Joanie decides the best way to assess the threat Wolcott poses is to seduce him, but he’s not attracted to her – and can tell she has a gun hidden in her corset. Maddie came to Deadwood specifically to resume her business relationship with Wolcott, but she’s terrified of the man. who winds up on the hook when he realizes he has just scammed the great and powerful George Hearst out of 10 grand, and that he has to put himself in Wolcott’s thrall to avoid the powerful man’s wrath.
sees “a fish to rival the fabled Leviathan,” but instead it’s E.B. Though Al’s too busy with his gleet to notice or care about the new man’s arrival, many other key players quickly get caught up in Wolcott’s orbit, each trying to get the best of him and each being proved to be his inferior. Dillahunt’s far more of a chameleon than Franz – though there’s an obvious resemblance between McCall and Wolcott, or between either man and Burt Chance on “Raising Hope,” he carries himself differently above and beyond any changes in hair, makeup and wardrobe – and the performance as Wolcott is so good that I was quickly able to put the droopy-eyed Jack out of my mind. “NYPD Blue” would consistently return old guest stars in different roles, and on “Hill Street Blues,” Milch brought Dennis Franz back to play Norman Buntz (essentially the new central character of the final two seasons) after Franz had played the villainous Sal Benedetto in one of the series’ most famous early arcs. – seem fine with recycling an actor if they’re good enough. Other producers – including Milch, Dick Wolf and Louis C.K.
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Some TV producers are of the belief that once you use an actor in one role on your show, he or she can never play another without violating the sense of reality. Wolcott is a historical invention, and also an excuse for Milch to rehire actor Garret Dillahunt, who so memorably played Jack McCall in season 1. An outlaw community just starting out attracts the likes of an Ellsworth or Al Swearengen a place on the verge of being absorbed into the United States and making the landholders very wealthy attracts the likes of a George Hearst. He was very real, and very powerful, and his interest in the camp suggests just how close it is to becoming legitimate. In the late 1870s setting of “Deadwood,” Hearst’s name would be well-known and formidable enough to stop everyone in their tracks upon hearing it – especially everyone in a mining camp like this one. While Al is busy writhing and moaning in his office, there’s a power vacuum in the camp – a vacuum that is quickly filled by the mysterious Francis Wolcott, and, by extension, his famous employer, George Hearst. (Though I don’t believe Milch ever suffered from this specific ailment.)īut Al’s pain also serves important story and thematic functions. Milch has battled through various health problems over the years (including a heart attack during his “NYPD Blue” days) and projected some of his nightmarish experiences onto Sipowicz and/or Swearengen. Some of the kidney stone storyline was no doubt fueled by David Milch’s own misadventures in the world of medicine. To sideline what’s become the show’s central character – and I would argue, even more than Seth Bullock at this point, the closest this morally ambiguous world has to a hero – for an entire hour this early in the season is a pretty bold move.
It’s a position Al will stay in for nearly half the episode – until a panicked Jewel convinces an anguished Dan to kick the door in – and what little we see and hear of him in the second half involves him screaming in agony as Doc Cochran tries to relieve the problem. We begin “New Money” in Al Swearengen’s office – specifically, on the floor of that office, where Al lies shivering, in agony, unable to move due to the pain of his kidney stone, and too proud to call for help whenever anyone stands outside the locked door. This is the newbie-safe version click here for the veteran-friendly one.Ī review of episode 3, “New Money,” coming up just as soon as we make the trout pay for his slothful ways…
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We’re into week 2 of our summer trip back through David Milch’s epic revisionist Western “Deadwood.” As always with this project, we’re going to have two parallel discussions going at once: identical reviews, but one where the comments section is just for people who are new to the series and don’t want to be spoiled on anything past the events of the episode being discussed, and one for people who know “Deadwood” backwards and forwards, and want to be able to discuss it all at once.
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