immediately judged Roy guilty as well. He managed to free himself from Tojo and Lawler, ran across the studio, and grabbed Roy by the collar. “I’m going to kill you, you old man!” Jerry screamed. Fargo, Tojo, and Lawler all restrained Jerry once again, but he kept screaming. “If I ever see you again, I’ll kill you Roy Welch. I’ll kill you for this!

But what the culture lacked (and still lacks) is an emphasis on ideas - especially ideas that don't serve a practical, tangible purpose. In North Dakota, life is about work. Everything is based on working hard, regardless of what it earns you. If you're spending a lot of time mulling over the state of the universe (or even the state of your own life), you're obviously not working. You probably need to get back to work. And when that work is over, you will either watch network TV or you will get drunk (or both). Even in moments of freedom, you're never dealing with ideas.

The transformation of Hollywood into a foreign-first business has also made sequels, spinoffs, and cinematic universes the smartest bet in the movie business. Newly minted middle-class customers in developing nations like China love prestige Western brands like Apple, Louis Vuitton, and Gucci. The same logic applies in cinemas. American cineastes may reach for the Advil when offered the choice between the latest superhero, dinosaur, or talking robot spinoff, but to many foreign moviegoers, that response is somewhere between condescending and confounding—the equivalent of complaining that there aren’t enough modern art installations at Disneyland. One more trend fundamentally changed the movie business this decade: the golden age of television. As TV has gotten better, the pressure on major movie studios is not to keep up with Breaking Bad, Orange Is the New Black, and Fargo (a property that was perfect for the movie business of the 1990s and for the TV business of today), but rather to stand out by offering something different. Most people, particularly middle-aged adults, simply don’t go to the movies for sophisticated character dramas anymore. Why would they, when there are so many on their DVR and Netflix and Amazon queues at home?

Oh, are you calling the cops, bitch? Maggie says, Yeah, I actually am! There is a counterprotest that same day. “West Fargo for Knodel.” Maggie watches it on television. It’s led by eight of Aaron Knodel’s current students. Most are female. They play sports and their Facebook profile pictures are assertive and tongue ridden. They wear short shorts and their legs are tan. They hold signs that say, Best teacher we’ve ever had #WF4Knodel Not Guilty #WF4Knodel Passing drivers slow and honk or speed up and scream. Cheers and sunshine. Now the Knodel family station wagon drives past. A photo is snapped. Marie is in the passenger seat, her hair up like a mom’s, her skin considerably brighter than it was in the courthouse, her mouth open like it’s whooping, Yeah! A boy is in the seat behind her, thumbs-upping out the open window, with a smaller boy beside him, looking confused. And Aaron is in the driver’s seat with a little white dog pressed between his rib cage and the steering wheel. On his face is a look of slightly embarrassed yet utterly exultant pride, like a sun over the funeral of an enemy.

Often that night Maggie finds herself standing alone, looking around the room. She has a queasy thought that all the couples here tonight will stay together forever. She worries that she, too, will go to bed with a Fargo boy and wake up five years later, pregnant with a third kid, watching television in threadbare Uggs.

The future was certain, only the past was unpredictable. I wanted to attribute that quote to Lenin. In fact, it was something David Thewlis said as V. M. Varga, archvillain of the uneven third season of the TV reboot of the Coen brothers’ movie Fargo. The attribution was Varga’s, and if memory served, the person to whom he said it had questioned the veracity of the quote.

Heath's words echoed in my mind: all you care about is winning. He was right: that's who I was. But it wasn't who I'd always been. It was who I'd become, after a lifetime spent striving to be just like Sheila Lin. Like her, I'd discarded my past, my home, my family. I'd convinced myself if I became the best, it didn't matter who I hurt, because in the end, it would be worth it. Even if I hurt myself most of all. For all the years I'd spent obsessing about Sheila - first watching her on television, then skating for her, pushing myself to extremes for crumbs of praise - I'd never truly seen her. Not until that night, drinking in the dark in a Vancouver hotel room. And all I saw was misery. You can always be better, she'd said to me when we first met. But what was the point if you had everything and enjoyed nothing? Sheila's whole life had been spent grasping for more - more medals, more money, more power - and it would never be enough. Nothing's ever enough for you, Heath had said. He was wrong about that. I'd finally had enough, of the striving and the pain and the heartbreak. I didn't want to be Sheila Lin anymore. I didn't want to be Katarina Shaw either. I wanted to disappear.

Heath knew me when I was a gangly little girl with bloody kneecaps and prairie grass in my hair. He'd seen me sobbing and weak and shaking with helpless rage. He knew my pressure points. He knew how to provoke me. Garrett had never known me as Kat Shaw from Nowhere, Illinois. I could leave her behind, as abruptly and heartlessly as Heath had left me. With Heath, I could be myself. But with Garrett, I could be someone better. And if Heath wanted to see me again? He could watch me on television winning goddamn gold medals with Garrett Lin.