1. Torrent Deadwood Season 3 Complete

HBO We’ve come to the end of our three summer-long rewatch of David Milch’s revisionist Western “Deadwood.” No need for any disclaimers about veterans versus newbies at this point; no more episodes after this, folks. A review of the series finale, “Tell Him Something Pretty,” coming up just as soon as I ask for unguent by secret thinking “In the aftermath, play the lie as mine, knowing I speak of you in Heaven.” -Al Swearengen It’s nearly seven years to the day that “Deadwood” came to an end., like I reviewed most of that final season, on my old blog, and at the time felt frustrated with “Tell Him Something Pretty” as an end to the third season, but surprisingly effective as an abrupt end to the series as a whole. Of course, in the years since, that he more or less knew the show wouldn’t be back, and that as a result he wrote this episode – and the final scene that provides its title – as the closest he could get to a conclusion. And Al scrubbing Jen’s blood from the floor of his office, lying to Johnny about the manner of her death, does feel like the most appropriate end – premature or otherwise – “Deadwood” could have had: one more lie agreed on, one more piece of violence being wiped away on the path to civilization, one more victory of money and power over decency and fairness. It doesn’t take us to the rest of the story of Deadwood and George Hearst, doesn’t get into the role Jack Langrishe would play in the community going forward, doesn’t get us to the fire that claimed the Gem, Sol Star’s political career, Seth’s friendship with Teddy Roosevelt or anything else that could have come later.

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It ends before we want it to, before Milch intended to, but it ends. Regardless of what might have come in the mythical fourth season, or in the movies that HBO was never going to have the ability to make (because every actor was released from his or her contract the day the show was canceled, and the odds on getting all of them – or even of getting McShane, Olyphant and Molly Parker after the career boost the show gave them – was going to be next to impossible), there is a conclusion to the series and its themes, and something of a conclusion to the stories of the third season. Now, endings have not been a strong suit of Milch’s throughout his career.

He’s a genius with dialogue, with character, with introductions, but clear, powerful, appropriate resolutions often elude him. That the first two seasons of “Deadwood” ended as well as they did (the second more than the first) is something of an anomaly in his career, and even in this show, where the improvisational nature of the writing meant that some story arcs got interesting conclusions and many others just petered out, as we discussed with the Earp brothers a few weeks back. So the idea that all the talk of war with Hearst – of Hawkeye and Wu raising separate armies, of skirmishes with the Pinkertons – amounted to little doesn’t seem out of keeping with his style, and it ultimately fits with the story of this season. (Which, per, may have been influenced by what was going on between Milch and HBO at the time.) Hearst wins.

His victory is as close to absolute as it gets. He murders Ellsworth with no consequence (and, most likely, had Odell killed as well). He buys up Alma’s gold claim. He rigs the elections so Bullock will lose (though because mayor is not a county position like sheriff, he has no power to stop Sol’s victory). He boasts of starting his own newspaper to crush the Pioneer (though this is more of a nod to Hearst’s media mogul – and “Citizen Kane” inspiration – son William Randolph Hearst, George did buy a few newspapers along the way). He demands the murder of the blonde whore who shot at him as a final sacrifice to spare the town, and though Swearengen ultimately kills a different one, it doesn’t much matter. Hearst is more powerful than these people he loathes dealing with – Hearst telling Seth that “I’m having a conversation you cannot hear” is about the most arrogant line spoken in the run of the show – and he crushes everyone under his boot heel before riding away on the stagecoach, riding shotgun so he can again have an elevated view of the little people.

That absolute victory is depressing, especially for what was so often the most hopeful of the three great HBO dramas of the period, but it also feels like a proper conclusion. Seth and Al, for different reasons and by different means, have been trying to civilize the camp for three seasons. With the elections, they have essentially succeeded.

The camp will be absorbed into the Dakotas, and in turn into the greater United States of America. And while civilization offers wonderful things, it also offers men like George Hearst, or Hugo Jarry – money men and politicians who take advantage of the rules of polite society (or who are powerful enough to decide those rules do not apply to them) to take advantage of others. And though Wu and Hawkeye’s armies don’t get to do anything but stand and look tough (especially the short guy with the knife who makes for the “almost 18”), the episode does not lack for tension, as Al plots to murder poor Jen in Trixie’s place. It’s a dark, interesting choice – and one that gives Al some of his menace back after he’s become an almost-grandfatherly figure over the last couple of seasons (even the murder of the Pinkerton doesn’t make us question our feelings about Al) – and we can understand both Al and Sol’s desires to protect Trixie at all costs. And the way the story is structured, Al sells it to Mr. Star as a done deal that Sol cannot prevent, even though Jen is still milling about elsewhere in the Gem.

