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Sons of Anarchy 3.1 – So

Anyone who watches “Sons of Anarchy” is well aware of the path of destruction that creator Kurt Sutter left behind at the end of last season, so it shouldn’t come as much of a surprise that Season Three begins with the characters picking themselves up off the ground. Only a few days have passed since that disastrous chain of events, and Gemma is still on the lam after being set up by Agent Stahl for the death of Edmond Hayes. But now that Unser has returned to his duties Charming, Tig and a few of the Oregon-based Sons have taken Gemma to a rundown motel to hide out.

Clay has smartly refrained from telling her about Abel’s kidnapping, and it’s a good thing that he has or otherwise, she’d probably come racing back to help with the search. Of course, between trying to hotwire a car and stabbing its owner in the groin with a pocket knife, Gemma has already proved quite a handful for Tig, so he finally concedes to her request to visit her father (Hal Holbrook) when she reads that her mother has recently passed away in the newspaper. I’ll be curious to see where this particular storyline goes, because it doesn’t look like Gemma will be coming back to Charming anytime soon, and quite frankly, she’s already missed.

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Tara is doing a pretty good job of filling in, however, and there was a really sweet moment between her and Clay where he told her that she was the best thing to happen to Jax. Though it’s possible that he was just being nice so she would cooperate and not name the Sons during her testimony to the FBI, Clay has always placed family first, and Tara is now a part of that family. And if you didn’t think that Tara was fully committed to Jax and the club before tonight, then she pretty much confirmed it by refusing to leave Charming despite Jax’s request, summing it up perfectly towards the end of the episode with the following speech: “We don’t know who we are until we’re connect to someone else. We’re just better human beings when we’re with the people we’re supposed to be with… I belong here.”

Tara even stood up to Stahl after being accused of lying during her testimony, calling her out at as a despicable human being and more or less threatening her to stay away from her family. But while Stahl didn’t seem too affected by Tara’s best Gemma impression, she looked positively terrified after Clay delivered a message of his own: “Anything happens to my grandson, I promise you, I’m going to shove a gun barrel up that bony ass of yours and I’m gonna blow your black heart out.” You have to hand it to him, though, because he’s right. While the Sons don’t exactly adhere the highest moral standards, Stahl’s web of lies has led to the deaths of several innocents and the kidnapping of baby Abel. Eventually, that’s all going to catch up to her, whether she ultimately confesses from a guilty conscience or someone else pulls the trigger. I’m betting on the latter.

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It’s time for another end of week movie news dump. Yay.

Yup, with Cannes going on and the early-early summer movie season happening, things are hopping.

* Nikkie Finke broke the news this morning of the latest chapter in the never-ending tale of the battle over the rights to the character of “Superman.” It seems DC is countersuing lawyer Marc Toberoff on the grounds of conflict of interest. Sure does sound like “hardball” but that’s what happens when millions of dollars are at stake.

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* It never ends. It just never, ever ends. A new alleged victim has come forward claiming that Roman Polanski raped her during the eighties when she was sixteen. (The terms used in the article are “sexually abused” in “the worst possible way” — I have no clue how that could not be rape, at the very least, if true). The woman is being represented by, naturally, Gloria Allred.

At this time, there’s no corroborating evidence beyond the charges. If there is, I think it’s curtains for Polanski and he’ll find himself suddenly and justifiably all-but friendless in Hollywood. It’s one thing to have one extremely nasty episode in your past, it’s quite another to be a serial sexual predator.

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Monday movie bits and pieces

Just another one of those days filled with sequels and other things no one really needs.

* Armando Iannucci, the “In the Loop” guy, on his screenwriting Oscar chances:

“Our puppy Bramble won last night’s puppy training course. This gives us the momentum we need going into the Oscars.”

* Movie bloggers seem to agree that Ian McShane of “Deadwood” fame can only help the next “Pirates of the Caribbean 4″ while playing the legendary real-life pirate Blackbeard. Insert c-cks-cker joke here.

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* An English Jihadi comedy to screen at SXSW. Here’s hoping the documentary “American Grindhouse” covers its (huge) subject well, because I’ll want to see that one.

* Nikki Finke informs us Harvey Weinstein signed a DVD deal with Sony. I know, your world will never be the same. Just be grateful I don’t pass along all her news about whose at which agency now.

