Deadwood: Season 3, Episode 1

Tell Your God to Ready for Blood (11 Jun. 2006)

TV Episode  |  TV-MA  |   |  Crime, Drama, History
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Ratings: 8.5/10 from 414 users  
Reviews: 1 user | 1 critic

Elections are just days away, and Bullock lets his temper get away from him. Alma's pregnancy is not progressing as expected, and Swearengen baits Hearst.



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Title: Tell Your God to Ready for Blood (11 Jun 2006)

Tell Your God to Ready for Blood (11 Jun 2006) on IMDb 8.5/10

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Episode cast overview, first billed only:


With Deadwood's first true elections approaching, Hearst's ambitions rub Bullock and Swearengen the wrong way. At the Gem, one of Hearst's workers is killed, raising Swearengen's suspicions that the incident was a staged Hearst power play. Adams' orchestrated foreclosure gives Star a new home, with discreet access next door for Trixie. Jane prepares to share her experience scouting for General Custer with the camp's children. Joanie contemplates the easy way out. Written by WyattJones

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Plot Keywords:

19th century | See All (1) »



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Release Date:

11 June 2006 (USA)  »

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Aspect Ratio:

1.78 : 1
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Did You Know?


The children seen writing a small slates are using pencils. Slates require chalk; pencil marks on a slate would be difficult to read and would not be erasable. See more »


Al Swearengen: I will profane your fucking remains, E.B.
E.B. Farnum: Not my remains, Al.
Al Swearengen: Gabriel's trumpet will produce you from the ass of a pig.
See more »


Theme From Deadwood
Written by David Schwartz
Performed by James Parks
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User Reviews

17 wins and 53 nominations.....
29 March 2015 | by (North America) – See all my reviews

... may go a long way toward explaining why this reviewer is compelled to give these episodes a 10 (such as this one) when in fact each episode is so much like the other, and none stands out from the crowd.

The answer? Because in this series, excellent is the new normal and each individual segment a jewel.

Aside from the aforementioned excellence at every possible level of production, the only odd thing I could spot here -- at the 40:00 minute mark -- was a close up of McShane that was tighter than anything in the series so far.

Since the director does nothing by accident, I have to conclude it was intended but the purpose remains a mystery. Reminds me of British TV in the 50s, and that is all the explanation I can muster.

Another odd thought -- sometimes the "western" dialog here, which is at such pains to be authentically western, sounds in terms of structure and syntax exactly like the dialog in Spartacus GOTA where the writers were at pains to be authentically Roman.

No explanation for that either.

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