General Crook rolls into Deadwood with his troops, known as "Custer's avengers," and the Yankton magistrate, Clagett, prompting a parade and business solicitations from E.B. Farnum and Cy Tolliver. ...
The story of an inner-city Los Angeles police precinct where some of the cops aren't above breaking the rules or working against their associates to both keep the streets safe and their ... See full summary »
Cullen Bohannon, a former soldier and slaveholder, follows the track of a band of Union soldiers, the killers of his wife. This brings him to the middle of one of the biggest projects in US... See full summary »
The town of Deadwood, South Dakota in the weeks following the Custer massacre is a lawless sinkhole of crime and corruption. Into this uncivilized outpost ride a disillusioned and bitter ex-lawman, Wild Bill Hickok, and Seth Bullock, a man hoping to find a new start for himself. Both men find themselves quickly on opposite sides of the legal and moral fence from Al Swearengen, saloon owner, hotel operator, and incipient boss of Deadwood. The lives of these three intertwine with many others, the high-minded and the low-lifes who populate Deadwood in 1876. Written by
Jim Beaver <firstname.lastname@example.org>
According to a 2004 Jewish Journal of Greater Los Angeles interview with show creator David Milch, when John Hawkes first met Milch to audition for the role of Sol Star, Hawkes told Milch that he was not actually Jewish (unlike both the real-life Star and the "Deadwood" character). Milch's response was to ask Hawkes, "Have you ever felt shame or sadness or ostracized?" When Hawkes responded, "Every day," Milch told him, "Then you're Jewish." See more »
In one scene set in the Gem Saloon, the tune to "Waiting for the Robert E. Lee" is played on the piano. This song was composed in 1912, and the show is set in 1876-77. See more »
Though i never considered myself a western fan, i realize i've seen a good many, from the Anthony Mann masterpieces, to Leone's revolutionary films, to more recent flicks like Unforgiven. But none has moved me like Deadwood. While the series did have some ups and downs (like life itself), it is truly enchanting. The season finale alone is one of the most moving things i've seen on TV, and having rewatched it many times (the joy of tivo) i still find myself driven to tears. The dialog is fantastic, bordering on Shakespearean at times as others have pointed out. Its a shame that so many seem to be bothered by the language, perhaps i am just overly jaded. Remember though that profanity at that time was predominantly based on religion (or rather defiance of such). These days of course, hellfire and tarnation don't have quite the same effect. If the dialog were more "period", i imagine it would be like watching yosemite sam cast as swearengen (heaven forbid). In their translations of Kurasawa movies, Critereon has faced the same issues, and i agree with their and David Milch's choice. Stay true to the meaning and feeling, more than the literal. Especially with profanity, this is key. Profanity's entire purpose is to offend, and if it becomes through age or paradigm shift inoffensive, it loses all meaning and effectiveness. It helps bring us into the world of deadwood, and better understand and relate to the characters who live there. Which, IMHO, is a wondrous thing to experience.
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