* Whilst promoting Kevin Smith’s “Cop Out,” Bruce Willis is telling people that there’ll be a “Die Hard 5″ and that it’ll should go “worldwide.”

* What do you do when you find out your best friend’s wife is cheating on him? That’s the knotty question that’ll be examined in an upcoming Ron Howard comedy starring Vince Vaughn that just attracted Kevin James, as per Screencrave’s Krystal Clark. Intriguingly, the script is by a writer more associated with dramas.

* Speaking of Mr. Smith, AICN’s Merrick reveals that it appears that Seann William Scott will star in his upcoming hockey comedy. Merrick also has the Warren Zevon/Mitch Albom song it’s based on, “Hit Somebody.”

* Coming eventually, maybe: Leonardo DiCaprio in a “‘Mystic River’ meets ‘Taken‘ storyline.”

* Glenn Kenny on people who don’t know the man personally referring to a certain director as “Marty”:

My general policy with movie people is to address them as “Mr.” or “Ms.” until explicitly instructed otherwise. I’m not trying to lord it over anybody with this etiquette tip. I’m just saying that my mother raised me with some fucking manners…I’ve always loved the phrase “fucking manners,” haven’t you?

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TV in the 2000s: 15 Shows Canceled After Appearing in Bullz-Eye’s TV Power Rankings*

*Probably Coincidentally

Back in 2005, Bullz-Eye kicked off a regularly-recurring feature that’s become a staple of our site: the TV Power Rankings, which gives us a chance to offer up our opinions once every six months on the best that television has to offer. Now that we’re looking back at the entire decade in our TV in the 2000s feature, however, it gave us an opportunity to look back at all of the shows that have appeared within the Rankings over the course of its history, and when we did, it was a little eyebrow-raising to see how many of our favorite programs bit the dust almost immediately after receiving accolades from us. We’re pretty sure their cancellations weren’t our fault…or, at least, not entirely. Anyway, take a look back through the list with us, won’t you? If nothing else, it shows that we’ve got good taste, even if the average viewer doesn’t always share our opinions.

1. Arrested Development (Fox, 2003 – 2006) – “Even if this is indeed the end for one of Fox’s all time greatest shows, it is better to have loved and lost…oh, the hell with that, Fox is freaking nuts if they cancel this show.” So said David Medsker in February 2006. But did they listen to him? They did not. “We’re not ones to buy into the whole dumbing-down-of-society thing,” Medsker added, “but if this show gets canned while ‘According to Jim’ lives on, maybe there’s something to it after all.” Oh, yeah, there’s definitely something to it: “According to Jim” stayed on the air until June 2009.

2. Deadwood (HBO, 2004 – 2006) – When it was announced that Season 3 would be the last for the semi-historical look at the wild west, there was really only one name that John Paulsen could call the folks at HBO. We probably shouldn’t use it here, but if you need a hint, it starts with a “C” and rhymes with “sock pluckers.” “Everything about the show – the language, the acting, the story, the sets and the costumes – is colorful,” Paulsen observed in February 2007, “and whether or not HBO wants to admit it, they’re going to miss ‘Deadwood’ once it’s gone for good.” They must’ve been in some serious denial, then: creator David Milch reportedly agreed to do a proper wrap-up of the series through a pair of “Deadwood” movies” for the network, but things never really got beyond the discussion stage.

3. Invasion (ABC, 2005 – 2006) – The fall of 2005 was a good time in prime time for sci-fi fans, with each of the big three networks offering up an entry from the genre, but by the spring of 2006, their cheers had turned to tears. NBC’s “Surface” was permanently submerged after 15 episodes, while CBS’s “Threshold” crossed the point of no return after only nine episodes had aired. Give ABC some credit, however, for at least sticking with their entry for the full 22. “’Invasion’ started slowly, but has steadily ramped up the creepiness,” said John Paulsen in February ’06, acknowledging that, although it gave its audience lots of questions, at least it was providing them with more answers than “Lost” was. Unfortunately, there was still plenty to be answered when the show was canceled, and things got even more depressing when Tyler Labine talked to Bullz-Eye about what might’ve been. “(Creator Shaun Cassidy) had written this bible for the show, and he had written this amazing five-season arc,” said Labine. “We were just floored. Our jaws were literally on the floor after he explained it to us. We were, like, ‘Wow, we’re on for a really great ride!’” What a shame for us all that the ride ended as quickly as it did.

