The Black Hills of South Dakota. Witness the birth of an American frontier town – and the ruthless power struggle between its just and unjust pioneers. In an age of plunder and greed, the richest gold strike in American history draws a mob of restless misfits to an outlaw settlement where everything – and everyone – has a price. The settlers, ranging from an ex-lawman to a scheming saloon owner to the legendary Wild Bill Hickok and Calamity Jane, share a constant restlessness of spirit, and survive by any means necessary. Welcome to Deadwood… a hell of a place to make your fortune.
Set in an ungoverned stretch of South Dakota soon after the 1876 Custer massacre, Deadwood concerns a lawless, evolving town attracting fortune-seekers, drifters, tyrants, and burned-out adventurers searching for a card game and a place to die. Others, particularly women trapped in prostitution, sundry do-gooders, and hangers-on have nowhere else to go. Into this pool of aspiration and nightmare arrive former Montana lawman Seth Bullock (Timothy Olyphant) and his friend Sol Starr (John Hawkes), determined to open a lucrative hardware business. Over time, their paths cross with a weary but still formidable Wild Bill Hickok (Keith Carradine) and his doting companion, the coarse angel Calamity Jane (Robin Weigert); an aristocratic, drug-addicted widow (Molly Parker) trying to salvage a gold mining claim; and a despondent hooker (Paula Malcomson) who cares, briefly, for an orphaned girl. Casting a giant shadow over all is a blood-soaked king, Gem Saloon owner Al Swearengen (Ian McShane), possibly the best, most complex, and mesmerizing villain seen on TV in years. Each of these characters, and many others, will forge alliances and feuds, cope with disasters (such as smallpox), and move–almost invisibly but inexorably–toward some semblance of order and common cause. Making it all worthwhile is Milch’s masterful dialogue–often profane, sometimes courtly and civilized, never perfunctory–and the brilliant acting of the aforementioned performers plus others.
Season One
The remarkable first season of Deadwood represents one of those periodic, wholesale reinventions of the Western that is as different from, say, Lonesome Dove as that miniseries is from Howard Hawks’s Rio Bravo or the latter is from Anthony Mann’s The Naked Spur. In many ways, Deadwood embraces the Western’s unambiguous morality during the cinema’s silent era through the 1930s while also blazing trails through a post-NYPD Blue, post-The West Wing television age exalting dense and customized dialogue. On top of that, Deadwood has managed an original look and texture for a familiar genre: gritty, chaotic, and surging with both dark and hopeful energy. Yet the show’s creator, erstwhile NYPD Blue head writer David Milch, never ridicules or condescends to his more grasping, futile characters or overstates the virtues of his heroic ones. Set in an ungoverned stretch of South Dakota soon after the 1876 Custer massacre, Deadwood concerns a lawless, evolving town attracting fortune-seekers, drifters, tyrants, and burned-out adventurers searching for a card game and a place to die. Others, particularly women trapped in prostitution, sundry do-gooders, and hangers-on have nowhere else to go. Into this pool of aspiration and nightmare arrive former Montana lawman Seth Bullock (Timothy Olyphant) and his friend Sol Starr (John Hawkes), determined to open a lucrative hardware business. Over time, their paths cross with a weary but still formidable Wild Bill Hickok (Keith Carradine) and his doting companion, the coarse angel Calamity Jane (Robin Weigert); an aristocratic, drug-addicted widow (Molly Parker) trying to salvage a gold mining claim; and a despondent hooker (Paula Malcomson) who cares, briefly, for an orphaned girl. Casting a giant shadow over all is a blood-soaked king, Gem Saloon owner Al Swearengen (Ian McShane), possibly the best, most complex, and mesmerizing villain seen on TV in years. Over 12 episodes, each of these characters, and many others, will forge alliances and feuds, cope with disasters (such as smallpox), and move–almost invisibly but inexorably–toward some semblance of order and common cause. Making it all worthwhile is Milch’s masterful dialogue–often profane, sometimes courtly and civilized, never perfunctory–and the brilliant acting of the aforementioned performers plus Brad Dourif, Leon Rippy, Powers Boothe, and Kim Dickens. –Tom Keogh
