Deadwood (2004–2006)
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Advances, None Miraculous 

When Doc delivers a dire prognosis, one family suffers and the entire camp stands vigil. Merrick avails some private information to Swearengen, who enlists Star and Adams to help con the ... See full summary »



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Episode cast overview, first billed only:
Charlie Utter (credit only)


When Doc delivers a dire prognosis, one family suffers and the entire camp stands vigil. Merrick avails some private information to Swearengen, who enlists Star and Adams to help con the newly returned Commissioner Jarry. Andy, a former Deadwood pariah, offers himself as the camp's new minister. Trixie pressures a distraught Alma to accept a beneficial proposal. Written by WyattJones

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Plot Keywords:

19th century | See All (1) »



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Release Date:

8 May 2005 (USA)  »

Company Credits

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Technical Specs


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Aspect Ratio:

1.78 : 1
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Did You Know?


When Hostetler and Samuel Fields are by the campfire while searching for the horse, Hostetler rolls away from the fire and pulls his jacket up over his shoulder and most of his back as a blanket. When the camera angle changes to Samuel, and then back to Hostetler, his jacket is now under his arm and barely covering his back. See more »


Hugo Jarry: Self-interest is immutable, but its dictates vary daily.
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Theme From Deadwood
Written by David Schwartz
Performed by James Parks
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User Reviews

gob smacked
6 March 2015 | by (North America) – See all my reviews

The late media genius Marshall McLuhan insisted that one of the great ironies of modern electronic media is that it delivers the effect without the thing.

I would agree. On the surface, this is yet another brilliantly written episode in one of the most powerful TV series of all time, a series that, unique among its peers, has more in common week to week with a stageplay than a teleplay.

What makes this episode especially unforgettable is the "filter" that the the entire episode is forced through.

In addition to the usual (and powerful) themes, this entire episode becomes "background" to the action taking place in the foreground, to wit, the tragic and unfortunate death of a young boy, probably the very last character in the story one might otherwise have expected such a fate to befall.

The impact is stunning. The viewer is gobsmacked. The only analog that comes to mind is the recent (this review written 2015) film I ORIGINS (also reviewed on my list) which is yet another stunning piece of writing that sucker-punches the viewer with an expected death that defines the impact of the film.

The power of this dramatic device seems only to enhance the already superb performances. McBain shines. Olyphant may possibly deliver the best performance of his career here (in my reviews of Justified, I underscore how, as that series matures, he becomes progressively sloppy in his portrayal notwithstanding the title of Exec Prod. Looking like Gary Cooper does not automatically make you the EQUAL of Cooper).

The dialog remains crisp. Little rants on the nature of loveless marriage and praying to "the god antlers and hooves" are a marvellous distraction.

2 of 2 people found this review helpful.  Was this review helpful to you?

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