It doesn’t entirely sit right, both because Jen is such a nothing character (and therefore the sacrifice only matters in the abstract, and to the extent that Sean Bridgers makes us care about Johnny’s feelings for her in the sad, beautiful scene where he discusses all the creatures inside the wall), and because Seth – who has been defined as much by his rigid sense of right and wrong as by his uncontrollable temper – also just goes along with it. But the sequence where Hearst and his minions take over the Gem to verify the death is a marvel of suspense. Because Hearst wins in a walk, and because the murder of Jen takes place off-camera, the most memorable bit of violence in the hour is Cy stabbing Leon, venting his frustration once again at being so marginalized by the rest of the camp, and even by Hearst. (Cy gets to oversee Hearst’s business in town, but as a middle manager rather than a partner.) It’s a chilling scene, but like much of the episode, it feels like an anti-climax: Cy kills Leon for the crime of being there, rather than as the culmination of a major Cy/Leon arc. But even with all that said, it was such a pleasure to watch this final episode again – and an experience that took me much longer than an hour, because I kept pausing between scenes to stretch out the experience as much as I could.

I knew when we got to the perfect closing shot of Al Swearengen scrubbing out one last stain, having just told one last lie, this was all going to be over. No more Swidgin. No more Bullock and Star.

No more Trixie or Jewel or Dan or Johnny or Charlie or Joanie or Jane. No more gorgeous language being recited by one of the finest collections of actors ever assembled for television, nearly all of them at the top of their game. No more triangulating. No more conversations with severed Indian heads, dogs or overworked prostitutes.

And I don’t want it to be done. I want there to have been a fourth season, and perhaps a fifth (I only remember the talk of four seasons beginning around the time the show’s future looked in jeopardy), or else the movies. I want the laws of time and space, and the complexities of show business, to all bend in such a way that we can grab Olyphant, McShane, Parker and everyone else circa 2006, let Milch and company write new words for them to say, and have at it.

I want to be able to tell you something pretty. This is where “Deadwood” ends. It’s unhappy. But it does not ultimately feel untrue to the spirit of the thing. Some other thoughts:.

For the final time, I want to thank Jim Beaver, Keone Young, W. Earl Brown and Garrett Dillahunt, who all stopped by at various points (Jim as a constant presence) over the course of this nostalgia fest, and made the exercise vastly more illuminating as a result. Jim’s recollection of the filming of Ellsworth’s death is extraordinary, and Keone’s reflection of the turmoil he felt while making this show was just as moving. (Both later returned with more humorous anecdotes about the period.) It’s been a privilege to provide the excuse for these writings, gentlemen. I’ve been asking Mark Tinker, who took over as the producing director for this season, for memories all summer. He finally weighed in on this one, writing: I sure don’t have the detailed memories Earl, Jim and Keone have. Man, those guys must have really been in the moment.

Either I’m mental or I was too busy trying to stay in production step with Milch’s unorthodox style (or both), but I do remember two things about the last episode. One was the whole production felt like dead man walking. There was a real sense of a ticking clock — sets were starting to be dismantled, set decoration was coming down, props packed away and offices were starting to be boxed up. Kind of the feeling you get when you’re sensing a finality to your time in high school or college ending. It was very bittersweet.

The other thing was the very last day was when I shot that sequence in the roof where Cy stabs Leon. It was windy and chilly on that practical rooftop and I think we had a somewhat abbreviated crew that day. Maybe we were over a day and trying to save some on the extra shooting time we were incurring. Also, I think some people may have already left for other jobs. It was a real Twilight Zone kind of day and I was reminded of the ending of T.S. Eliot’s “The Hollow Men” because our world at Deadwood ended like the poem — “not with a bang but a whimper.”. OK, I haven’t quoted some obscure Scottish poet like Milch used to but WTF?

Syracuse, dude!. A few weeks back, I noted that in a cast of actors who for the most part did career-best work, or close to it, on this show, John Hawkes was a notable exception. Every now and then, though, Milch gave him a moment suggesting the kind of talent he’s been displaying in the years since, like the scene here where an angry, tearful Sol shoves Trixie out of his house, upset at the thought that she’d rather die than live with him. It’s a great scene for Paula Malcomson, as well (and a reminder of how “Ray Donovan” is wasting her), and also helps us understand Sol’s mindset about Jen; beyond thinking it was already a done deed, he’s too wrapped up in knots over Trixie to think rationally about a situation where her life is in danger. The crowded nature of the season 3 ensemble left certain supporting characters frequently absent (Doc Cochran doesn’t appear here) or with little to do (Sol, Adams). Other characters were well-serviced even without major stories of their own, like the way Charlie Utter spends election day standing up to Hearst and his Pinkerton bullies. A pleasure to watch Dayton Callie threaten other, far more powerful men, and the later scene where Joanie and Jane discuss how good Charlie is in a crisis put a nice button on the long-standing Charlie/Jane friendship.

(On the old blog, I often wondered if Charlie – who often seemed sweet on Joanie – was aware of Joanie’s sexual orientation and her relationship with Jane, but his gift of Wild Bill’s coat to them makes clear that he knows.). Though Milch wouldn’t take the theater company to bigger and/or more comprehensible places, I quite like the scene where Jack vents to Claudia about an artist’s role in a life-and-death situation like this. He has accomplished good things for the camp, and would continue to in real life, but at this moment, he is powerless. Poor Harry Manning: he runs for sheriff just to generate the notoriety that might lead him to start a fire brigade, then gets stuck with the job because of Hearst’s scheming, and thus will have precious little time to polish the fire wagon that Tom Nuttall bought for the two of them to work. Still, he’s doing a damn sight better than Steve.

