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Deadwood - (S02E04)

History . Crime . Drama . Western

Doc Cochran contemplates a procedure that could cure Swearengen; Bullock attempts to settle into domesticity; rumors about the camp's future begin to spread.

Episode Title: Requiem for a Gleet
Airs: 2005-03-27 at 09:00 pm
  • Brian Lowry

    HBO just might have found its next great dramatic addiction --- a vulgar, gritty, at times downright nasty take on the Old West brimming with all the dark genius that series creator and screenwriter extraordinaire David Milch has at his fingertips. [19 Mar 2004, p.2]

    Variety Full Review
  • Matthew Gilbert

    It also showcases Milch's taste for complexity when it comes to both the criminal mind and the lawman's motivations. [19 Mar 2004, p.D1]

    Boston Globe Full Review
  • Alan Sepinwall

    The sheer amount of cussing is so great that even the unoffended may be too distracted by it to pay attention to anything else in Deadwood. That would be unfortunate, because lurking just behind the wall of profanity is a magnificent, fire-breathing work of art - an amazing meditation on violence, social order and the cruel reality of the Wild West. [21 Mar 2004, p.1]

    Newark Star-Ledger Full Review
  • Staff [Not Credited]

    A fascinating and disturbing vision. [21 Mar 2004, p.F5]

    St. Louis Post-Dispatch Full Review
  • Mike McDaniel

    The unheralded Olyphant is the star, and he's excellent. [21 Mar 2004, p.8]

    Houston Chronicle Full Review
  • Carina Chocano

    Deadwood is engrossing, refreshingly well written and oddly relevant. [15 Mar 2004, p.E1]

    Los Angeles Times Full Review
  • Steve Johnson

    In the same way that "The Wire" showed there is an HBO way to update that staple of regular TV, the cop show, Deadwood demonstrates that the western can be revitalized, too, with a dose of extreme realism. [19 Mar 2004, p.C1]

    Chicago Tribune Full Review
  • Tom Shales

    It's a grim, evocative look at some of this country's ruggedest but most disreputable roots -- a meticulously detailed portrait of a time, place and people that makes even today, with its punishing headlines about suicide bombs and other terrorist atrocities, seem almost safe and sane.

    Washington Post Full Review
  • Glenn Garvin

    Engrossing - and gross. [21 Mar 2004, p.4M]

    Miami Herald Full Review
  • Bill Goodykoontz

    It's a first-rate drama, as well, like no other Western on TV before it. It's Dodge City turned inside out, dense with intriguing, complicated characters seeking their fortune in the baddest gold-mining camp of them all. [21 Mar 2004, p.1E]

    Arizona Republic Full Review
  • Ken Tucker

    'Deadwood' creates from the git-go a villain for the ages in Al Swearengen. McShane's slicingly deep voice is like a bowie knife stuck in the series' heart, but instead of stopping its action, he brings the show to pumping, bloody life.

    Entertainment Weekly Full Review
  • Alessandra Stanley

    Deadwood is not easy to watch. There is no musical score; the settings are relentlessly dull and depressing; and it is shot almost entirely in shades of sepia and gray. The series takes its own time establishing the characters, and the dialogue is muffled and indistinct. But once the story takes hold, it is hard to turn away. Like laudanum, a good western can be habit-forming.

    The New York Times Full Review
  • Jonathan Storm

    Tenderfoot, when you mosey into Deadwood, HBO's latest breathtaking drama series, you should remember: An entirely new world takes a little getting used to. [21 Mar 2004, p.H01]

    Philadelphia Inquirer Full Review
  • Rob Owen

    It's a true character piece with top-notch acting all around. [21 Mar 2004, p.TV-5]

    Pittsburgh Post-Gazette Full Review
  • Ed Bark

    Deadwood is the equivalent of Roy's Trigger returning as an ill-tempered, bucking bronco that's dead-set against galloping off into the sunset. Saddle up anyway. This is going to be one helluva ride - to points unknown. [21 Mar 2004, p.3]

    Dallas Morning News Full Review
  • James Poniewozik

    Deadwood is not the next Sopranos. Everyone likes Italian food, whereas this is beef jerky--slow chewing, an acquired taste but substantial. Sometimes Milch's Shakespearean ambitions get away from him, and the story can drag. But the acting is strong.

