Gerhard
26th December 2006, 10:59
Cy: If it’s Christmas, where’s the f*cking snow, or the f*cking harp music or the like?
And so it ends. Mrs Elswood Shows Her Mettle, Swearengen Does A Terrible Thing (Again), Langrishe Ponders The Future of Theatre, and Hearst Scores A Hollow Victory.
I was dismayed at Mrs Elswood giving in so easily to Hearst, just as I was horrified at Swearengen's solution to bring a (temporary?) peace to the camp. But life has to go on, I suppose, and such brutal times call for brutal measures.
As to the overall quality of season three, Dan Jardine from Cinemania voices similar concerns:
"Meanwhile, the failure to make Alma Garret a serious fucking woman not to be trifled with rather than a wimpy femme always on the brink of drug addiction and emotional collapse is one of the chief miscalculations of Season Three and this is much more than a sub-plot misstep. This is front and centre. The fact of the matter is, with the arrival of Hearst as the all-purpose nemesis, the principal dramatic contradiction is between his big-time industrial capitalist agenda and her small-time finance capitalist aspirations resting, obviously, on her ownership of the Homestake Claim."
http://djardine.blogspot.com/2006/09/deadwood-season-three-2006-usa-david.html
Even if season three can be deemed a (noble) failure in terms of the preceding two, Deadwood remains one of the greatest experiments in television drama ever. The result was utterly unique.
And so it ends. Mrs Elswood Shows Her Mettle, Swearengen Does A Terrible Thing (Again), Langrishe Ponders The Future of Theatre, and Hearst Scores A Hollow Victory.
I was dismayed at Mrs Elswood giving in so easily to Hearst, just as I was horrified at Swearengen's solution to bring a (temporary?) peace to the camp. But life has to go on, I suppose, and such brutal times call for brutal measures.
As to the overall quality of season three, Dan Jardine from Cinemania voices similar concerns:
"Meanwhile, the failure to make Alma Garret a serious fucking woman not to be trifled with rather than a wimpy femme always on the brink of drug addiction and emotional collapse is one of the chief miscalculations of Season Three and this is much more than a sub-plot misstep. This is front and centre. The fact of the matter is, with the arrival of Hearst as the all-purpose nemesis, the principal dramatic contradiction is between his big-time industrial capitalist agenda and her small-time finance capitalist aspirations resting, obviously, on her ownership of the Homestake Claim."
http://djardine.blogspot.com/2006/09/deadwood-season-three-2006-usa-david.html
Even if season three can be deemed a (noble) failure in terms of the preceding two, Deadwood remains one of the greatest experiments in television drama ever. The result was utterly unique.