Milch doesn't merely think about language, or action, or even action as character, but all of these in concert with one another he understands not only what is at stake in a given scene, but within the episode's story, and in a much larger sense, the character's life.įor example, during the season finale, "Tell Him Something Pretty," Milch observes how Calamity Jane (Robin Weigert) is irrationally jealous of Joanie (Kim Dickens), even as their romance tenderly blossoms - not because of some legitimate provocation, but because at the core of her character, Jane fears that Joanie will discover she's unlovable (because that's what she thinks of herself).
![watch deadwood season 3 episode 1 watch deadwood season 3 episode 1](https://images-na.ssl-images-amazon.com/images/I/411G7XhE7LL._RI_.jpg)
But the ultimate sense that one must take away from Deadwood is that there are creators, writers and actors who do actually consider intellectual and emotional meaning - not to be confused with form and presentation - a valuable and enriching raison d'etre for storytelling.Īdmittedly, while I may come across as indulging my own Milch-like impulse to confuse with labyrinthine logic (not to mention rigidly articulate language), what I mean is that watching these episodes again reveals a complexity and depth that other shows simply do not possess. Indeed, trying to condense the intellectual and emotional depths of a show as complicated as this one is at best a Sisyphean task: "Oh, so that guy killed that guy, but what does that mean for this girl," et cetera.
WATCH DEADWOOD SEASON 3 EPISODE 1 SERIES
Like most TV shows, by Season Three you're either with the characters and stories or you aren't, so I won't bother offering a recap of the series to date.