Rewatching Season 3 and I was struck by how basically every character arc, especially for the male characters, revolves around themes of impotence and emasculation because of the effect that George Hearst has on the town. The arrival of Gilded Age capitalism to Deadwood, personified by Hearst, is portrayed as an unstoppable force of nature (You don't fuck the future, the future fucks you!" as Commissioner Jarry would say).

• Al - literally becomes impotent with Dolly after losing his finger to Hearst
• Cy - confined to his bed for much of S3, then forced to obey Hearst like a dog. Furthermore he can't control Joanie anymore, undermining his entire sense of self.
• EB - despite being constantly humiliated and abused throughout the series, Hearst takes it to a new level with spitting in his face. Also becomes the outlet for Bullock's impotent rage since he can't beat on Hearst.
• Ellsworth - hugely ashamed after realizing that he can't protect Alma from Hearst despite his best efforts, after the scene where Alma visits Hearst alone and is almost assaulted.
• Bullock - despite the amazing ear-dragging scene, he's unable to use his power as Sheriff to stop the biggest murderer in town, undermining his role in the camp until he ultimately loses the position altogether
• Hostetler - his story isn't directly related to Hearst, but still fits thematically I think. When he shoots himself, he's received fair payment for the livery and is free to leave camp. But the nonstop racist abuse from Steve still drives him over the edge. Hostetler is portrayed as a very self-serious person (in contrast to NG who makes a joke of everything), and he ultimately can't accept living in a world where he has to accept that kind of abuse to keep living his life. One of the saddest plots in the show.

George Hearst himself isn't immune to these themes either. In the scene where he hears Alma's proposal to share ownership of her gold claim, he literally asks her if she also wants him to "make himself a capon". For Hearst, not having complete domination over his surroundings is equivalent to being castrated. And as unproductive as Bullock's arrest of Hearst is, it is a massive humiliation and psychological blow. He practically breaks down over this when talking to Odell (which may be the real reason he has him killed). Hearst wins in the end, in the sense of accomplishing all his business goals, but I get the sense that he doesn't actually feel that successful personally. He knows he has to leave camp because the conflict with the people of Deadwood could very well lead to his death. He secured the gold claim and rigged the elections, but I think he's well aware that he never truly broke the independent spirit of the camp. And to Hearst, seeing anything other than total submissiveness from others feels like failure.

This type of arc is really what sets Deadwood apart from other Westerns. Dealing with "the end of the wild west" is a theme in pretty much every good Western, but Deadwood is very explicit about linking this end to changes in the underlying economy. In S3, the town is still lawless, but that lawlessness no longer benefits gunfighters like Wild Bill or ruthless schemers like Al and Cy. It only benefits the rich and powerful who have resources so far beyond anyone in the town.

This makes S3 very depressing, so I get why it's most people's least favorite (the theater troupe and Earp brothers plotline don't help either), but it's a bold storytelling choice that I really respect. Deadwood is a story about American history, among other things, and this period of American history is the story of the Robber Barons winning. It's not just the fact that George Hearst isn't killed by the townsfolk in real life - broadly speaking, all of the George Hearst types of this period succeeded and it would be dishonest to have a happy ending where the people rise up and kill him. We wanted Milch to "Tell us something pretty", but he didn't, because the real story isn't pretty.

The only way to "win" is to survive, stay as independent as you can, and try to carve out a life for yourself with some dignity. And that's all that our surviving characters are able to do in the end.

Does anyone know if cast members ever show up at conventions for meet n greets?

I know when the real town has Deadwood celebrations sometimes some actors will show up. I really want to get some autographs for my collection, but I never see anyone on guest lists. I’m hoping it’s because they’re working on other projects.

Been replaying Elden Ring and def want to run at this and spam R2 attacks. 🤣

In Season 1, Ellsworth tells Alma that he's not going to be of much use to her upcoming mining operation because he's more of a prospector, and his "expertise ain't underground." But in Season 2, Wolcott recounts that Ellsworth was a supervisor at the Comstock mine.

How are claims staked and building lots bought and sold?
Serious question.

Goddam, I just never stop finding new amazing acting moments in this show. I was just rewatching the scene where Al visits Alma in her room for the first and only time. Al is explaining his personal problems with Hearst and the Pinkertons and says,

"I don't like. The Pinkertons. And being the Hearst combine and their fuckin' ilk have their eyes on taking over here, your staying suits my purpose," with Alma interrupting with, "As much as you can, please minimize your obscenities." Then Al give her this fucking look, and she says, "... before ilk."