4. Studio 60 on the Sunset Strip (NBC, 2005 – 2006) – Well, you can’t say that we weren’t honest about offering up both the pros and the cons of Aaron Sorkin’s behind-the-scenes look into a late-night comedy series. “The show is pompous, unrealistic and ridiculously left-wing,” admitted Jason Zingale in February 2007, “but it also makes for some damn good television.” Unfortunately, with an awful lead-in – seriously, who thought that pairing the show with “Heroes” was a good idea? – “Studio 60” didn’t develop enough of a following to earn a second season.

5. Rome (HBO, 2005 – 2007) – In its first season, “Rome” turned up at #18 in the Power Rankings, but by the time Season 2 aired, it had leapt to #6. Not that such success earned the show a third season (it was apparently ridiculously expensive to produce, which you can absolutely believe if you’ve ever seen it, but at least the news of its cancellation came in time for John Paulsen to register his annoyance within the February 2007 Rankings. “As it turns out, ‘Rome’ isn’t the heir to the throne of ‘The Sopranos,’” he wrote. “Instead, sadly, it’s a bastard stepchild, just like ‘Deadwood.’” Creator Bruno Heller was probably even more pissed than Paulsen, having mapped out his vision of the series all the way through its fifth season, but as recently as December 2008, Heller was still sounding optimistic about the chances for a “Rome” movie. “I would love to round that show off,” he told the Hollywood Reporter. Hey, we’re behind you 100%, Bruno.

6. Four Kings (NBC, 2006) – If you don’t remember this sitcom, you’re forgiven, as it premiered in January 2006 and was gone by March. Still, it made enough of an impression to earn Honorable Mention status in the February 2006 rankings. “Four Kings” was created by David Kohan and Max Mutchnick, the duo behind “Will and Grace,” and featured Seth Green as one of its cast members, so you might think it surprising that it was off the air within seven episodes (and with a remaining six episodes still unaired). Looking back, however, the fact that the greatest praise Jason Zingale could heap upon the show in his write-up was that “it’s a worthy quick-fix until NBC finds a better alternative” should’ve given us a clue that it wasn’t long for this world.

7. Jericho (CBS, 2006 – 2008) – It was the little show that could, our “Jericho.” It started with an awesomely dark premise – a nuclear bomb goes off in the U.S., and we view the repercussions through the eyes of a small town in Kansas – and, after figuring out its direction (the attempts to meld some “Little House on the Prairie” aspects to the show were soon phased out), the series found its footing, kicked some creative ass, and was promptly canceled. But what’s this…? The show’s diehard fanbase made enough noise (and sent enough nuts) to get the show a 7-episode second season which lived up to everyone’s expectations and then some. Too bad the same couldn’t be said for the ratings, but those who actually tuned in for Season 2 know how many twists, turns, and outright shocks it included. There’s still talk of a possible “Jericho” movie. We can only hope.

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A Chat With “Harper’s Island” Victim #12

It was a gut-wrenching death on this week’s “Harper’s Island,” partly because it was gruesome, partly because you were forced to sit there knowing full well that it was impending and couldn’t be stopped, but mostly because it was a character we knew more about than just about anyone else on the show.

This is another one of those cases where, although I wasn’t rooting for this person to get the call from Karim, I was still very much looking forward to talking to the actor in question…and, in fact, I enjoyed the interview so much that, although I’m not going to mention the person until after the jump, I will at least say this much to random web surfers who happen upon this entry: you don’t have to be a dedicated viewer of “Harper’s Island” to click onward. You could just be a fan of the work of David Milch (“Deadwood,” “John from Cincinnati”), or of “Supernatural,” and you’d still enjoy reading what lies after the jump.

So what are you waiting for?

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Lost 5.10 – He’s Our You

“A 12-year-old Ben Linus just brought me a chicken salad sandwich. How do you think I’m doing?”

It seems like forever since we’ve had a Sayid-centric story, so I was really excited to discover that tonight’s episode was all about everyone’s favorite Iraqi torture specialist. Unfortunately, for as many great lines as there were, it actually ended up being one of the flatter episodes of the season. That probably had something to do with the strange collection of flashbacks and flash forwards that accompanied the present day (or new present, anyway) storyline, because with the exception of Sayid’s introduction to Ilana – who doesn’t appear to be a federal marshal at all, but rather some sort of bounty hunter – we didn’t really learn anything new about the time between his rescue and return.

