The actress says she often gets recognized as "that girl" from 'Friday Night Lights' or 'Lost.' But fans of her role as madam Joanie Stubbs from the profanity-laden David Milch drama 'Deadwood' tend to be the most colorful.
"I definitely get a lot of quotes" from devotees of the profanity-laden drama, Dickens says. "And some of them, of course, are littered with curse words. That's always fun."
"I was waiting in line at a restaurant, and this group of people walk out, and this woman says to me, 'We love Joanie Stubbs,' and I was like 'Oh, thank you so much,'" the actress recalls. The woman walked out, "and her husband came through, and he goes, 'It's nippy on my twat!'" she laughs, quoting one of her character's lines on the show.
(S01E01) The opening title cards of David Simon's new HBO series 'Treme' (pronounced "treh-MAY," not "treem") tells you all you need to know: "New Orleans, Louisiana"/"Three Months After." I suppose Simon is saying that if you need to ask what "After" refers to (Hurricane Katrina, of course), then you shouldn't bother. Simon, the writer-producer-creator of 'The Wire' is back, and there isn't a 'Wire' fan alive who wouldn't want to see what he has up his genius sleeve for us this time.
Right away, the shots are close-ups of various jazz musicians, residents and cops preparing for a brass-band parade. There's a funny conversation with a musician negotiating his fee for participating in the main line, and then the parade starts, with its accompanying crowd of reveling second liners.
Late to the parade, because he can't afford the cab fare (a running gag throughout the episode), is perpetually broke trombonist Antoine Batiste (Wendell Pierce, a New Orleans native), who starts playing with a cry of "Play for that money boys, play for that motherf---ing money."
When dealing with serious and potentially flammable subject matter, especially something as cataclysmic as 2005's Hurricane Katrina, a TV show has to tread carefully. 'Treme', a 10-episode HBO miniseries focusing on post-Katrina New Orleans, does not tread at all. Instead, it dives deep under the floodwaters and resurfaces with the corpses of those dead and gone -- lest we forget the immense tragedy that unfolded there.
Where most shows would exploit the exploitable (the riots, the pillaging, images of dying or dead people, the Dome), 'Treme' takes a raw look at the aftermath through a series of vignettes. The viewer follows different families and individuals as they try to put the pieces back together. Sometimes those pieces are tangible, like the rotting structure of a flood-damaged home, and sometimes they're purely emotional, like the trauma caused by a relative missing for months.
But given that this is the latest effort from David Simon -- the much-heralded creator of the seminal HBO series 'The Wire' -- this drama proves to be so much more than just that.
Those expecting a Big Easy version of 'The Wire,' however, are out of luck. This is no police drama, and the city's politics are largely unexplored. The series takes its title from Faubourg Tremé, the historic New Orleans neighborhood adjacent to the French Quarter thought to be the birthplace of jazz. And the music from this multi-cultural, multi-storied, proud yet battered city pulses like a heartbeat throughout.
There's been no shortage of talent gracing this drama. The ensemble cast includes 'Wire' vets Wendell Pierce (a New Orleans native) and Clarke Peters, Khandi Alexander, Kim Dickens, Melissa Leo, John Goodman and Steve Zahn, in his first regular TV series role. Guest appearances from musicians such as Allen Toussaint, Elvis Costello, Dr. John and Kermit Ruffins lend authenticity.
Nor has there been a shortage of media coverage leading up to 'Treme's April 11 premiere. Sadly, part of that has been due to the unexpected death of one of the team's writers, David Mills. But 'Treme' is also being hailed as more than just another television program: It's an event. While some have noted the series' meandering pace, many critics have been praising Simon and co-creator Eric Overmyer's new series for its ability to immediately transport viewers on a musical journey into the heartbeat and the heartbreak of this weird and wonderful city.
Read what the critics had to say after the jump.
According to the Hollywood Reporter, the documentary is set to start shooting today, with Lee taking his eye on New Orleans and the Katrina aftermath five years later. Lee's original series won accolades for its compelling depiction of New Orleans' citizens and how they coped within the aftermath of the tragedy.
The project is set to debut in Summer 2010.
You know, it's been so long since I've seen the last episode of Deadwood that I'll have to go back and watch it again to prepare for the two movies that will end the western saga. I think the last scene showed Gerald McRaney on his way out of town, probably heading to Jericho, Kansas.