(Which makes me wonder whether Milch would have kept Steve and the General around for that hypothetical fourth season. On the one hand, Michael Harney would have kept collecting paychecks; on the other, as Jim Beaver noted a few reviews back, it would have been a non-acting job at that point, more or less. Up next: Again, that’s all, folks. We have many months to go before next summer, and I’m not sure what my summer project will be – or if there will be one, given the explosion of interesting viewing options this summer. As much as I loved doing this one more time, there were definitely weeks where the process of doing “Deadwood” right prevented me from covering other shows. It’s also been interesting doing an assortment of pilots with Dan for our podcast, rather than doing a whole season of a show, so maybe I’ll try an experiment next summer.

Or maybe I’ll go deep diving for something really old, or something foreign that I haven’t seen before anything is possible. I will not be writing about “John From Cincinnati,” but that’s another one that, and where I doubt I would have more to add now. Though the Jim Beaver stories might just make the endeavor worth it What did everybody else think?

Alan Sepinwall may be reached. Thanks again Alan and for all the cast members who shared their memories. I wish there were some way to get Ian McShane to weigh in. He carried the lion’s share of Milch’s phenomenal dialogue and by all accounts, was often memorizing the most complex scenes just hours before they were filmed. I think the way his character evolved from evil mastermind (in the first two hours) to a pragmatic, complex genius is one of the reasons the show holds up so well. Trying to imagine anyone else navigating that arcane yet beautiful language is impossible.

And for those who love the evolution of the Bulloch/Swearingen relationship, enjoy these piece from one of the DVD special features:. I didn’t rewatch the episodes this summer, but it’s been fun revisiting them with you and the cast members who’ve stopped by nonetheless. I watched the whole series two years ago on HBO On Demand over the course of about six weeks. The incredible dialogue and the underlying positivity/hopefulness made it one of my favorite dramas of all time.

So many of the “great dramas” are about decay and tearing things down, so it’s nice to have one about building things up. I feel like I really do need to watch John From Cincinnati, despite what everyone says about it (though I probably won’t have time to do so until next year, I’m guessing).

I’m glad to learn you wrote about it somewhere else, as I have a feeling I’ll need help understanding what I’m watching. This summer was my first time watching Deadwood. I want to thank you and all the commenters on this site for adding another wonderful layer to the viewing experience. Binge watching really made clear the richness of the world Milch, the cast and crew created. And to have so many characters grow over the course of three seasons was mesmerizing. I think my favorite arc was Ellsworth, going from man in the background to an important force in the town. His death was shattering, but did further cement the citizens of Deadwood as a true community banded together for better or worse.

Having binge watched this show (I watched all three seasons within three weeks), I can say that the show was perfectly structured. To watch characters starting off as enemies and then ending up as fellow neighbors was something you don’t see much in television. And although I agree that the theater troupe and Odell were missteps, I still greatly enjoyed the third season.

And since I binge watched, I have to say that the final scene did feel like a perfect ending for the series – Swearengen washing away the blood of an innocent he killed to save the town that he can never truly be a part of. I’m looking forward to hearing what Jim Beaver, Keone Young and W. Earl Brown felt about the finale. Thank you again for enriching my first time at Deadwood.

Like JustinBourret, I watched ‘Deadwood’ for the first time this summer, and burned through it in about three weeks. Amazing experience, and I’m already anticipating my next watch-through of the whole series, so that I can appreciate many of the nuances and let that language flow over me again.

I discovered these rewinds during my watch of series 2, and burned through those as well; they’ve been a fantastic accompaniment to watching the show (and I hope they stay around for a while longer, as I’ll certainly want to re-read them). Thanks to Alan for his thoughtful analyses of the series, and the regular commenters, particularly those who brought insights from within the ‘Deadwood’ community. Alan, like you did with the episode, I did with the review. I read bits of it at a time to stretch it out as much as I could. My girlfriend and I have also been watching – her for the 1st time – the 3rd season over the past few months. I told her last night about Earl’s theory about the 3rd season being a metaphor for Milch’s struggles with HBO. She thought about it for a minute and thought it made sense.

It’s a shame it only got 3 seasons but perhaps it’s for the best. The quality of the show may have diminished with a 4th and/or 5th season. Key actors and possibly even Milch may have left. Olyphant and Hawkes have gone on to be great TV and movie stars respectively. Jim Beaver should be a regular in a series but it appears he’s kept pretty busy. I feel bad what the cancellation did to Earl emotionally but I see he’s fairly busy too. Of course, I believe because it lasted only 3 seasons, it suffers in comparison to the other dramas.

It’s almost an afterthought. It’s like, “Oh, yeah. To bad it got cancelled after 3 seasons.” Thanks, Alan, for the recaps and thanks to Earl, Jim, Keone and Garrett for giving us their insights. Hopefully you all will stay busy with roles and maybe Milch will cast you in his new series. From my stats corner, characters with the most lines in Deadwood: 1. Al Swearengen – 2038 2.

Seth Bullock – 1034 3. Cy Tolliver – 711 4. Alma Garret – 678 5. Farnum – 639 6.

Charlie Utter – 500 7. Jane Canary – 498 8.

Joanie Stubbs – 490 9. Dan Dority – 476 10. Doc Cochran – 464 11. Sol Star – 458 12. Trixie – 449 13. George Hearst – 448 14.