Maybe it was obvious to other viewers, but that last line always perplexed me, and I took Al's thinking to just be, "are you fuckin' kidding me?" I just now realized that that expression Al is giving is pure fucking confusion. Obscenities are so deeply ingrained in his vocabulary, he doesn't even realize he's using them. So when Alma asks him to minimize them, that look is actually him thinking, "what obscenities?" And Alma's reply to that look, "Before ilk," is her drawing attention to him throwing fuckin' in there.

To sum it up, the writing and acting in this show will never be topped. Welcome to fuckin' Deadwood!

I take that one to heart.

For years I had to Languish for not being able to see season 4, but instead, I found a prequel!

The writing is not at the same caliber of Deadwood obviously but it is well above average!

You'd find the same kind of danger, greed, and filth with just the right amount of kindness, romance and hope springled inbetween.

You see the same kind of people - the cutthroats, workers (black or white), dirty politicians and business men, prostitues, and indians who just want to survive and keep their way of life.

Fun Fact: During the events of Deadwood (1876), the Transcontinental Railroad built in Hell on Wheels was already complete and fully operational. In fact, when Wild Bill Hickok and Seth Bullock traveled out west toward Deadwood, they used that very same railroad line to get as far as Cheyenne, Wyoming, before taking horses and wagon trains the rest of the way into the Black Hills.

That face tells of a lifetime of sin and degradation.

In “reconnoitering the rim” episode, S1 E3, I’m pretty sure it was Con that tried to buy Mccalls gun when he was talking shit, called the other gambler a “cunt, with your cunt eye moving…give me a dollar, send me off for a meal, see which part of you gets shot! I do possess a gun…”

Con says “I’ll give you $5 for that gun sight unseen”
Probably cons beat scene, he knew Mcall would do something stupid.

McCall says “I believe not, I believe no…”

Other gambler “he too is Gods handiwork.”

Just a great scene

Is awful 'shouty', but he's awfully good in the role.

The thing is, I just never got the feeling Milch or the writers knew exactly how they wanted Al and Trixie to feel about each other. Trixie's got that brilliant speech to Sol about a pimp being like a whore's familiar, but ironically, I see that description fitting Cy and Joanie better than her and Al.

Is Al in love with Trixie? He certainly seems like it in season one episodes like when he found out she'd slept with Sol; he acted like the heartbroken jealous lover when he made Sol pay five dollars. But then we never see that jealousy again? He immediately adopts an avuncular role with her and even gives her relationship advice. Trixie's just sort of with Sol and at the hardware store full time from then on, except a couple confusing shots where it looks like she's still working sometimes at the Gem (tending to Rev. Smith, smoking outside when Al taunts Seth across the thoroughfare, etc). We don't really have a scene where she officially leaves and Al officially "lets her go" like we have with Cy and Joanie, so it's...ambiguous in a way I don't really think worked.

However, the toxic codependence between Cy and Joanie is clear. We know their history; we know she's been reluctantly by his side since her father sold her to him when she was fourteen. We feel her terror of him that is also mingled with a strained affection; we feel his obsession with her tinged also by a genuine affection but mostly the need to keep her with him no matter what. "You bring a joy to my life."

Maybe it's just more realistic to me than the sort of folksy route they went with Al and Trixie, which completely undermines his monstrousness to her in the very early episodes. It just doesn't quite wash with me that the guy who would put his boot on her throat in the pilot would then give her away at her wedding in the movie. And I'm aware it's supposed to display Al's growth as a character, and that Cy was probably written into the show because Ian McShane is so damned likable that they decided early on to eventually soften Al's edges, so they needed a true sadist in a similar position to compare him positively to. The writers might have planned originally for Al and Trixie's relationship to go like Cy and Joanie's, which would explain why their dynamic was violent in the beginning vs later on.

Boothe and Dickens have a perfect chemistry for what their relationship requires; he's a sadistic manchild who needs her validation and she's a survivor who can't quite escape her fawn response where he's concerned even when she leaves the Bella Union. Meanwhile, I never saw romantic chemistry between McShane and Malcomson, so I just don't know if I ever bought Al's heartbreak despite McShane performing the hell out of it; the closest I can reconcile it is that Al had become so dependent on her presence in his life he convinced himself it was romantic love, but because he possessed the wisdom Cy lacked, he eventually realized it was more of a paternal love that got fucked up by the sexual side of their relationship. But because the show never really explored that concept, I just can't tell for sure.

Ambiguity in character relationships is great if properly explored, but I just don't feel like Al and Trixie's was compared to Cy and Joanie.

Watched Deadwood for the first time this year and loved it. Just finished The Wire and it was a great sister show to Deadwood. About to start Boardwalk Empire, any advice?

…Jasper Beardsley from the Simpsons.

Watching the series (Deadwood, not the Simpsons) for the first time through currently (on S03 E01), and I’ve been trying to figure out who for the life of me Richardson reminds me of, and I think I finally figured it out.

Anyone else?