The closing shot of last night’s Deadwood episode was never meant as a series-ender.
Deep down, you just knew that Whitney Ellsworth was too good to live.
Written, edited, and directed by the proprietor of this blog, Matt Zoller Seitz, the ensemble romantic drama Home is now available on
Terry Malloy’s bloodied walk to the warehouse at the end of On the Waterfront.
Vice kingpin and frontier power broker Al Swearengen acted like a real prince in Sunday’s episode.
Are you bored with print criticism’s general disinterest in filmmaking itself?
The show depicts human beings as they are—scatterbrained, selfish, myopic, sometimes viciously cruel.
Throughout, your own need to cheer Dave Musikant—and expect, even demand, a decisive victory over Steven Lonegan—is undercut by sobering political
Deadwood has never shied away from theatrical flourishes that make metaphors concrete.
The Last of the Mohicans is a primal epic of survival and the overpowering urge to reproduce.
Even when it was bad, it was great.
The episode feels like a summation of the show’s thoughts on what it means to be mortal.
Savage men who disagree beat each other’s brains in. “Civilized” men who disagree send proxies to beat each other’s brains in.
The movie is visionary bubblegum, unabashedly in love with its source material.
By episode’s end, the political speeches postponed by Al in the season opener had taken place, but Al paid a price for
Let us now praise the law.
Not with a bang...not even a whimper...it was more like a wet fart.
It goes without saying that if you’re a newcomer to Deadwood, every article appearing during Deadweek will contain spoilers galore.
The richness of Deadwood puts every other TV drama to shame.
It’s strange to think of Deadwood as a life-affirming show, but it is.