Deadwood’ Rewind: Season 1, Episode 2: ‘Deep Water’ (Newbies edition)HBOWe’re now into week 2 of our trip back through the first season of “Deadwood,” and the plan remains the same: two essentially identical versions of the same review, but one where it’s safe for commenters to discuss events from the entire run of the series, and the other where, for the sake of “Deadwood” newcomers, the comments should only deal with things up through the current episode. This is the latter; click here for the veteran- friendly version. My review of “Deep Water” coming up just as soon as I’ve got you triangulated… “I see as much misery out of them movin’ to justify their selves as them that set out to do harm.”  - Doc Cochran. Last week, I talked about how the series pilot seemed to be setting up three central characters in Bullock, Wild Bill and Swearengen, with the two white hats destined to come into conflict with the shady saloon keeper.

But while there’s certainly still tension between those two sides in “Deep Water” – with Seth struggling to control his temper while he and Sol negotiate to buy their lot, while Al continues to suspect and fear Wild Bill – the hour’s central conflict is largely between Al and Doc Cochran. It’s an interesting, uneasy partnership these two have. Al is, for all intents and purposes, the king of Deadwood right now. He got there early, controls most of the good land, the whores, the booze and all the scams. As he says in this episode, the camp is currently wide open, and it takes a man of both incredible ambition and incredible will to take control of it the way Al has. Al is not quick on the draw like Wild Bill. He’s physically strong but far from the strongest (and is getting up there in years).

But he’s smart, and he considers all the angles, and he is unafraid to take action. Consider three scenes: Al marching into Doc’s office to get a look at the girl, Al reacting to all the bad news from Persimmon Phil and Dan and Doc, and Al murdering Phil in his office.

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In the first, here we have Calamity Jane, iconic (if oft- disputed) heroine of the Old West, and Al destroys her with just a look and a few well- chosen words. When he tells her “Why would I do it to you?” it shows her just how beneath his notice she is.) In the second, he recognizes almost immediately how far his plans have gone awry, but rather than rage against his underlings for being incompetent and/or disloyal, he quickly calculates the angles, recognizes that at this point the best course of action is to take out Phil, and does it. In the third, we essentially have Al bringing a knife to a gunfight and winning, because the younger, stronger, better- armed Phil can’t even conceive of Al stabbing him to death in that moment. So Swearengen is formidable in how he guards his interests, but Doc – twitchy, sickly Doc Cochran, who even has Trixie worried about his health – turns out to be as formidable in his own way, and his interests extend to the entire camp. We were introduced to Doc last week helping to deal with the aftermath of Trixie shooting the abusive john, and at the time the implication was that the town sawbones was in the pocket of the town crimelord.

But it’s not that simple. Doc treats Al’s whores, and he turns up if someone’s been hurt at the Gem, but he has other patients, other priorities, and he won’t simply stand by and let Al murder innocent people. He shows some steel in the way he tries to call out Alma Garrett for wasting his valuable time when he could just give her the laudanum she wants without the bogus examination, but more impressive is the way that he attempts to stand up to the Swearengen machine with only the help of drunken, shaky Jane.(*)(*) Because we have an omniscient point of view that the characters lack, we know that Doc should have just recruited Bullock to help out, just as we also know that Al at this point has nothing to fear in terms of a Bullock/Hickok alliance. And that, if anything, Al’s paranoid reactions to that are likely only going to bring the two gunslingers to his doorstep that much sooner.) But it makes sense that camp veterans would be distrustful of all newcomers for quite a while – to know that a place this rough tends to attract the most unscrupulous types, and that assuming a stranger’s intentions are good is probably hazardous to one’s health. But Doc turns out to be both lucky and smart, as Dan is understandably reluctant to murder a child, and as Jane and Charlie turn up at just the right moment and location for Doc to figure out how to spirit the girl off into the night.

He couldn’t do it earlier because Al likely had people watching his office, whereas at this point the eyes on him belong to Dan.) Even though I knew how things would turn out, “Deep Water” remains a wonderfully tense episode, a superb showcase for both Ian Mc. Shane and Brad Dourif, and another example of just how things get done in this dark, muddy place. Some other thoughts: • When this episode originally aired, I had no idea who Nick Offerman was nor how important he would become to my comedic sensibilities.