Season Two
Deadwood: The Complete Second Season continues the Shakespearean brilliance of the landmark first season, created by NYPD Blue head writer David Milch. Milch either wrote or supervised the writing of each of the 12 episodes in this stunning follow-up, which contains more than a few surprises for anyone who thought they knew the myriad characters in the late 19th century town of Deadwood–a mucky, ungoverned, exceptionally violent development in South Dakota. As with the first season, Deadwood continues to be about many things–survival, loyalty, alliances, duty–but all of them are happening against a titanic battle between several parties to consolidate power and real wealth in the territory. Despite his cutthroat ethics, astonishing profanity, and bursts of cruelty, it’s hard not to side in this bid for a piece of America’s future with saloon owner Al Swearengen (a magnificent performance by Ian McShane), a visionary monster who is nevertheless more recognisably human than his rivals. Entering an uneasy partnership with Al is Seth Bullock (Timothy Olyphant). Seth begins the second season by teaching Al a few lessons in chivalry, and their brief but bloody feud commences physical ailments for Al that become increasingly shocking to behold. Yet Al’s difficulties have the practical effect of sidelining him for a couple of episodes while the story sets up more complex power struggles. Al takes on Deadwood’s other saloon-brothel owner, the unstable Cy Tolliver (Powers Boothe), as well as an off-screen millionaire who is intent on owning all the gold-mining interests by buying out weary prospectors’ claims. Meanwhile, Seth’s wife and son (actually, his late brother’s widow and child) arrive, an unsettling development for Seth’s lover, the widow Alma Garret (Molly Parker), who soon reveals herself to be a more complicated person than in the first season. The prostitute Trixie (Paula Malcomson) begins thinking about her future and asserts independence from Al by having sex with Seth’s friend, Sol Star (John Hawkes). Best of all, Calamity Jane (Robin Weigert) is back and more endearingly uncivilized than ever. Special features include actor commentaries on select episodes, the best of which finds Olyphant and McShane cracking each other up while watching the season premiere. –Tom Keogh
Season Three
The final complete season of HBO’s remarkable Deadwood series is full of surprises and devastating experiences as the nascent, dangerous town prepares to join Dakota territory in 1877. As in the previous two seasons, the question of who will control the town’s resources, assets, and people drives much of the drama, affecting all manner of relationships and alliances, often between the most unlikely people. The dominant storyline in Deadwood Season 3 concerns upcoming elections for mayor and sheriff of the mucky, gold-mining town. The real juice, however, is not so much between the individuals running for office as between two power brokers each trying to steer the results toward their own purposes. Saloon owner and Deadwood’s puppetmaster, Al Swearengen (Ian McShane sustaining his brilliant peformance in the previous two seasons), works closely with incumbent lawman Seth Bullock (Timothy Olyphant) on retaining the latter’s seat. But Bullock himself has difficulty surrendering his penchant for taking unambiguous action and relying on few words, especially when he has to act like a politician and deal with people such as George Hearst (Gerald McRaney, playing the real-life father of William Randolph