Swearengen: “Don’t the decapitated deserve recreation?”
More best lines from Episode 20:
Swearengen: “Certain facts show in the mug.”
Swearengen: “Our moment permits interest in one question only: Will we, of Deadwood, be more than just targets for ass-f**king?”
Swearengen: “Anyhow, thanks for brushing my pr**k”
Swearengen:
“Too early for you?”
Miss Isringhausen:
“I don’t time my drinking”
Joanie [PHOTO]: “Would you like a drink?”
Jane: “Yes. But my opening position is no.”
Joanie, pouring drink: “What’s your preference?”
Jane: “That it ain’t been previously swallowed.”
Swearengen: “The main dereliction is Farnum’s, whose bailiwick is specifically arrivals, but you have been remiss.”
And, now, below the fold: Tonight’s episode, and a little bit about that actor who plays the big fella, Mose Manuel:
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: : : More below : : :
EPISODE 21
Amalgamation and Capital
Alma Garret’s [PHOTO] note causes Swearengen to amend his deal with Miss Isringhausen, while Calamity Jane and Joanie Stubbs continue their unlikely alliance.
A.W. Merrick [PHOTO BELOW LEFT] goes overboard printing rumors in the Pioneer, earning rebuke from Swearengen.
Tolliver aims to fleece Mose Manuel [SEE ACTOR PROFILE BELOW] of his bloodstained profits.
Utter [PHOTO BELOW RIGHT] is enraged when Wolcott interrupts his and Bullock’s interrogation of Mose.
Alma’s note causes Swearengen to amend his deal with Miss Isringhausen.
Martha uses the bank’s opening to open new lines of communication with Alma.
Jane and Stubbs continue their unlikely alliance.
Fields and Hostetler’s attempt to tame a wild horse has disastrous results.
Catch the encore presentations airing Tuesday at 9PM and Wednesday at 11PM. More airtimes.
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MOSE MANUEL: PLAYED BY PRUITT TAYLOR VINCE
Mose Manuel: “Two-hundred thousand? “
Wolcott: “Cash upon execution.”
Mose Manuel: “I already executed”
Mose Manuel: “My brother had an accident.”
Wolcott: “What’s his condition now?”
Mose Manuel: “Fatal.”
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Pruitt Taylor Vince
Mini biography
Vince first started to get noticed for his excellent performances at the start of his career in Shy People (1987) and Mississippi Burning (1988). In both these films he played something of a blathering redneck idiot, although there was a streak of pathos in both performances which made it impossible to dismiss his characters as just ‘bad’ people. In David Lynch’s Wild at Heart (1990) and Adrian Lyne’s Jacob’s Ladder (1990), he put in performances which showed he was merely biding his time before his next great role came along.
Well, as luck would have it, two great roles came along in two years. As Rub Squeers, Paul Newman’s emotional work partner in Nobody’s Fool (1994), he put in an excellent performance which showcased his now trademark acting style of fast moving eyes to show sadness. However, this performance was nothing compared to the acting powerhouse which was Heavy (1995). In this tender indie film, also marking Liv Tyler’s first proper film role, Vince practically carries the whole film, and does so with style. Watching him gradually lose grip of his life breaks your heart, and it without doubt one of the most underrated performances of the 90s.
Vince has not really had a film role to touch this since, but he has been in the cult hit crime show, “Murder One: Diary of a Serial Killer” (1997) (mini), as Clifford Banks. It was a rare opportunity for Vince to flex his acting muscles as a slightly different type of character. Vince undoubtedly has the ability to be a major star; he just needs to be given the oppurtunity.
Trade mark: Playing twitchy, nervous, sometimes disturbed characters
Trivia: Pruitt Taylor Vince won the 1997 Emmy Award for Outstanding Guest Performance by an Actor for his performance as serial killer Clifford Banks on “Murder One” (1995).
You can read additional bio info at The New York Times.
Susan-
I love your pictures and extra info.
I can’t believe the ending to tonight’s show. It was such an upbeat show until the end. Upbeat for Deadwood, that is.
I’m staggered. Like, what’s there to say.
did he say “his back is broken”? Or did I mishear that?
Yes, I heard that too. How horrible. Doc wasn’t on the show tonight but he will be next time.
that kid reminds me of Eddie from “The Courtship of Eddie’s Father”, and I always hated that show.
known something horrible was going to happen to the kid. They kept showing cute shots of him.
First they make us like him, then they break his back.
Of course, it sounds like you might not have liked him, Madman, due to his resemblence to ‘Eddie’. I don’t know that show.
it was out 1969 – 1972
They might show it on TV Land … I don’t know. Bill Bixby played Eddie’s father, and Eddie was always saying shit like “Gee, Dad …”
Just like the now-crippled kid on Deadwood.
No children, please. More whores and hoopleheads.
>No children, please. More whores and hoopleheads.
I agree. At least they should’ve killed the kid outright. Then Dudly DoRight wouldn’t have to stay married to his SIL.
Thanks for the great work, Susan. Will the best lines from Episode 21 appear next week?
