The post-colonial era is one of the most fascinating periods in American history. In this period, the real-life Deadwood formed one of the most important sites in this American landscape. The town represents the point when the violent, sadistic carnage of the Civil War transformed into the modern industrialisation of the 20^th century. The mythic men of the West came exchanged violence for commerce and some women, once instruments in the machinations of men, found themselves in positions of financial security.

Saloonkeeper Swearangen (Ian McShane) is the unofficial mayor of Deadwood until the arrival of Seth Bullock (Timothy Olyphant), a former sheriff who hopes to establish a business and simple home for his new family. The contrasting personalities of these two alpha males contrast nicely as the town eventually faces the tide of American industrialisation.  

Most of the characters are based on fact, but the series is not a documentary or even a docudrama. The story’s inherent drama does not necessarily stem from its accuracy, but, like a great fiction, its greatness lies in its storytelling, its sense of narrative shape and structure. Creator David Milch has a masterly control of the medium and finds powerful ways of pushing his characters to their breaking points for inevitable evil or unexpected compassion.

Deadwood has been praised for its authentic production values and its filmic quality, but the storytelling feels closer to the “tell me” medium of theatre than the “show me” medium of cinema: what these people say and the way that they use language is as significant as their actions. The series is superbly directed, as well. The visual design is simple, clean and potent, helping to enliven the town’s richly populated universe. Like great theatre, the direction is designed to elicit the maximum possible impact of the writer’s words.

Al Swearangen is a particularly fascinating character, brimming with striking Shakespearian subtext. Not quite a pure villain, Swearangen is a survivor, willing to do some bad, bad things to safeguard his crown, but also capable of unexpected compassion for his flock. In contrast to nemesis-turned-collaborator Bullock, Al is a visionary who effortlessly manipulates Deadwood’s various inhabitants. Like The Sopranos’ James Gandolphini, McShane gives an amazingly versatile performance and this great antihero and will probably never find a cinematic role to match the texture of his small screen creation (he has since voiced the evil polar bear in The Golden Compass).

Much as Swearangen is not a simple villain, Bullock is a complex, difficult hero. He is a man of doubt and contradiction, struggling to maintain law in an unjust world whilst he struggles to conceal his deepest desires. Bullock has married his brother’s widow and taken in his nephew as his own child, but maintains a longstanding affair with a local woman. He is a pained, conflicted man who attempts to resolve notions of honour and obligation with his yearnings, incapable of the decisiveness of his enemy.

In fact, the entire depth of characterisation is unparallel by modern television. It actually reminds me of the great television shows of old (like MASH), in which the writers do their best to service each of the fine characters with texture and maximum impact.

The innkeeper is a Dickensian parasite whose attempts to fleece his clients is only rivalled by the snideness of his murmurings. The local doctor is a thoughtful, compassionate man who is nevertheless unafraid to pull Swearangen into line. The outrageously entertaining Calamity Jane spits, hollers, swears, barks and fights to the equal of any man whilst the iconic Wild Bill Hickok faces a storm of fame seekers who want to make their name with his assassination.

Deadwood is one of the great shows of modern television- rich, textured and powerful, there really is no excuse not to see magnificent series. 

Andrew Moraitis