So it’s one thing to see some random hairy guest star waving his penis around and quite another to know that it’s Ron Effing Swanson’s penis. I’m still, frankly, trying to figure out how this will affect the way I view him on “Parks and Rec” next season. On a less naked front, the performance is a reminder of Offerman’s range, ’cause there is nothing in common between Mason and Swanson other than the hirsute man who plays them both.)• Beyond Tom Mason’s big swingin’ dick, this episode was filled with very blunt treatment of the sorts of things that were often glamorized in the old Westerns. The whores in Deadwood are constantly battling VD and other travails of the trade, men like Charlie Utter think nothing of peeing against the sides of buildings when they’re drunk (and possibly when they’re not), and there’s just mud everywhere.

Milch once told me that the cursing on “NYPD Blue” (which is spectacularly mild compared to what’s on this show) was actually a Trojan horse – his excuse to deal with other subjects like alcoholism, sex abuse and the worst kinds of violent crime – and I feel much the same way about “Deadwood.” The cursing catches your attention, but everything about the show is so much rawer than your average drama and/or Western. Another element Milch brought over from “NYPD Blue” was his fondness for having episodes unfold over consecutive days. It obviously keeps the tension up, but Milch will at times get a bit elastic about it, in which certain events clearly happened the day before while more time seems to have passed between others. There’s nothing major that stands out in this episode – unless you count Al asking the hardware boys how business is, when they’ve barely even set up a tent – but it’s something to keep an eye out for as we move forward. Walter Hill only was around to direct the pilot, and Davis Guggenheim (who would later win an Oscar for “An Inconvenient Truth”) taking over as lead director for the first season.

In some ways, I think “Deep Water” is even better- looking than the pilot, but either way this remains such a gorgeous show with the way it uses darkness and shadow and fire, with wood walls in the background of nearly every shot. Watch Deadly Honeymoon Online Freeform.

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What's Alan Watching? The Best Show on TV Right Now) coming up just as soon as I look like a TV weatherman.."I'm just not the man I thought I was." - Hank. Um.. uh.. um.. WOW. Sorry, just need another minute to pick my jaw up off the floor after that. What an incredible, bananas finish to the strongest episode yet of this third season.

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As written by "Breaking Bad" newcomer Thomas Schnauz (another of many "X- Files" vets Vince Gilligan has brought in) and directed by Michelle Mac. Laren (who joined the staff full- time after last season's gorgeous "4 Days Out"), the parking lot climax was a perfect model of suspense filmmaking.

We'd already been primed all episode to fear that the Cousins could hit Hank at any moment (every time the elevator doors opened, I know I gripped my armrest), but then to have someone(*) warn Hank ahead of time kicked things up several levels. Suddenly, we and Hank were in the same mindset, looking around every corner, jumping at shadows (and/or men with squeegees), waiting for the two men to come and wondering if an unarmed Hank possibly had a chance against those two unrelenting figures of death.(*) So, is there anyone it could have been other than Gus? Gus clearly wanted the Cousins the hell out of his territory, and I can see him warning Hank in the hopes that he might be lucky enough to take them out - or, at least, to bloody them enough that they'd have to re- cross the border in a hurry rather than hanging around in the hopes of also killing Walt. Other than Mike making the call on Gus's behalf, there doesn't seem to be a character in a position to know or do anything about the planned hit. For that matter, I'm not sure how even Gus would have known that Hank had roughly a minute to act, but I'll accept that he could for the sake of what that call added to the scene. In many ways, the parking lot shootout evoked the failed hit on Tony Soprano from the end of "Sopranos" season one, down to the use of an SUV as a weapon. But I'd argue this scene one- upped that.

Violence on "The Sopranos" always had something of a black comic tinge to it (the lead- up to the hit is Tony wandering around in a depressed stupor, and the hitmen were introduced in a scene played for laughs because of Uncle Junior hiding in the back of a car), and these guys didn't have the kind of mythical build- up the Cousins got. Watch Don`S Party IMDB. And on top of that, Tony Soprano was the star of the show, and it wouldn't work with him dead, whereas "Breaking Bad" would miss Hank but could easily continue without him. So the danger was far more real even without the Cousin factor.