Merrick – 331 15. Johnny Burns – 310 16.

Silas Adams – 276 17. Whitney Ellsworth – 274 18. Francis Wolcott – 261 19. Jack Langrishe – 251 20. Tom Nuttall – 171 21. Martha Bullock – 171 22. Wild Bill Hickok – 155 23.

Smith – 145 24. Leon – 142 25. Samuel Fields – 141 27. Hugo Jarry – 138 28.

Con Stapleton – 130 29. Steve Fields – 123 30. Alice Isringhausen – 119 31. Lou Marchbanks – 114 32. Andy Cramed – 105 34.

Eddie Sawyer – 99 35. Blazanov – 92 36. Brom Garret – 91 37. Jewel Caufield – 82 38. Richardson – 80 38. Hostetler – 80 Hearst may seem high for his short run, but he was averaging 34 lines an episode and came 2nd in Season 3. All the regulars below him averaged 8 to 13 lines per episode, in addition to missing some episodes entirely (except Johnny).

Jack: This camp is in mortal danger. The man Hearst is a murderous engine. My friend Swearengen, aware their combat is unequal, feels the appeal of the gory finish. Others I’ve just come to know stand candidates in the elections, whose results they know may be moot. What, one is disposes to ask, in fuck ought a theater man to do? Of a certainty, our debut’s postponement is necessary.

But unless of one’s own volition, certain is it too that one would not be canceled. To prevent that, if need be, even off the boards, one would take steps of one’s fuckin’ own!

Torrent Deadwood Season 3 Complete

While watching this scene just now, I went back and watched it a second time. The rhythm and cadence in the writing is just sublime!. JOHNNY: Why?

What are you going to do? I swear, the first time I saw this, I correctly anticipated Adams’ reply of “Murder.”:-) Speaking of Johnny, it was great to see Sean get a chance to strut his stuff this episode. When it was over, I was sad.

The “He wants me to tell him something pretty,” line is obviously a gigantic “Say it ain’t so!” about the show being overbut so is Bullock’s and Utter’s final exchange about how tough it’s going to be “to put head to pillow” tonight. When I saw that David did the commentary track for this one on the DVD, I watched it immediately after viewing the ep. David held his tongue during the Brian Cox speech I quoted above, and as soon as it was finished, he said, “That might sound like I wrote it after we got canceled. I didn’t.” Glad he cleared that up, because that’s exactly what I was pondering. David just explained why Trixie wanted to go face the music, face responsibility for shooting Hearst: she feels guilty for what happened to Ellsworth, as she was the one who pushed him into marrying Alma and getting him involved in this mess. Thanks, David.

I’d thank the actors who’ve been posting here again, but I’ve already done that 100 times, I think they fully understand my gratitude. But Alan needs more thanks. His reviews have been completely overshadowed by the celebs who post here, but really, who else could have written such great reviews? Back in the AOL/Prodigy/WhatWasTheThirdOne?

Days of the internet, I used to eagerly look forward to his thoughts on the latest NYPD Blue episode, posted on Usenet (you young folks can Google all these archaic terms I’m tossing about), making him the second Usenet poster whose career ascension made me proud to have correctly respected his opinions on things before he was famous (the other was poker player Greg Raymer, who went from rec.gambling.poker poster back in the day to WSOP Champion). Thanks again, Alan. I’ve said it before, these Deadwood Rewinds have been my favorite use of the internet since its invention, and nothing else comes close. And many, many thanks to my fellow commentators here, below the line, lol. I’d love to name a few of my favorites, but that always leads to forgetting someone and hurt feelings, so I’ll just say: if I ever responded to one of your posts directly, or if you ever said anything nice about MY posts, then you made the list!

Also, SOMEBODY here needs to thank David Milch for creating all of this for us to enjoy. If any of you know him, tell him there’s some nut on the internet who says, “He’s my favorite person ever.” Whenever he speaks into a camera, I hang onto his every word. “Luck” had a chance to even outshine Deadwood, but that one got cut down way too soon, as well (I’m one of the 1% of America who didn’t need the Pick Six nor the claiming system explained to me). So long, everybody.

I’m so sad to see this end, but so happy that we were given the opportunity to do it. Damn you all, I’m welling up.

The feeling of loss even more pronounced now than when Deadwood fizzled away. I am so grateful for Alan’s decision to review Deadwood, which spurred me to buy the series on DVD and rewatch it in much quicker fashion than when it first aired. My appreciation of its brilliance has led me to recommend it to many friends and family members and, without exception, they have been awed by it. To Jim and Keone, your invaluable insight has been a treat to anticipate each week, and I have come to admire you both for your willingness to bare your personal vulnerabilities to us. I am grateful to you, and humbled by your considerable talents.

I am very sad to see this end, but so happy to have been along for the ride. Bless you all.

Ugh, this was hard to watch a second time. I haven’t been able to bring myself to watch Deadwood’s third season since it aired (even though I own the DVD box set!). This is one of a handful of television series whose unexpected and untimely end I mourn like the death of a good friend. It was wonderful to revisit the amazing spectacle that was Deadwood, but it was also disappointing to see so much further potential be left unfulfilled.

