WARNING *major series spoilers follow*
The third season of HBO's acclaimed Western-drama follows the high standards set by the previous seasons. Unfortunately, all the promise and set-up for a fourth season is squandered after the show was prematurely cancelled. This is rather infuriating (but understandable give the high production costs) and cuts short one of the finest television shows ever created. As with the previous seasons, the set-design, characterization and writing are all of an enormously high standard. The added threat of this season's stand-out charismatic antagonist George Hearst (terrifically performed by a menacing Gerald McRaney) gives the show extra edge and menace (as if it didn't have enough of that before).
Season 2 ended with the arrival of the sinister and feared Hearst and his disdain for the camp gives a new immediate threat to all the settlers. Hearst's arrival not only increases an already intense climate in the camp, but starts a bloody campaign that threatens the lives of major characters. Early in the season, we see no one is sacred in a brutal scene between Hearst, Captain Turner (Alan Graf) and series favourite/anti-hero Al Swearengen (an impeccable and devilishly cunning performance by Ian McShane) where Al is learns first hand (or finger) of Hearst's ruthlessness. The interactions and tensions between the three main factions (Hearst, Swearengen and Cy Tolliver's (Powers Boothe) crew) provide the main storyline for the season, while the addition of Brain Cox's Jack Languishe and his theatre provide new faces. Seth Bullock's (Timothy Olyphant) struggle to contain his aggression in the face of goading by Hearst and in particular with his continuous intimidation of Alma Garrett (Molly Parker) lead to to arrest Hearst and drag him to jail by ear. The ongoing storylines from previous seasons continue, like the tumultuous relationship between Sol (John Hawkes) and Trixie (Paula Malcomson), the tragic relationship between Alma and Mr. Ellsworth (Jim Beaver) and the burgeoning friendship/maybe more between Jane Canary (Robin Weigert) and Joanie Stubbs (Kim Dickens).
As plans are laid out and tensions between Hearst and Swearengen rise, it brings about some of the finest episodes in the 36 episodes of the complete show. Episodes 10 and 11 (titled 'A Constant Throb' and 'The Catbird Seat') are the best episodes of the series run where threats are turned into actions with the attempt on Alma's life and when Mr. Ellsworth becomes victim to Hearst's orders at the hands of the Pinkertons. These (like the death of William Bullock in season 2) are gorgeously choreographed scenes, as is an enthralling and brutal fight between Captain Turner and Dan (W. Earl Brown). Despite these scenes of violence, the show remains true to the previous seasons set-up, rather than ending up with full-on war and sacrifice of wonderful dialogue for brutal action, concessions are made and bitter agreements put in place. But knowing that their is no fourth season leaves a slight sour taste. As yet again, like with the previous seasons, the final episode is used to relieve some season storylines, but to build up others for the next. So we are left with a raft of unanswered questions and character arcs that have not finished. It is a terrible shame and overshadows the final scenes of yet another wonderful season of essential television viewing.
Despite this being the final season of Deadwood, one can only feel that this show was only starting to get into its stride with the major underlying themes that were still only being established in the previous seasons. Despite this abrupt end, Deadwood was one of the most consistently brilliant and best written (and acted) shows ever to be made. As said previously, the gorgeous and expansive set-design ultimately was too ambitious for a show with a small loyal following and ultimately led to its cancellation, but can still be regarded as one of the most ambitious, brutal and tense shows ever produced. A joy.
90