But there's no rush. According to this story at the Chicago Tribune, not only are the two movies not going to air until 2008 at the earliest, but (according to cast member W. Earl Brown), the stars of the show haven't even signed contracts to appear in the TV flicks. But creator David Milch said a couple of months that he is "committed" to finishing the movies.
Fionnula Flanagan's scene-stealing guest spot on the "Flashes Before Your Eyes" episode of Lost got me thinking about some of the other memorable guest stars the show has had over the years. It was difficult to commit to only five performances, with so many to choose from. Below are my picks for the most entertaining guest roles over the last three seasons.
1. Clancy Brown ("One of Them"; "Live Together, Die Alone"): This actor owns every role he plays, from Brother Justin in Carnivale to Byron Hadley in The Shawshank Redemption, so it was no surprise when Clancy Brown rocked both Sayid's and Desmond's flashbacks. It is still unclear if Joe Inman and Kelvin Inman are the same person, but at least one of them has a major role in the history of the DHARMA hatch. Here's hoping that Inman's (and Brown's) part in the Lost story continues in the future.
(S03E12) Maybe I sit alone with this belief, but I was royally disappointed with this finale. This entire season has been building up to this episode. It was supposed to be a magnificent explosion with guns a blazing as Bullock and Swearengen delivered Deadwood from the clutches of Hearst and his Pinkerton pistoleros. There was none of that. For the most part it was calm. It's clear that this finale was written with a full-length fourth season in mind and I only hope now that the remaining four hours of this wonderful series can do it the justice it deserves.
(S03E11) Forgive the extreme lateness of this review folks, but between work and my cable being out for a day, I just haven't had the opportunity to sit down and watch this episode. But now that I have... wow. Words cannot describe how excited I am for tonight's season three finale. So take this review as sort of a refresher on the season as a whole as we prepare ourselves for the final stand-off between Hearst's men and the camp of Deadwood.
(S03E10) Once again, great as usual... but man, they are really building up to this season's climax at a snail's pace. As much as that fact has me agitated, you still have to admire it though. Every move, every scene, every choice bit of dialogue in this show means something. It all ties together. It's just so meticulously laid out and that's why we're unfortunately not being treated to a full fourth season. It's too bad that series renewal relies on viewership and not the quality level of the program, because let's face it. Deadwood, along with a few select others (Rescue Me comes to mind), are alone at the top right now.
(S03E09) Since there are only three episodes left this season, I was expecting this to be a much tenser hour. Don't get me wrong, it was great, but David Milch and Co. are being very economical about when, where, and how they're doling out the really explosive stuff. If anything, the final three installments will be brimming with what this whole season has been building up to: a final confrontation between the people of Deadwood and George "Boy the Earth Talks To" Hearst.
(S03E08) This show just continues to impress. After missing last week's episode, I sat down an hour early tonight and got a double dose. Talk about a great two hours of television. We pick up the morning after Al's impromptu meeting with the rest of the camp elders. Tensions are high as Merrick and Blasinov distribute fresh copies of The Pioneer around camp. The waiting game came next as it would only be a matter of time before Hearst saw Bullock's letter to the families of the murdered Cornishmen. And find it he did. He had some words with Merrick about printing the letter. But Hearst is no fool. He knows it was published to embarrass him and shed light on the murders he clearly had a hand in. If anything, all this has done is strengthened his already powerful dislike for the camp and its residents.
(S03E06) Omar Gooding?!?! This is too much to handle. From Wild and Crazy Kids to Deadwood. And yes, before people go comment crazy, I realize he's done plenty since then. But c'mon, he hosted a show where kids threw water balloons full of whipped cream and chocolate syrup at each other. Regardless, I'm not sure what adding his character (he plays Odell, Aunt Lou's son) will accomplish. I was starting to become content with all the players we had. Now we add Odell and leave out someone like Jack Langrishe, who I absolutely love. But I shouldn't discriminate... or else I'll come off sounding like E.B. or Steve the Drunk.
(S03E05) This sums just about everything up:
Johnny: "What are we waiting for?"
Swearengen: "To see what kind of hell breaks loose."
And break loose it did. From drug addiction to street fights, plenty of things came out into the open this week on Deadwood.
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