Watching Milch tour the empty set in the box set extra was also sad, because he clearly was so reluctant to let go of the series. I couldn’t locate it online but here’s a recounting: The closing shot that Keone mentions made me smile though. Lovely little aside. Just wanted to say thanks for reviewing the series again, and thanks to everyone who commented. There’s been some great comments from everyone traversing this site, not the least of which would be the Deadwood alums themselves. It’s been captivating to hear the artists recount their anecdotes and reveal their feelings about the show. It’s also refreshing to know that artists of such stature respected the work so much as to join us here.

Thank you all. Thoughts First and foremost I want to thank Alan for his thoughtful reviews. Special thanks to Jim, Keone, Earl and Garrett as well. This has been such a unique opportunity to interact with the stars of the show and hear about the life of an actor.

Thanks of course to the brilliant commenters. I wish I would have contributed more often. Anyway, regarding the episode, I loved Jack’s speech.

I think that all the confusion of the theater company’s storyline was worth having Brian Cox on the show. This is at least my third time watching but I was still struck by the scene where Al talks to the Indian head. He is damn near breaking the fourth wall. What did others think of that? Alan, what lie are you referring to? All Al told Johnny was that he was as gentle as he could be, which seems to be true.

I always get a kick out of the fact that Mad Men and Deadwood have the same costume designer. I particularly like Joanie’s clothes. This series is so special. I love Deadwood, The Wire, Mad Men, Breaking Bad, the Shield and The Sopranos, but Deadwood is unique among these in its optimism.

It feels odd to call a show which begins with the attempted murder of a small child and ends with the murder of an innocent prostitute, but I think it works. Milch has no illusions about how destructive and unfair life is, but he also shows us how people and institutions can give each other hope in the darkness. The affection, trust, respect and love between so many of these characters is heartwarming. Other shows have affectionate heartwarming moments as well, but I challenge you to find many moments like Joanie and Jane in this and other episodes, Wu and Swidgin last week, or Aunt Lou and Richardson. What other shows could give lines like “Loopy fucking c.” or “Get your n. ass back in line” such pathos?

I can’t wait to watch this series again. Alan and everyone, I stumbled across this rewind last summer, and couldn’t believe my good fortune when I realized it wasn’t an old recap, but a current “conversation.” I’ve loved reading everyone’s thoughts, theories, joys and disappointments. I’m surprised about the extent of my sadness as we come to an end–I realize how much you all contributed to the momentary fantasy that the show was not over, and in the only way possible now, you brought it alive again. Many thanks to the Deadwood players who stopped by and shared their experiences. What a treat that was!

Thanks everyone, for your devotion to this unique and stellar labor of love. Part 1 It is fitting, for me, that Alan takes the time to get Mark Tinker to comment on the show. Had it not been for a meeting with Mark in 1985 I doubt I would have been a part of Deadwood. Mark at that time was touted as one of the bright stars of tv episodic. He had pedigree as well. Being the son of Grant Tinker, the CEO of NBC who literally changed the face of tv with his MTM productions (Mary Tyler Moore show, Bob Newhart Show, Hill St Blues, etc) and virtually saved a dying NBC.

Mark cast me in one of his episodes he was directing at St Elsewhere, he Exec produced as well. With all his renown of being the son of Grant Tinker and step son to MTM I found him to be a genuine special artist in his own right.

I played a character by the name of Fong and if you knew the show it was quite successful and saddled with a handful of big stars. Mark handled the whole package expertly with a lot of self confidence and gave respect to everyone participating in the creation of the show. I felt I was working with someone with great depth. Several years down the road I get called in to do an episode of NYPD Blue. One of the few shows on the air that held my interest Mark is directing. I get on the set and immediately this tall bespectacled man starts to explain the scene in a booming voice. Seeing everyone on the set immediately come to a hush when he speaks and all cell phones are muted I begin to make myself very small.

Even though the scene was centered between me and Greg Medavoy (Gordon Clapp). I learned in Asian music/martial arts that when a teacher is there to “open your eyes and keep your mouth shut”. But I was confused. After he left I turned to an extra I had known and said “Who is that?”. My friend said “The boss” he said in a hush tone. Yes he was a formidable man. All I knew is that his name was David when Mark said “OK thanks Dave” as this David walked out of the room and Mark expertly took over setting up the scene.

I was a bit shaken as Milch had impressed me with his stature and his supreme control over language. Who was this guy? Related to Bochco? But I wasn’t going to be bullied either.

I had been around since 67 on my first job at 20th on Room 222 with James L Brooks and Alan Burns who createdthe The Mary Tyler Moore show. I was terrible but I had learned a lot since that time in ’85. So I go back to my dressing room and work on the scene. Focusing very hard on the different possibilities of the interpretation of the scene. We set the scene and David is asked to come back and check the scene out. Clapp is not saying much to me except a smile and welcome but this is NYPD and you sink or swim pal. We get into the scene and Im very focused thinking about my Karate sensei and my mentor and what they would expect.

In other words Im taking the scene as a match or combat. David is yelling “do this and when he says this.I think you havetoetc”. Everything is quiet and we do the scene. Milch stands back and goes “yeah.thats right.yeah.good GordonGreat Mark.” then he grabs me by the arm and looks at me straight in the eye, which he did not do till this moment, and says, “Hey youre good!” in a low voice. Showing me a sign of his humanity. As in training I do not respond other than to look at him and think “what would you expect from someone who is fortunate as I am to be in your presence while I kick ass”. I say “Thank you sir.” From then on I knew we would get along well.