Hearst).Swearengen’s rival, Hearst–a self-made industrialist who gained his fortune through mining–has every intention of overtaking Deadwood, with his eye particularly on the lucrative mine owned by Bullock’s former lover, Alma (Molly Parker). (The violence Hearst employs to get to Alma’s claim will stun many Deadwood fans.) Meanwhile, Bullock’s old friend, Sol Starr (John Hawkes), runs for mayor against the feckless E.B. Farnum (William Sanderson), and tries to navigate through his difficult relationship with Trixie (Paula Malcomson) as she grows enraged by former lover Swearengen’s manipulation of her and everyone else. Calamity Jane (Robin Weigert) is encouraged to become a public speaker, telling of her misadventures with General George Custer, and she commences a lesbian relationship with Joanie (Kim Dickens), the saloon owner who is becoming increasingly despondent and suicidal. Bullock’s relationship with his wife, Martha (Anna Gunn) continues to deepen and become more of an influence on him, Wyatt Earp comes for a visit, and a newcomer to town, Jack Langrishe (Brian Cox), an old friend of Swearengen, attempts to open a theatre. As expected, the season finale concludes with the long-awaited election, but HBO’s decision to bring Deadwood to an end required creator David Milch to wrap everything up in a pair of two-hour movies. Still, The Complete Third Season is very satisfying on every level, and will always be, along with the rest of the series, a television landmark. –Tom Keogh
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MUSIC FROM THE HBO ORIGINAL SERIES
Season 1
01. “Hog of the Forsaken” – Michael Hurley
02. “Creek Lullaby” – Margaret
03. “Twisted Little Man” – Michael J. Sheehey
04. “Fallen From Grace” – Mark Lee Scott
05. “God and Man” – Brownie McGhee & Sonny Terry
06. “High Fever Blues” – Bukka White
07. “Old Friend” – Lyle Lovett
08. “Will the Circle Be Unbroken” – June Carter Cash
09. “Stars and Stripes Forever” – Jelly Roll Morton
10. “Hog of the Forsaken” – Michael Hurley
11. “Snake Baked a Ho’cake” – Mike, Peggy, Barbara, Penny Seeger & Their Children
12. “Farther Along” – Mississippi John Hurt
Season 2
01. “Not Dark Yet” “ Bob Dylan
02. “Business You’re Doin'” “ Lightnin’ Hopkins
03. “Skin and Bones” “ Ann Rabson
04. “The Fox” “ Bill Staines
05. “Life is Like That” “ Big Bill Broonzy
06. “Pretty Polly” “ Hilarie Burhans
07. “A Prayer” “ Madeleine Peyroux
08. “Rattlesnake” “ ‘Spider’ John Koerner
09. “Mama’s Gonna Buy” “ Vera Ward Hall
10. “Calling All Angels” “ Jane Siberry & K.D. Lang
11. “Hey Willy Boy” “ Townes Van Zandt
12. “Stay a Little Longer” “ Bob Wills & His Texas Playboys
Season 3
01. “I Got a Razor” “ Willie Dixon
02. “Hole in the Wall” “ Brownie McGhee
03. “Walking the Dog” “ Hans Theessink
04. “Mean Mama Blues” “ Ramblin’ Jack Elliott
05. “I’m Going Home” “ Bama Stuart
06. “Daniel in the Lion’s Den” “ Bessie Jones
07. “Soul of a Man” “ Irma Thomas
08. “Death’s Black Train is Coming” – Rev. J.M. Gates
09. “Did You Ever Meet Gary Owen, Uncle Joe?” – Béla Fleck
10. “Dangerous Mood” “ Keb’ Mo’
11. “Mad Mama Blues” “ Josie Miles
12. “O Mary Don’t You Weep” “ Bruce Springsteen
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DEADWOOD EBOOK by PETE DEXTER
DEADWOOD, DAKOTA TERRITORIES, 1876: Legendary gunman Wild Bill Hickcock and his friend Charlie Utter have come to the Black Hills town of Deadwood fresh from Cheyenne, fleeing an ungrateful populace. Bill, aging and sick but still able to best any man in a fair gunfight, just wants to be left alone to drink and play cards. But in this town of played-out miners, bounty hunters, upstairs girls, Chinese immigrants, and various other entrepeneurs and miscreants, he finds himself pursued by a vicious sheriff, a perverse whore man bent on revenge, and a besotted Calamity Jane. Fueled by liquor, sex, and violence, this is the real wild west, unlike anything portrayed in the dime novels that first told its story.
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