It's great to see Prez finally exert a little authority, even though he gives himself away all the time.
So, here's my unspoiled speculation: Naimond is the only one of the core kids who's going to go into Bunny's program. Dukie is too pathetic, Michael has too much promise, and Randy is clearly not a corner boy. I think one of them is going to die this season, but could see arguments for and against each at this point.
Really nice to see Rawls play both sides, too. Obviously, he meant what he said to Carcetti, but he's still going to come out on top even if Royce wins. Which isn't very likely.
Carcetti will be the next Mayor. That is a given.
Dukie is completely smart. Let us just call him Stringer, Junior.
Bunny's program: Dude, it is a government program. After producing a few statistics, it will wither and die.
I sort of hate Carcetti.
But it's not like I feel better about the other pols.
(maybe Clay Davis, for being entertaining to watch)
And I feel for Tony Gray, whom Carcetti completely *fucked* last year on the city council.
Fave line from last night's
Deadwood,
as delivered by Jane:
And you're looking at the ass of a drunken shitbird!
Aw. Hell no.
Except I can't type how many syllables a Clay Davis "Hell, no" actually takes. Many.
But you can almost understand how his rap works. Almost.
I'm enjoying watching that actor develop as his part gets bigger.
"Shitbird" isn't an epithet I've heard much in real life, but it excels as such on Deadwood and The Wire.
Except I can't type how many syllables a Clay Davis "Hell, no" actually takes.
There's a line in one of Li'l Sphere's Dr. Seuss books that first describes what thunder sounds like, then describes what lightning sounds like. Clay Davis's "Hell, no" sounds like lightning.
"Blue" too.(I'm hearing it in Franz's Midwestern voice, right now, and it's...just not completely unexpected, is all.)
I expect it has a special place in Milch's heart.ETA: cool description, Corwood.
Actually, Davis probably started out quite a guy, once. Just very much a product of the old-school, smoky backroom kind of politics.
Weeds is in trouble. They need to be about something, pretty damn fast.
I suspect I'm going to find it far more together on the rewatch, when I can sit down with the whole season at once. Right now they seem to be bouncing from mini-plot to mini-plot, and while a lot of that is hilarious and interesting, it isn't really cohesive. But since I watch the show mostly for Andy (who is like so many friends I had but didn't know why I had them until they turned on the charm) and how Mary Louise Parker's hair is going to look each week, I don't really have a high bar.
Regarding Calamity Jane: we watched a lot of AMC when I was a kid, and Doris Day's portrayl of Calamity Jane has always been definitive for me. Yes, she was largely a caricature in that as well, but there was something in the way she played it, something about the eyes that showed she wanted something *more* than what she had there. Granted, the entire movie was essentially a plot to convinve tomboys to be nice little housewives, which the me of now recognizes. But she didn't brook any shit, you know? She was aggressive about what she wanted, and she wasn't an asshole. She just didn't have pretense. And so yes, okay, the real Calamity Jane was a drunkard and so was everyone else; hell, if I had to live in those circumstances, I would be too. But it lacks any enjoyment for me to watch a character, real or no, that represented something greater to me when I was a kid be portrayed as a dimwitted moron with no capacity for greater love and emotion than a puppy dog.
Doris Day's portrayl of Calamity Jane has always been definitive for me.
Ah! Yes, that would do it. A Doris Day Jane is about as far away from Deadwood's Jane as you can get. I'm sure I have similar examples of that sort of thing, but I can't think of any in my current, bleary, not quite awake yet state.