Im not saying this to bray about myself. But I found a kindred spirit in David and Mark. Two men who loved their work and respected the craft and had no time for fools as well. And I had spent many years being terrible in other shows. Oh god I had spent many unsleepless nites as the goat on the set. The guy who always f.d up his lines and scenes. But I worked hard and had the fortune of having great teachers who always forgave my excesses.

Not wanting to ever give up. In 2004 I get called into meet with David and Walter Hill. There is a long line of Asian actors at the call for this new project called Deadwood.

I walk in and make the usual hellos. David intros me to Hill and comments something like “oh yeah hes good”. Hill and I have a mutual friend who is in prison at the time. I bring David a book about Chinese railroad workers. I do this with a purpose.

Because in Asia we do not come to your house empty handed. I knew Dave respected writers and it was written by a close comrade of mine. David says “Keone there is nothing to read off of” and starts to tell me about Wu and how special the character is. I was thinking. Wu is my people Dave.

I think I can tell you about him. But I just open my eyes and shut my mouth. I get up to leave as I know there is a long line behind me. I stop and turn to look in Davids face and say “Dave, wether you use me or not, please don’t make Wu a PANTY.” I know this might not be a PC term but we used it in Hawaii in the ‘50s to describe a “panty waist”, a wimp. I know, I know terrible. But here I was dealing with NYPD Blue and Walter Hill. I said we Chinese have always been portrayed as sexless eunuchs or hey boys!

The Chinese version of Step and Fetchit. If youre going to portray the Chinese make us as MEN! Dave looks at me and gives me a big grin which I have become familiar with when the man shows his ummm how can I say his ALOHA.

Sorry I don’t know the English word for it. I know this has been long but I didn’t want to talk about our demise as much as I wanted to say something about our beginning. I’ll stop here and continue if you like.

I want to end here and say thank you to Alan as he allowed me to express the things that I have felt about the show. And consequently let me shed all the layers of skin that I had developed through that experience. And thank you to all those who have wished us well. Please continue, Mr. I saw ‘Deadwood’ for the first time this summer, and have been reading all these posts and comments along with the episodes. Your reflections on your time as part of the ‘Deadwood’ family have been insightful and clearly heartfelt. Ir’s easy for fans of a show to take the show to heart, know it very well, almost obsess over it to an extent.

I’ve sometimes wondered how actors feel when they look back at a project they were part of for a long period of time. Does it become, in their mind, and amid their ongoing work in the field, just another job they once did? You (and the other actors who’ve commented here) have clearly shown that while it’s in the past, ‘Deadwood’ hasn’t been forgotten by you, and remains a very big part of what you’ve done in your career. May you continue to have every success in the future, and thank you so much for all you’ve written here! Part 2 Something Pretty was a full circle for me. In the very first episode I had no written lines and in the last episode I just made some ghostly appearance.

It was if I had been born in the pilot and died. Every actor feels when his job comes to an end it is over for him. That he’ll never work again. In Deadwood we never knew if we would ever at the least hit the high standards that this show hit. Every job after would become suspect. (I refer you to a wonderful podcast on BBC.

Its called Desert Island Discs. In one episode Dustin Hoffman is interviewed.

In where he relates a story about Gene Hackman and wondering after they finished a film they would ever work again). At the first meeting on the first episode of Deadwood I get a call from my agent. “One day on Deadwood. Youre in the script but no lines,” my agent screams.

Before I can respond he screams “What do you want me to tell thosepeople”. I start to think. I had been getting calls from the network of Asian American actors in town trying to pick my brain about the project. So I knew it had some worth. At least bragging rights.

I jump and say “When and where?”. Which meant yes. I get to the reading of the script on the first day. It’s a day of intros and how are yous. I get there and the guard at the gate looks at me quizzically. I tell him Im David Milch’s gardener.

He waves me through. We get to the set which I later found out is the Gem Saloon where many famous scenes will take place. A long table with names set at each seat.

I look for mine and find mine way way back at the end. I know no one. The only actor I recognize besides Ian is Billy Sanderson from the Bob Newhart show. I look around from the back and see that I am the only only person of color. Im like “what century are we in”. A Black guy walks in with gloves. He comes in to empty the garbage can.

He looks at me. I look at him. We are brothers in this purgatory state. He looks knowing at me.

He walks out with the garbage. When each scene is read the actors in the scene is herded up to the front. A good looking kid is up there most of the time. This was Tim.

Im sussing every one up. And then it is time to dump the body in Wu’s pig pen. Even though I have no lines I get up and march that long walk to the front. The white guys talk and I interrupt with something I made up in Chinese. Like “f you white boy”! To Sean Bridgers.

Its my one and only chance to make my presence felt. I make that long walk back and that was it. All the time I was thinking what my mom would be thinking if she saw me. She wanted me to become an accountant or dentist.

But I laughed inside because this was the life I chose. A self-effacing laugh. But I had faith in Milch. He must have sensed something in me. Later he was to come up to me and tell me don’t worry Wu’s is an important part to my story. Then he wrote the episode Mr Wu.