Even the action on the island was pretty dull. Well, not dull so much as just really thin. I mean, how many different times did we really need to see Sawyer trying to convince Sayid to cooperate with the Dharminians? And why didn’t Sayid want to take the easy way out by telling them that he was just trying to escape from the Others? I brought this up last week because it didn’t make any sense for Sayid to want to remain silent, and now it makes just as much sense after declining Sawyer’s offer to become one of them. If all he cared about was killing young Ben Linus, wouldn’t it have been easier to do so from within that circle of trust?

Apparently not, because Sayid didn’t budge one bit, and as a result, Horace took him to go see Oldham (William Sanderson of “Deadwood” fame) in order to get some answers. It was pretty obvious that Oldham was Dharma’s torture specialist the moment his name was brought up, but Sayid asked Sawyer who Oldham was nonetheless, to which Sawyer replied “He’s our you.” Now, if that didn’t send chills down your back, I don’t know what will, because that has to be one of the best episode titles in the history of the series; and even more so because of the way it was worked into the story. I would have liked to have found just what it was that Oldham stuck in Sayid’s mouth, though, because while it seemed to initially operate as a truth serum, the later effects made me think it was some kind of psychedelic drug instead. Whatever it was, it worked, but while it looked like Sayid would blow Sawyer’s cover by spilling the beans, the moment he mentioned he was from the past, Horace seemed unconvinced that the drug had worked.

After Dharma’s council votes to kill him, however, Sayid’s Christ-like sacrifice (which he seems to believe will atone for all his sins) is interrupted when he’s sprung from jail while everyone else is trying to deal with a flaming Dharma van that has randomly rolled into camp. (Even during times of stress, Sawyer’s wit is spot on: “Three years, no burning buses. You’re all back for one day…”). Curiously enough, it’s young Ben who’s responsible for saving Sayid, who does so under the condition that he can join him on his way back to the Others’ camp. I don’t know if that’s where Sayid plans to go (it seems to be his only option at this point), but he definitely doesn’t intend on bringing Ben with him. Granted, I didn’t expect Sayid to kill a child in cold blood, but then again, who’s to say Ben is really dead? Faraday has already stated that the past can’t be changed, so it’s probably more likely that Ben will be saved/revived by the Others and eventually made their leader. After all, Ben’s spinal condition had to be a result of something, so why not an old gunshot wound that he received as a kid?

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HBO moves on

With the series finale of “The Sopranos,” HBO is facing a crossroads. I’m not sure what percentage of the network’s subscribers were mainly (or only) interested in Tony Soprano and his family, but it has to be significant. HBO is aware that they need to quickly develop more good programming if they hope to keep the train going down the tracks.

Their first hour-long effort is “John from Cincinnati” (from “Deadwood” creator David Milch). The series revolves around San Diego family of surfers as they encounter a strange visitor, who acts as if he might be from another planet. In just two episodes, Milch has introduced a bevy of interesting characters and, as far as the language and dialogue goes, the show actually has a very “Deadwood” feel to it. There are a number of familiar faces in the cast, including Rebecca De Mornay (who is excellent as the family’s matriarch), Ed O’Neill, Luis Guzman and Luke Perry.

In the half-hour comedy category, “Flight of the Conchords” follows Jemaine and Bret, two aspiring musicians from New Zealand, as they navigate New York City. It’s a musical of sorts, as the duo occasionally break out into quirky songs that relate to whatever is going on in their life. The premiere was quite funny, especially the song Jemaine sings to a girl at a party. If the Barenaked Ladies had developed a sitcom (and never released “One Week,” which made them too popular) and enlisted Wes Anderson to direct, it might have turned out like this.

So far, so good.

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As he rides off into the sunset… (Series finale)

Deadwood Al Swearengen

First, the good news. HBO and “Deadwood” creator David Milch have agreed to two two-hour movies in 2007 to allow Milch to end the show properly. The network had originally agreed to do six more episodes, but Milch wanted a clean break from the “day in the life” format that each episode has represented thus far. So expect the two movies to cover more time, like a normal film.

