This article analyses the creative strategies deployed to frame the narrative and aesthetic resemblance between Fargo the series and Fargo the movie. It explores the cluster of intersec- tions between the film and the TV show in relation to four categories: 1) The choice of a diegetic universe related to the original, which also frames the series within similar genre coordinates. Both productions present an investigative, thriller-ish plot that unfolds against the breath-taking snowy backdrops of Minnesota and Dakota, enabling us to view them under the paradoxical la- bel of white noir. 2) The dramatic construction of the main characters in the series replicates the struggle between good and evil present in the film, through the choice of analogous roles: good, incarnated again in an ordinary police woman; and evil, in the hitman duo from Fargo and Lorne Malvo, a diabolical character who features only in the TV show. Moreover, the series extends the antiheroic, pathetic archetype that acts as a catalyst for the intrusion of evil in the plot. 3) Traces of certain narrative and visual echoes comprise the clearest mode of resemblance, although they are also used to drive the plot in new directions and to underscore the metaphorical meaning of the mise-en-sce¿ne. 4) And last but not least, the development of the expressive possibilities of the landscape, which ¿ in both film and TV series ¿ is portrayed as linked with the inner world and personality of the characters.