I wish I had been around when Alan was rereviewing the first season. Because that episode was just special.

The crew and David could not stop laughing during the shoot and every one was calling everyone Cocksuckaaa after that. But I digress. Several people in production also told me that David wanted to bring in African Americans in the show to deal with the race issues of the time but felt he couldn’t right away because it would be so brutal on the American psyche that he had to set it up for the audience. When he wrote for “Nigger General” I undersood why. He did it at the right time and place. I never was a religious one and I never believed in life after death.

But I always felt that you live after death when you are in the memories of people and of the ones you love. I have Milch to thank for I believe Wu and Deadwood will be remembered long after Im gone. Again I thank Alan and you all to listening to my tales of Deadwood. Thanks for the opportunity to experience this great show through new eyes, Alan. I met Ian McShane when I worked at Sony Digital in 2009 when he was interested in finding out about the viability of online video content. He arrived by himself, early for our meeting and was incredibly friendly and outgoing. Since we had a few minutes before everyone else arrived, I asked him about Deadwood.

He replied, “I’m still pissed. That was the best role I ever had and the best acting experience overall.” He said that he knew when the talk about two movies were bandied about that it was all over. It seemed like it was still a fresh wound for him. Al Swearengen is one of the great television characters, and I think Seth Bullock helped Timothy Olyphant figure out how to make Raylan Givens one of television’s most enjoyable characters to watch. Thanks again for the great memories.

I don’t know if anyone is still here to read this. Sorry for the delay. Though I’m not in this final episode, it is one I experienced in a very similar way to my own last episode.

Over the course of the show, and particularly in the last season, I had become very close friends with Jennifer Lutheran, the beautiful actress who plays Jen. We had commiserated over my character’s demise in “The Catbird Seat,” and about the time I was coming up for air from that experience, I got a call from Jennifer, in tears, telling me that the same thing was happening to her. I suspect it was in some ways much more devastating to her, as her career was just getting its start, and Deadwood was the first thing to give her any traction. She’s a wonderful actress — I’ve seen her onstage, and she really shines — and Deadwood was a joyous experience for her, as it was for all of us. To have her role taken away from her just as it was getting started (remember, we had no clue the show wouldn’t be back) was, I’m sure, devastating. It’s certainly something I could relate to.

We hung out together a lot in those days and it was a very sad time. And both of us had to keep our mouths shut about what was happening to our characters, as the show wouldn’t actually air for nearly six more months. Neither one of us could talk to anyone else not connected to the show about our demises, as we couldn’t (and wouldn’t) spoil the episodes. It was a looooonng six months. I remember Jennifer used to come to my place on Sunday nights and we would watch the current episode together, and those last two were incredibly solemn experiences for us. It was nice to have someone in virtually the same boat to share the sense of loss. The evening we watched the final episode, and experienced Jennifer’s last gasp on the show, we hugged and cried and then went to the HBO Emmy party and sat at the Deadwood table with all our chums.

Sometimes acting is weird. Jennifer got hurt in the coffin sequence. In one take, when Al pried the lid off with his knife, the point dug into Jen’s forehead. She said playing dead was particularly hard in that take. Near the end of the episode, when Bullock walks down the thoroughfare after all is said and done, take a look at two of Hawkeye’s gunmen, standing just right of center in the thoroughfare. You may recognize them by the shapes of their beards. It’s Dusty Hill and Billy Gibbons from ZZ Top, who were friends of Earl Brown’s and came to the set and were quickly stuck into the scene.

Interestingly, I went to high school with the third member of the band, Frank Beard — our pictures are next to each other in the yearbook — but he wasn’t there that day, and I haven’t seen him since high school. But I must have been on the set that day — can’t think of why — because I met Billy and Dusty. Both of them had hands that felt like dried-out loufas. I always loved the way this episode wrapped up. I loved the idea that real history kept David Milch from giving the audience the “pretty” ending they wanted — you know, the one where the town rises up and smashes Hearst and his myrmidons. That David recognized that not only Johnny but the entire Deadwood audience wanted to believe something pretty rather than the unavoidable truth was epic poetry to me.

I never took it as a comment on the end of the show itself, as I was completely unaware that there were any doubts in David’s mind at the time that the show would be back. I imagine the truth lies in between somewhere. I love Sean Bridgers, he’s like a brother to me, and I was so happy to see Johnny Burns get his real stand-up, stand-out moment before the show was over.

Sean is doing some great work these days (to wit, among other things, his terrific stuff in Rectify), but his Johnny Burns will always be an unsung triumph in my mind. There’s so much I could say about this show and about this episode the brilliance of McShane, McRaney, Dickens, Olyphant, Callie, Brown, etc., etc., etc., the majestic power of the writing, the overwhelming familial feeling amongst cast and crew, the intense and utter pride of being associated with such an endeavor. But much of that has been said, so I’ll just end by thanking Alan for this opportunity to participate in a joyful reunion with the crown jewel in my career, for his exquisite commentary and eloquence, for the chance to share the experience with a willing and avid group of readers, and to bond (again) with Keone and Earl and Garret and to know that once there was a spot that was known as Deadwood. Jim Beaver. Thanks for these final words, Jim. Your writing, kind Sir, breaks my heart. I think I’ll miss you most of all.