Now, the bad news. This season is over, with much tension, but without much resolution. Sure, Hearst left camp, but I was expecting some sort of a fight, considering that Hawkeye showed up with his seventeen and a half men and Wu showed up with a group of Chinese. Swearengen seemed content to allow Hearst to leave peacefully, as long as he didn’t put up a stink about which whore was actually killed as punishment for Trixie’s attack last week. Had Hearst pressed Al about the whereabouts of the real Trixie, Al would have gone at him with his knife. That’s quite the display of loyalty for Swearengen to show one of his former girls.

Someone had to take Trixie’s place, and the unfortunate one was Gin, Johnny’s favorite. Johnny didn’t take too kindly to it either, and this storyline has the potential to play out in 2007. But my guess is that he’ll get over it and his loyalty to Al won’t be an issue any further.

Bullock’s temper flashed a couple of times in this episode, but Hearst let his outbursts pass without punishment. Maybe it was enough that Bullock was going to lose the (fixed) county-wide election, or maybe Hearst saw the writing on the wall and just wanted to get out of camp in one piece. Either way, he meant to leave Cy in charge of his holdings, but Cy doesn’t seem to want that, even though he agreed to the deal. Out of frustration, he killed Leon and then pulled out his pistol to take a shot at Hearst before the magnate left camp, ultimately scaring the shit out of Jeanine before heading back into his saloon.

The relationship between Jane and Joanie continues to develop and the two are starting to act like an old married couple. Jane continues to turn to alcohol whenever she gets frustrated, so it will be interesting to see if she’s able to kick the habit with Joanie’s help.

But the surprise star of tonight’s show was Charlie Utter. He was on fire throughout – first, with Hearst at his hotel door and later on in the day in defense of the proper order of the voting line. Don’t get me wrong – Al’s speech to the Chief’s head was terrific, but one expects that from him. Even though Charlie has had a few good rants in his day, his performance tonight trumped them all.

I still don’t know why Milch introduced the theater troupe, as they did not have a major impact on any of the important storylines of the season. Brian Cox is a fine actor, and I was waiting for him to make a move on Hearst in the hotel, but I was once again disappointed in the result. In the future, maybe the purpose of their presence will become clear or maybe they’ll just fade into the background – only time will tell.

So Hearst has left camp leaving Cy in charge, Alma has sold her stake, Bullock is no longer the sheriff and Trixie dodged a serious bullet. Deadwood is in a state of flux and Milch has the challenge of wrapping up everyone’s storylines (or at least most of them) in just four hours. HBO has cancelled a few good series lately – “Deadwood” and “Carnivale” are gone and “Rome” was on the chopping block before getting a year’s reprieve – so I’m wondering if this particular business model is working for them. They’ve put out some of the best TV in the last few years, so let’s hope that this stormy weather will blow through.

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Climax? Not until next week…maybe.

Deadwood Hearst

Tonight’s episode was a tale of two halves. The first – exciting, compelling and intense. The second – slow, plodding and anticlimactic.

Poor Ellsworth. After a humorous scene where he seeks marital advice from a dog, one of Hearst’s henchmen sneaks up on him in his tent and shoots him in the head. Just like that, one of the show’s most admirable, upstanding characters is dead. The news of this shooting sends the camp into a flurry of activity as Swearengen and his men circle the wagons.

Trixie’s reaction when she saw his body was both surprising and courageous. I’ve said all along that for a man with so many enemies, Hearst doesn’t surround himself with enough protection. It was true earlier in the season when he didn’t have any henchmen around and now that he does, they don’t do a very good job of watching his back. Trixie opened up her blouse and walked past six guns in the downstairs of hotel while carrying her small pistol in her right hand.

She got a clear shot at Hearst, but she was only able to hit him in the shoulder. I’m more than a little surprised that she was able to get out of the hotel alive. After the shot was fired, I assumed she would be stopped and searched coming down the stairs. Certainly the guns had to consider her arrival and the shot to be more than idle coincidence, right? Maybe they were too busy staring at her rack to see the smoking gun in her hand.

Regardless, she wasn’t able to finish the job and she rushed to Sol for help. He took her to Swearengen’s, which says something about the man’s reputation of strength and cunning. At this point in the show, I thought all hell was going to break loose, but things became oddly calm.

Bullock was in Sturgis campaigning for Sheriff and had to ride back to camp once news of the shooting reached him by telegram. He rushed back to Alma and the child’s side and eventually escorted her back home. And that’s all he did.

