Posts Tagged ‘Boardwalk Empire’

Cut to Black: The best (and worst) post-‘Sopranos’ series finales

June 9, 2017

It’s been a decade since “Don’t Stop Believin'” cut off in Holsten’s, and The Sopranos cut off with it. June 10 marks the tenth anniversary of the original airing of “Made in America,” the final episode of creator David Chase’s modern mafia masterpiece. Credited (correctly!) with kicking off a new Golden Age of Television, the show ended on an equally influential note: silence. We’ll never know whether mob boss Tony Soprano was killed as he sat down for dinner with his family (as in nuclear, not crime), or if his life simply went on, with the next FBI raid, hitman or plate of ziti always just around the corner. Nor are we meant to figure it out, no matter what you’ve read on the internet. For Chase, the ambiguity and uncertainty speak not only to Tony’s uniquely precarious existence, but all of ours’ as well.

Demanding, divisive and pretty much perfect for the show it concluded, “Made in America” remains the gold standard for finales to this day. In one form or another, nearly all its successors are a reflection of it, whether attempting to right its perceived wrongs or live up to its masterpiece status. Moreover, as one of the first major shows of its kind that was allowed to end in its own time and on its own terms, The Sopranosaccidentally popularized the unfortunate idea that a show is only as good as its final episode, and that if you don’t “stick the landing,” nothing that came before is worthwhile. That’s an extreme overreaction, of course — a bad finale is not a magic eraser that wipes out the hours you spent enjoying the show up until that point — but it’s a concept creators and audiences alike now wrestle with.

With Tony trapped in that diner limbo for ten years (Schrödinger’s Soprano?), we’re taking a look at six of the standout series finales that have aired since: Mad Men, The Wire, Breaking Bad, Boardwalk Empire, Lost and Battlestar Galactica. What did they get right, or wrong, about the shows they’re concluding? What did viewers take away — and what should they have focused on instead? Should we be asking if they stuck the landing, or if they leapt into the unknown? Fire up the Journey and find out.

I wrote about some of the most satisfying and disappointing finales of the past decade, all involving really good shows, for my debut at Mic.

Revisiting “Boardwalk Empire,” the Most Underappreciated Drama of Its Time

February 15, 2016

Nor has there been a finer, sadder example of a wounded warrior than Richard Harrow. Introduced by writer Howard Korder during season one while waiting for a psychiatric evaluation at a veteran’s hospital, Harrow (an unrecognizable Jack Huston in his breakthrough performance) makes a knockout first impression with his broken-throated, Gollum-like croak, the unnerving uncanny-valley mask he uses to hide his severe facial disfigurement (a sniper himself, he was shot in the face), and with the black nihilism he cites as the reason he no longer reads novels. “It occurred to me: The basis of fiction is that people have some sort of connection with each other. But they don’t.” I gasped when I first heard this line, dredged from my worst fears about life, love, and their collective lack of lasting meaning. Richard’s capacity for belief in humanity was blown out of him in the Great War, and much of his time on the show chronicled its slow restoration, though dozens of dead bodies dropped behind him on his way. This archetype — the man (usually) who is taught violence in service of an ideal, only to discover one is real and the other a cheap fiction — is a distinctly American one; The Wire’s Omar Little,Fargo’s Hanzee Dent, and Game of Thrones’ Sandor “The Hound” Clegane all share Richard’s table in their sad Valhalla. And though his final scenes were devastating, his greatest contribution to the series is in the teeth-grinding tension of the shoot-out sequence that completes the third season, as he blows his way through a small army of Rosetti men to rescue his late friend Jimmy’s son. The scene weds action to emotion as effectively and movingly as any I’ve ever seen, its resolution viewed through a blood-spattered window, an impenetrable barrier to normalcy for this tragic figure.

On the eve of the debut of Vinyl from the same creative team, I got to write a longtime dream essay of mine, a full-throated defense of Boardwalk Empire as one of the New Golden Age of TV Drama’s hidden treasures, for Vulture.

The HuffRoom

December 1, 2014

I’ll be talking The Newsroom, The Comeback, The Walking Dead, and the best shows for a holiday-break binge on HuffPost Live’s Spoiler Alert today at 5:05pm. Tune in here!

HuffPost Empire

October 27, 2014

I’ll be talking the Boardwalk Empire finale, Homeland, & The Affair on @HuffPostLive today at 4:55pm. Watch it here.