I know that I’ll check back every couple of days, just to see if any new thoughts are posted. We are near the end of what became a wonderful experience for all of us. Much like Deadwood, a community came together for three seasons, and now must be dismantled to make way for next summer’s shiny new rewind. Though unlike the great Milch, you, Mr.

Beaver, managed to tell us something pretty every time. A thousand thanks to you and Keone. And you too, Alan. Still here, it seems and some of us just made it hereto the series itself – and this site for much-needed camaraderie after watching alone. Yeah, I FINALLY took in DW for the first time. Loopy f.g.nt that I am.;-) Fabulous to the Nth degree. Ditto on pretty much everything all the fans have said here Just had to respond specifically to Jim’s ZZ Top mentionFrank went to his high school, but Billy and Dusty went to mine:-) west suburbia Houston – and several years ahead of me, but my bf’s older brother was buds with them-the car that transported them to the border mentioned in “Mexican Blackbird” was his.

I did meet Dusty once – but couldn’t help him with his particular need. For some reason he thought an innocuous-looking (save the new wave-do) 14 year old suburban girl who just happened to be walking through the same parking lot might know where he could find a little of the kooky koca;-) He was home visiting mom for the holidays and was a bit bored, it seems. Anyway–full circle on that reference, and back to the end of DW:.shaking fist.”HBO cocksuckers!!!!”. My husband and I started rewatching Deadwood this spring.

I had never heard of this site, and by pure coincidence, as we rolled into Season 3, I google something about the cast and found you all. What an amazing delight. Thank you Alan, thank you Jim, Keone, Earl and Garret — how precious this closure is that you’ve provided.

Like everyone here, we knew Deadwood was something special, and felt lost when the curtain prematurely fell. Your generosity with your time, memories and feelings is greatly appreciated. And thank you to everyone commenting hear. I have not gotten through all these articles and posts but I will. One of Deadwoods’ threads was the importance of pulling together and community, and I feel in reliving these episodes with you all here, we’ve done a little of that. We are kindred in this shared experience and appreciation.

Have been binge-watching “Deadwood” this past week. And also binge-reading Alan’s always terrific recaps and reviews and the many wonderful comments. What a treat to come to this site, years later, and find such great writing offered up by the actors. A real education and pure entertainment. Many thanks — I too have fallen in the love with the series.

And especially enjoyed the introduction of the theater troupe in the last season. I got a kick out of Al’s Hamlet-like confusion as to what or what not to do in dealing with Hearst and found the introduction of Langrische’s company to be reminiscent of the Dane’s experience in summoning his actors. Any viewing of a remarkable series always brings me to this site. I had the pleasure of watching “Treme” from start to finish this past July and spent many happy hours here reading the recaps, reviews, and comments. Peanut butter and jelly. Or steak and A-1.

This is an invaluable resource and there is simply nothing else like it out there. As for “Deadwood,” what can one possibly say? Absolutely fucking brilliant and compulsively entertaining. I thought this series ended on an absolute low note. Everyone in the camp just went out like chumps. The pathetic end of Season 3 basically ruined the entire series. All that build up to some sort of climatic conflict and it ends with a whimper.

Having a solid end is part of a good story. TV is notorious for non-endings thanks to milking series as long as they can and then just cancelling them, but it doesn’t excuse it.

With that sort of poor judgement on the part of the writer, I’m not surprised Deadwood was cancelled. They was plenty of opportunity to end S3 with a bang. “And while civilization offers wonderful things, it also offers men like George Hearst, or Hugo Jarry — money men and politicians who take advantage of the rules of polite society (or who are powerful enough to decide those rules do not apply to them) to take advantage of others.” Men like Hearst exist within civilization, or outside in places like Deadwood. The West was full of such men, ranchers that bought up everything as far as the eye could see, burying those that wouldn’t sell, killing those with upstream water rights, company towns owned by men just like Hearst. They controlled the town by force, then wrote the laws when they had everything the way they like it. Adventure Time episode Ocarina (season 6, episode 12) taught me that. I might have learned that in history class too.

Reviving old TV series practically seems like, though HBO’s Deadwood ranks up among as a fabled reunion we’d come to relinquish hope for. Well, you may want to start practicing your swears, as HBO has unofficially resumed negotiations for a Deadwood movie, as confirmed by one its stars. Take this one with a minor grain of salt (or gold?) for the moment, but twice-over Deadwood star Garret Dillahunt tweeted out that he’d heard legitimate rumblings of a movie revival, some nine years HBO’s mid-Season 3 cancellation. For those unaware, HBO’s Deadwood ran from 2004 to 2006, showcasing the rise of Deadwood, South Dakota from frontier gold prospecting camp to fully-annexed territory. Not only did the cast feature the impressive likes of lead, star, matriarch and many more, the series also featured early guest spots for breakout (take caution Googling that one), and even a young.

It wouldn’t be the first time Deadwood fans got their hopes up for naught, but given the revival climate, and the likely availability of its core leads, could the Deadwood movie finally come to fruition? Are our ears prepared for the torrent from Al Swearengen’s mouth, should HBO fail? See for yourself.