I’m not sure why Hearst hasn’t yet dropped the hammer. It seems like his attack on Ellsworth was just the beginning of his assault on the entire camp, but he seems hesitant for some reason. At one point, he’s watching the camp’s activity and he says to one of his bodyguards, “I was not born to crush my own kind.” Is the magnate having second thoughts after his brush with death?

Meanwhile, Al has made a deal with Wu that would bring Chinese reinforcements to camp. He had to make this deal due to his lack of confidence in Hawkeye, who telegrammed Al too quickly after receiving instructions to hire guns in Cheyenne. Al is usually right, but this smells like a setup and I wouldn’t be entirely surprised if the infamous Hawkeye showed up.

The news has spread that this is the show’s final season, but the network is calling next week’s episode the “season finale,” when the term “series finale” is usually used in such cases. On last week’s blog, one of the readers commented that the cast and crew didn’t know about the show’s cancellation so that there’s a distinct possibility that the series could end unresolved. There are also rumors of a mini-series to allow creator David Milch to finish the series the way he originally envisioned. Obviously some sort of conclusion would be better than a cliffhanger for a finale. Here’s hoping that HBO shows the same intelligence in ending the series as it did in greenlighting it in the first place. It’s bad enough that “Deadwood” is going off the air, it would be a tragedy if it ended abruptly.

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Swearengen in the spotlight

Deadwood Al Swearengen

The conflict between Hearst and the rest of the camp continues to grow – this week he has the cojones to fire a few shots across Alma’s bow as she heads to bank. Of course, he didn’t take the shots himself – he wouldn’t get his hands that dirty. I was impressed by Al’s leap from his balcony when he rushed to the widow’s aid. Swearenegen’s method of comfort turned into one of the best lines of the episode: “It’s horrible being shot at. It never gets no better.” Bullock was in parts unknown, so it was up to Al to decipher the meaning of the shooting. Brilliantly, he had Dan knock out and tie up Ellsworth before telling him of the incident, so that he wouldn’t fly off the handle and rush Hearst.

It’s clear that Hearst wants to divide and conquer, and with Bullock out of town he saw an opportunity to knock Ellsworth out of the picture. Al, with help from Dan and Alma, managed to rein him in. Al is going to need all the help he can find if he hopes to hold onto the camp, so it’s in his best interests to keep Ellsworth alive.

After the Earp brothers arrived, I thought we might see the familiar story of Wyatt taking over as sheriff (presumably after Hearst takes out Bullock) when all he wants to do is be a private citizen. Their subsequent departure leads me to believe that Bullock will survive at least until the end of the season. Considering that the tension between he and Hearst has reached its boiling point, I don’t know how both of them get out of camp alive. Considering that, in real life, Hearst goes on to be a U.S. Senator, the odds aren’t in Bullock’s favor.

The show continues to spend far too much time with the theater troupe. Jack is an interesting character, but his dealings with a couple of starlets were confusing and disorientating. Clearly, he and this Mary woman have a history, but he chooses to allow another aspiring performer to stay in the theater, much to the dismay of one of his fellow performers (and, of course, to Mary). Jack has worked his way into Hearst’s favor with his ability to relieve back pain, so he should have the opportunity to take Hearst down if he so chooses. I don’t know where the troupe storyline is headed, but I hope creator David Milch has something good up his sleeve.

Joanie and Jane have been growing closer over the past few weeks, and their relationship is starting to head a sexual direction. Jane continues to struggle with her alcoholism, which is a direct result of the blame she puts on herself for Wild Bill’s death. Joanie is a nurturer as well as a tortured soul, and clearly she finds Jane to be a kindred spirit.

But it was Al who really shined in this episode, rushing to Alma’s aid, outwitting Hearst, and beating the snot out of Hearst’s messenger before slitting his throat. It’s been interesting to see Al and Bullock on the same side this season after being at odds for most of the series. Bullock’s return was somewhat uneventful. It was clear at dinner that he was fuming, but he didn’t go after Hearst so Charlie must have filled him in on Al’s take on the shooting.

The camp needs reinforcements, but Al can’t afford to send Dan to get them. Silas convinces him to use Hawkeye, someone Al doesn’t trust, to bring the guns. This adds an element of uncertainty to this storyline, so I wouldn’t be surprised if support arrived at a very opportune time.

There are only two episodes left – how will it end?

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