Deep down, you just knew that Whitney Ellsworth was too good to live.
When people speak of Hitchcock, they usually refer to the Master of Suspense’s movies.
The show depicts human beings as they are—scatterbrained, selfish, myopic, sometimes viciously cruel.
Deadwood has never shied away from theatrical flourishes that make metaphors concrete.
The episode feels like a summation of the show’s thoughts on what it means to be mortal.
Deadwood’s knack for painting multi-layered portraits of evil is an aspect that elevates it above all but a handful of current series.
Tourgasm reeks of a money-grubbing network handing over a camera crew to Cook and saying “have fun.”
Savage men who disagree beat each other’s brains in. “Civilized” men who disagree send proxies to beat each other’s brains in.
Among hardcore Deadwood fans, a discussion of favorite characters could go back and forth for hours.
The story of the Ellsworth/Alma/Bullock love triangle is being told almost entirely in subtle looks and body language.
By episode’s end, the political speeches postponed by Al in the season opener had taken place, but Al paid a price for his defiance.
Let us now praise the law.
It had to be one of the quickest seductions in the history of television.
As suggested by one of Hearst’s own self-descriptors (“It mistakes my nature absolutely.”) Milch has a keen eye for his actors’ untapped resources.