Deadwood (2004–2006)
8.4/10
465
1 user 1 critic

Full Faith and Credit 

Alma opens the doors to the new Bank of Deadwood and business is brisk. Hostetler return to Deadwood with the horse that killed Bullock's son. The Sheriff accepts that his son's death was ... See full summary »

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Storyline

Alma opens the doors to the new Bank of Deadwood and business is brisk. Hostetler return to Deadwood with the horse that killed Bullock's son. The Sheriff accepts that his son's death was due to an accident and blames no one. He finds himself acting as a go-between Hostetler and Steve, who has been taking care of the livery in Hostetler's absence and now feels he's being pushed out. Langrische makes an offer to buy Joanie's house with a view to opening a theater but Joanie imposes certain conditions before she sells. Hearst asks Cy Tolliver and Al Swearengen to a meeting to discuss business. Written by garykmcd

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19th century | See All (1) »


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TV-MA

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Release Date:

2 July 2006 (USA)  »

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1.78 : 1
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Did You Know?

Goofs

Hostetler uses the term "ofay" to describe a white individual. This term was not used until the 1920s, not the 1870s when the show is set. See more »

Quotes

Trixie: A lot of shitbags hang around the bank. You ever fuckin notice.
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Soundtracks

Mean Mama Blues
(uncredited)
Written by Ernest Tubb
Performed by Ramblin' Jack Elliott
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User Reviews

 
Just keeps getting better -- how is that possible?
22 April 2015 | by (North America) – See all my reviews

In prior reviews of individual episodes I thought I had said everything that could be said about this astonishing series, then I watch this 4th episode of the last season and realize, it is just getting better.

I do believe that this could be the finest ensemble cast ever assembled for TV.

Maybe some will find fault with that assessment. It is a broad challenge. Ensemble casts go back to the 50s and even include shows like Barney Miller (a hit in its day).

But if you look at my past reviews you will note that, to this scribe, this is the only show in recent memory that plays for TV yet is written with the care and precision of a Broadway spectacle.

It seems like just yesterday (Season 1) that McShane and Olyphant were stealing every segment. As the series matured, they did not get worse, the rest of the cast stepped up and starting stealing their own individual scenes. The rest of the ensemble got better.

This script is more like a symphony than a teleplay. There is perfect harmony and rhythm. Even EB, once a central character, drops lines from the back of the set like Puck in a Shakespearian play.

I think that viewers who stuck with the show can look at each character and immediately relate said character to someone they know in real life.

Maybe even themselves.

Extraordinary.


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