“Boardwalk Empire” thoughts, Season Five, Episode Eight: “Eldorado”

October 27, 2014

I reviewed the series finale of Boardwalk Empire for Rolling Stone.

Q&A: Terence Winter on the end of “Boardwalk Empire”

October 23, 2014

Nucky started the series as a crooked politician, but as Prohibition continued he became more of the traditional gangster. Was it the law that unleashed the criminal in him?

People were made millionaires overnight by Prohibition. If you were willing to traffic in illegal alcohol and run the risk of getting arrested or hijacked by other gangsters, you had to be prepared to do things you hadn’t done before — like murdering people. That’s what Jimmy was warning Nucky about.

You know, there was no shame about it. People had been drinking beer their whole lives, and suddenly it’s illegal? It was pretty hard to convince anybody other than the temperance movement that alcohol was this bad thing. It was just illegal, not morally wrong. Your average man on the street had no intention of giving up his daily beer or scotch — he just had to figure out how to do it. So these guys weren’t looked down upon. It’s not like they were heroin dealers or murderers. They were providing a service, a commodity, that most people found innocuous.

There was also a collision of historic events that not only made the gangster world possible, but were tailor-made for it. You had a generation of young men coming back from World War I who spent the last two years in trenches killing people for free. Now, suddenly, all you have to do is guard a truck and maybe shoot somebody, and you could make a fortune. Guys lined up all the way around the block to do that, since they’d basically been doing exactly that for nothing. You had all these disenfranchised, disillusioned young men who were perfectly willing and able to get into that business.

There’s a character on the show who says: “The premise of fiction is that people have some sort of connection to each other. But they don’t.” Is that your conclusion as well?

I think it’s a matter of perspective. I’ve always thought that when they say ignorance is bliss, the converse to that is that knowledge is hell. The more you know, the bleaker things can get. Jimmy once said that all you have to worry about is when you’re alone at night. You run out of booze and you run out of company, and [then] you’re really alone with your thoughts.

I interviewed Boardwalk Empire creator Terence Winter about the upcoming finale, and his next project with Martin Scorsese, Mick Jagger, and Bobby Cannavale, for Rolling Stone.

The HuffPost Affair

October 20, 2014

I’ll be talking The Affair, Boardwalk Empire, and Homeland on HuffPost Live’s Spoiler Alert at 5pm today. Turn on tune in!

“Boardwalk Empire” thoughts, Season Five, Episode Seven: “Friendless Child”

October 20, 2014

“You probably don’t even hear it when it happens, right?”—Bobby Bacala, The Sopranos

“You tell yourself it’s quick, but you don’t know. You can’t know, until it’s you, and then you can’t tell anyone.”—Nucky Thompson, Boardwalk Empire

In an echo of the New Jersey gangster masterpiece that spawned it, Boardwalk Empire‘s penultimate episode ever — “Friendless Child” — walked Nucky Thompson right up to the edge of the great unknown. He’s lost everything now, or close enough not to make much of a difference. His unlikely right-hand man Mickey Doyle and ruthless, loyal bodyguard Archie were tossed on the pile of bodies that’s been mounting around him for years — a levee of corpses designed to protect his kingdom by the sea. But that empire, too, has fallen, traded away for the life of a nephew who wants nothing to do with him to a trio of crime lords who couldn’t possibly intend to honor the agreement. When they break it, they’ll break it with a bullet.

But now that Nucky is alone – now that there are no more plans to hatch, deals to make, wars to fight – what does he see in his isolation? A letter from Gillian Darmody, and the sight of her face staring back, begging for help. Her plea and her gaze are an indictment of the terrible crime Nucky committed by bringing her to theCommodore in order to begin his long road to power. (A decision, we learn tonight, he made knowing full well the fate that awaited her.) By having her direct them not just at Nucky but at everyone watching the show, Boardwalk makes this act’s importance clear in no uncertain terms. That final shot puts young Gillian at the center not only of the frame, but by extension the episode. It suggests that the suffering of the series’ greatest female character is no less important than the moves and machinations of the men fighting for control of the empire she eked out an existence within. It shows that that empire would not exist without the suffering of Gillian and countless other people like her. It’s the series’ gutsiest, and most moral, move to date.

I reviewed tonight’s penultimate Boardwalk Empire for Rolling Stone. I cannot stress enough that if this show were the vapid, self-serious shoot ’em up it’s made out to be, Gillian Darmody would not be where she is in this episode.