Hope you all noticed that that was my safe.
Hey, Booman, what’s this hooplehead doin’ here?
Yup, the best lines from Ep. 21 will be up next week. Now, iffin’ you’ll be here to read ’em, that’s another matter.
that’s what he’s doing here.
What were the best lines from tonight? EB had a great one about his toothache.
And then Al said, “So we’re all facing judgement, are we DB?”
Something like that. It was great at the time.
Wolcott’s speech that got fat-boy to get himself shot, was also a winner.
Didja notice that Wolcott seemed to curse when Mose got shot? I think Wolcott wanted Mose to take him (Wolcott) out (suicide by proxy) and was disappointed when Tolliver’s guy nailed Mose first.
no, I didn’t notice that. It makes sense though. He does seem to be working through some issues of self-loathing. Quite understandable, considering his penchant for cutting the throat of women.
And iffin’ yer f-ckin’ sober enough to type, which I doubt very much.
And I s’pose you think you’ll get top dollar fer your services. I think not.
You know, there’s a weekly “kill list” on the Deadwood site.
Great subtle writing about women. And suspense!
Let’s see: Jane was in love with Wild Bill & went on an endless (possibly fatal) bender after his death. So, despite the drag, one might presume she’s straight. OTOH, Joanie Stubbs is a lesbian, on her own time, off the clock, having been showcased on several occassions in the midst of Sapphic nooky.
What is going to happen? Longing for redemption and renewal of every kind, Joanie is obviously going to try to help Jane out. How far will this go? Wouldn’t they make a cute couple? (is Jane going to turn her ever so gently down? Or discover a new side to herself?) Maybe they’ll transform the brothel into another kind of business venture. That’s going to be fun to watch. Although I seem to recall having read somewhere that the historical Calamity J. expired in Deadwood.
Nevertheless, this is subtle dynamic genuinely feminist stuff.
Alma & Martha seem to be on their way to friendship, against all odds and despite Trixie’s dire forbodings. Bullock is simply dumbfounded by the woman he is married to. She repeatedly confuses and shocks him speechless. Another entirely unconventional set of interactions. Great great writing for women.
Trixie is getting quite an education, isn’t she? And Alma is so entirely unexpected & unpredictable. How smart of her to write to Sweringen about her tantrum. Oh, I hope there’s more to come with that relathionship.
I liked seeing another side of Wolcott too. The effrontery with which he goaded that galoot into violence. Ballsy. Which you wouldn’t ordinarily expect of him. And his scorn for Tolliver probably the only halfway likeable thing about that Jack the Ripper (perfect image of the ‘primitive’ capitalist).
And to top off the feast, the dreadful Pinkerton-ette is about to receive a satisfying comeuppance. An accurate one, also. On the ladder of corruption, she’s in the position of the proletariat. Diligent in ill doing and sacrificed without a second thought. Ultimately, exploited and, though she is hard as nails and as ruthless as they come, powerless. Vulnerable.
On the male side, just as surprising: Bullock’s greatest tenderness, consideration, ingenuity and ease comes in the scenes with the boy. Never would’ve supposed that. Would’ve been much less surprised, & much less moved, if he’d approached that relationship with the same stiff clunky confusion he has with all the others.
Oh yes, I do love Deadwood !! The most grown-up (by that I mean, fascinating, unpredictable) tv around. The way it skirts the ruts and jumps into very human interactions is quite simply gorgeous.
cross-posted from dKos
This is an exceptional post and analysis.
P.S. Joanie did offer to let Jane take a bath. Alone or not, we don’t know.
Hmmm, I missed that undertone. ‘Course I remember him toying with the straight rasor & his neck. But now that you all mention it, sounds right.
Thing I liked most about the galoot, Susan admires so much is how perfectly infantile he was. To the end. “I want all my money back.” The id run amok.
Not to pick a bone here with a show I’ve never seen, but it seems like a lot of that cursing isn’t very accurate for the time period. Assf-cking in 1876? That doesn’t sound true to me.
The word “ass” itself as a synonymn of rear end or derriere is rather modern, although without the OED I can’t put a date on it, being modified from the older “arse” and even older “arsa”.
As for the “f” word, while it’s fairly old, it wasn’t in common usage until FAIRLY recently, how recently I couldn’t say.
I think it’s time to read Pynchon’s Mason & Dixon again 🙂
Pax
From the Merriam-Webster online dictionary:
I don’t have reference material at hand either, but my guess is that the vulgar use can be found at least in Shakespeare, if not before.
My understanding is that visitors often noted the foul language in mining camps. Deadwood probably does not accurately reproduce the cursing, but it may reflect the spirit of it. I doubt if the language of miners has changed all that much, and when I hung out with some of them a while back, I heard obscenity raised to an art form.
At first, the swearing was jarring. Now, I hardly notice it.
I only watch it at my son’s. It doesn’t seem to come with my cable package.
Here’s a note from The Nation:
The last sentence is a reference to Laura Bush’s stand-up comedy routine at the WH Correspondents’ Dinner.