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Jon Hamm as the sheriff.
Photo: FX
They don’t do crossover episodes like they used to. Imagine if we saw Don Draper in the ’80s stumble across Hawkins, Indiana, on one of his drunken cross-country road trips and encounter Steve Harrington? Well, it’s not gonna happen, but we’ll get Fargo season five instead, which stars Mad Men’s Jon Hamm as Roy Tillman and Stranger Things’ Joe Keery as Gator, a father-son crime-fighting duo. The latest season of the FX/Hulu anthology series sees the pair team up to search for Dorothy “Dot” Lyon (Juno Temple), a fish-out-of-water housewife on the run. Produced by MGM Television and FX Productions, the latest entry to the series is led by showrunner, writer, and director Noah Hawley. Below, everything you need to know.
Jon Hamm is giving what he’s supposed to gave (North Dakota sheriff) in the first images released on August 17 — we see him at a barn of some sort wearing a sherpa coat and taupe cowboy hat. Dave Foley, who plays Danish Graves, wears an eye patch in the office, while a different still sees Jennifer Jason Leigh as Lorraine Lyon looking judgey at a dinner table. June Temple, on the other hand, stirs the contents of a big mixing bowl with a stern expression on her face. Her mustard cardigan looks cozy.
Sheriff Roy Tillman (Hamm), who is also a North Dakota constitutional lawman, rancher, and preacher, has been looking for the shadowy Dot (Temple) for quite some time. He thinks the law doesn’t apply to him because he technically is the law. His son Gator (Keery) has some daddy issues and is eager to do everything in his power to help his old man. The sheriff asks a mysterious drifter, Ole Munch (Sam Spruell), to help their search. Lorraine Lyon (Leigh), a debt collector a.k.a. “The Queen of Debt,” is Dot’s mother-in-law and disapproves of her son’s (David Rysdahl) shady wife.
Jon Hamm, Joe Keery, and Juno Temple are joined by Sam Spruell, Jennifer Jason Leigh, David Foley, David Rysdahl, Richa Moorjani, and Lamore Morris.
It airs November 21 on FX, presumably with no Vecnas or commentary on mid-century American capitalism and masculinity.
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