Fargo boss lifts lid on bitter race row at heart of season 4 as black and Italian crime families fight to the death

FARGO boss Noah Hawley has lifted the lid on the bitter race row at the heart of season four, as black and Italian crime families fight to the death. 

The Emmy-winning crime anthology is set to return to screens with what the creator has described as “probably my most ambitious story yet, in terms of scope and scale and character.”

Fans were devastated when it seemed as though season three would be FX’s Fargo final installment, thankfully, however, Hawley decided to make a fourth series after all. 

Speaking to TVLine, the show creator revealed: “On some level, I ended Season 3 feeling like if Fargo, in some big way, is a story about the things that people do for money… I kind of came out of that feeling like, ‘I think maybe I’ve said everything there is to say about that’.”

Set in 1950 Kansas City, the two crime families battling for supremacy are the African Americans, led by Loy Cannon [Chris Rock], and the Italians, headed up by patriarch Donatello Fadda [Tommaso Ragno].


Season four will see two dueling crime families try something new in order to keep the peace – exchanging their youngest sons. 

Loy’s son Satchel is sent to live with the Italians and Donatello’s son Zero living with the Cannons. 

Discussing the scenario, Hawley noted: “There’s only so far that you can go before somebody’s kid gets killed. On some level, it’s a story about parenting as much as it’s a story about America. 

“Obviously, we’re rooting for Chris Rock: He’s the underdog, he has so many things to overcome. But at the same time, he’s a criminal, and he did trade his son, as a means to an end. So is he a good guy? Is it black and white like that?”

Season four will dig deep into the history of race in America, and what it means to be “white” — which has changed a lot over the years.  

“You have these Italians facing off with these African American characters, and none of them are white in 1950. These are not white people,” tells Hawley.

“The Irish are not white people. They’re not allowed in stores, either. They’re told not to apply for jobs also. And that changed, but it’s interesting to get to that moment, to go, ‘All right, well, what made them white?’ And why weren’t they, and who was, and who got to decide?”

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