In the end, though Hank is tough and resourceful, he won the only way anyone could against these two: through luck. He was warned in advance and was still in his car. Leonel's(**) gun also happened to fall right where Hank could reach it, and Marco conveniently had an extra, special bullet in his jacket pocket courtesy of the friendly gun dealer, and the duo's flair for the dramatic gave Hank just enough time to find the bullet on the ground and load it and shoot out the back of Marco's skull before the shiny ax could finish its backswing. Nice of the show to finally give the Cousins names - and a backstory - right before Hank killed one and either crippled or killed the other. The flashback with a middle- aged Tio at the height of his powers was chilling in its portrait of the culture those two grew up in. With Don Salamanca as the dominant male in their lives, and giving them "lessons" like that one, is there any wonder how they grew up to be these two unflappable killing machines?

Note also that Leonel, the one who as a boy cries over Marco's destruction of his toy, is the one who's now hardcore enough to tell the other to finish the job rather than staying to help him. Tio made him that way. But here's the thing: even without those crazy final minutes, "One Minute" still would have been one of the best "Breaking Bad"s to date. What an amazing showcase for both Aaron Paul (who seems a lock to repeat his Emmy nomination next year, and possibly to win it if he submits this episode) and Dean Norris (who sure deserves to join Paul, but may not in what's always a crowded category). Hank's beatdown of Jesse brings both men to a crossroads.

Having lost his girlfriend, his partner, and now his source of income in the RV, Jesse finally tumbles over the abyss after Hank puts him in the hospital. Acting with half his face hidden by some really convincing prosthetics, Paul showed us a Jesse even colder and angrier than he was in his "I'm the bad guy" phase earlier this season, giving a riveting monologue(***) about all the ways he intended to punish Hank - and the way he'd drag Walt down with him if the DEA came after him.(***) If the parking lot scene reminded me of "The Sopranos," Jesse's speech was like a more controlled version of Al Capone's speech from "The Untouchables" about what he wanted done to Elliott Ness. But when Walt returns to Jesse's hospital room later in the episode to try to save his former brother- in- law, Jesse's evil calm is replaced by raw, unbridled pain, as he unloads on Walt with the laundry list of all the ways his life has gotten worse since Mr. White came back into his life. These are words Walt has needed to hear for a long time now - to have someone he can't tune out explain how toxic he's become to everyone in his life - and it's to Walt's credit that he already seemed aware of this after first seeing Jesse's ruined face. When he chews out Gale for screwing up the temperature, it comes in part from his need to feel superior to others (he does this shortly after Gale starts working two steps ahead of him), but also clearly out of guilt for what he saw happen to his previous lab assistant.

Walt is a monster, but there's enough humanity left in him to recognize the pain he's caused, and the debts he owes, and so he manages to talk Gus(****) into letting him fire Gale and bring Jesse into the Walt- cave.(****) And Gus's willingness to go along with that plan torpedoes my theory that he was using Gale to appropriate Walt's methods and then say goodbye to the loose cannon. It's entirely possible he still has that in mind (maybe the Walt- cave is tricked out with surveillance gear?), but could Gus have far grander plans for Walt that extend past the initial three month agreement? And in the wake of putting Jesse in the hospital and his own career on life- support, Hank finally lets himself open up to Marie. Getting back to my fear of the elevator doors, when Hank got on the elevator the first time with Marie, I was expecting Cousins and was then floored to see husband and wife sobbing in each other's arms (and amused to see them completely composed by the time the doors opened on the ground floor, because there are some things Hank Schrader will not show the world). Even better than that scene, though, was Hank getting ready for his hearing with OPR, where he talked about his PTSD (in terms he could use), and about how much he's been struggling since he killed Tuco.

So here's what I wonder: the shootout with Tuco is what started Hank down this mentally unhealthy road, and the exploding turtle made things worse, but he finally seemed to be at peace by the time he left the DEA field office, knowing he'd probably lost his job but wouldn't go to jail. Now that he's barely survived a horrific ordeal, seen more people killed in front of him (and because of him) and killed one or two more himself, what happens?