    Time Full Review
  • David Bianculli

    Get past the language, though, and Deadwood slowly but surely draws you in. Keith Carradine, as Hickok, brings quiet stoicism and strength to a new level; Timothy Olyphant as Seth Bullock, who has hung up his lawman's badge to hang a hardware-store shingle in town, isn't far behind. [18 Mar 2004, p.101]

    New York Daily News Full Review
  • Mike Duffy

    Despite an excellent cast, Milch's knockout writing and McShane's hypnotically toxic villain, Deadwood conjures up one very brutal wild west purgatory punctuated by misery, anger, lust, greed, violent death and all those outrageously naughty words. Happy trails. [19 Mar 2004, p.4E]

    Detroit Free Press Full Review
  • Preston Turegano

    Technically, Deadwood is marred occasionally by sloppy continuity. One gaffe occurs after Bullock and Hickok discover the slain pioneer family at night. As they ride back to town with the sole survivor of the crime, darkness suddenly gives way to bright daylight as the rescue party makes a turn in a road. In another scene, Bullock is shown shaving his neck and the sides of his baby face, only to be seen with stubble five minutes later. [21 Mar 2004, p.TV-6]

    San Diego Union-Tribune Full Review
  • Charlie McCollum

    What Deadwood becomes within its first four episodes is a complex, neo-Shakespearean take on social and institutional corruption, racism, environmental barbarism, and the nature of good and evil. It not only provides a different view of how the West was won but also muses on how the taming of the frontier mirrors modern times. [21 Mar 2004, p.3E]

    San Jose Mercury News/Contra Costa Times Full Review
  • Tim Goodman

    It's a wonderful series that gets better every hour you watch it. ... But there's the catch. "Deadwood" is a slow starter.

    San Francisco Chronicle Full Review
  • Terry Kelleher

    Once you grow accustomed to the trash talk, however, the series draws you deeper and deeper into a little world where the law holds no sway and right is trodden in the mud.

    People Weekly Full Review
  • Robert Bianco

    Perhaps this is the way people really spoke in 1876 Deadwood, but TV isn't a research paper, and shows don't run with footnotes and annotations. Many viewers are likely to feel that Milch and the actors have failed to make the expletive-laden dialogue play as believable. Equally many are likely to find it off-putting, whether they believe it or not. It's just one more barrier for a genre that already has a problem connecting with a modern audience...That hurdle might have been overcome had the actors been able to pull us past the words and into the story, but Milch has not cast the show as well as he needed. With the exception of the always welcome Keith Carradine, whose dissipated Wild Bill Hickok is the series' most appealing character, the actors are not up to the tasks assigned.

    USA Today Full Review
  • Linda Stasi

    It's really all about shock - not that there's many places to go after you feed not one, but two corpses to animals...When that wears thin, you can always count on an insane amount of four letter words, which are used with the discretion of a 12-year-old boy who's just discovered them. Five "f" words in one sentence just sounds idiotic.

    New York Post Full Review
  • Melanie McFarland

    But these components don't detract from Deadwood as much as the series' inability to get the story rolling, although it shows potential for growing more interesting two or three episodes from now. Look at the introduction as an overly long handshake with a huge cast of characters, then take notice of how tedious such an elaborate setup can be, even one punctuated by thundercracks of violence. [19 Mar 2004, p.D1]

    Seattle Post-Intelligencer Full Review
  • Hal Boedeker

    The bonanza of off-color dialogue makes Deadwood a hard sell: Who knew the Wild Wild West could be such a joyless place? [21 Mar 2004, p.4]

    Orlando Sentinel Full Review

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