If the movie has the ring of a high school or college reunion, that’s because that’s pretty much what it’s like.
Welcome to fucking Deadwood!
On September 18, Bryan Cranston will not win his fourth trophy for Outstanding Lead Actor in a Drama Series.
Our video essay series examines various aspects of the show, whose finale airs on May 24.
Viewers and critics alike feel very, very strongly about the endings to their favorite shows.
For me, The Sopranos is a tough choice, because the three shows deal with America in different ways.
On Valentine’s Day we’re turning the House lights way down low, and offering a little special something…for the looooovers.
A landmark year for me as well as for the movies.
Nobody on the series seems to have a conception of life outside of his or her own head.
Is it possible that The Sopranos judges itself as harshly as the harshest critics judge The Sopranos?
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.
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.
Deadwood’s knack for painting multi-layered portraits of evil is an aspect that elevates it above all but a handful of current series.
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.