HuffPost Dead

October 13, 2014

I’ll be talking Boardwalk Empire, Homeland, and (god help me) The Walking Dead on HuffPost Live’s Spoiler Alert show at 4:40pm today. Click here to tune in!

And if you missed last week’s show, watch it here!

“Boardwalk Empire” thoughts, Season Five, Episode Six: “The Devil You Know”

October 12, 2014

I can’t really excerpt anything from my review of tonight’s Boardwalk Empire without ruining it for someone. If you’ve seen it, though, please read the review.

Today on HuffPost Live: Homeland, Boardwalk Empire…and Twin Peaks

October 6, 2014

I’ll be discussing the season premiere of Homeland, the latest episode of Boardwalk Empire, and the news that Twin Peaks is returning for a new season in 2016 (!!!!!!!! more on that anon) on HuffPost Live’s Spoiler Alert show at 4:50pm. I’ll be talking about Homeland, Boardwalk Empire, and Twin Peaks (!!!) on HuffPost Live’s Spoiler Alert show today at 4:50pm. Click here to tune in!

“Boardwalk Empire” thoughts, Season Five, Episode Four: “King of Norway”

October 5, 2014

“You want it to be one way. But it’s the other way.” That’s a quote from The Wire, another great HBO drama of crime and community. But Nucky Thompson – and the Boardwalk Empire viewing audience – would do well to heed the words of the steely-eyed young Baltimore drug lord Marlo Stanfield. When a fictionalized version of a bit player in gangland lore declares war against Lucky Luciano, Johnny Torrio, and Meyer Lansky – the three men who established the most successful organized crime operation in American history – that war can only end one way.

Granted, it may not be as simple as Nucky dying in defeat at the end. Perhaps he’ll find some way to make peace with the kings of New York —”paying Roman tribute,” as he puts it to current crime boss Salvatore Maranzano right before the Luciano/Lansky/Torrio alliance tries to assassinate them both. All we know for sure is that he won’t be sending them to their graves as promised. But with material this varied and rich it hardly matters. The task of tonight’s dynamite episode — “King of Norway” — was simply to show whether a journey to a preordained destination can be worth taking. The answer is yes.

“My life is a fuckin’ shipwreck.” “Well, land ho.” I reviewed tonight’s fine Boardwalk Empire for Rolling Stone.

Terence Winter is coming

September 29, 2014

I interviewed Boardwalk Empire creator Terence Winter about the end of the series — and the start of his new one with Martin Scorsese, Mick Jagger, and Bobby Cannavale — for the TV Issue of Rolling Stone, on stands now. Says so right there on the cover and everything. I hope you like it!

“Boardwalk Empire” thoughts, Season Five, Episode Four: “Cuanto”

September 28, 2014

Power is a performance. It’s a matter of knowing your audience, picking up on whether you should be funny or scary, when to play to the cheap seats or act with awards-caliber subtlety. Isn’t this the obstacle faced by Steve Buscemi in the minds of many viewers? His quiet, hangdog intensity as Nucky Thompson is an outlier in an era of volcanic, Byronic TV antiheroes. But that’s the point: For all his successes before and after Prohibition, Thompson’s decision to become more than “half a gangster” has forced him into a role he can’t quite master. As Boardwalk Empire hits the halfway mark of its final season in tonight’s episode — “Cuanto” — it examines the nature of that performance, and those of other characters who’ve found themselves shoved onto stage.

As a boy, the future chairman of the boardwalk is brought before the Commodore, who offers the young Nucky a glimpse of his grand plans for the Jersey shore (and an unwitting peek at his collection of photos of sexualized young girls), grinning when the kid notes that this is Atlantic City “as you wish it to be.” That wish includes everything from a stronger transportation infrastructure to segregated housing. But Nucky’s ability to follow along does nothing to placate his boss. “You think you’re a smart boy.” “If I say yes, you’ll think I’m boasting. If I say no you’ll think I’m lying.” “Don’t try to parse me.” The boy is trying his best, but this command performance is unscripted, in front of the toughest crowd in town.

So he’s naturally flabbergasted when he and his brother Eli are rewarded for going off-book. After catching them breaking into the Commodore’s hotel for a taste of the good life (read: indoor plumbing), Sheriff Lindsay takes the Thompson boys to his own house for a home-cooked meal with his kind, politically minded wife and smart, friendly family. They eat good food, they tell corny jokes, they negotiate a role for the patriarch in Mrs. Lindsay’s temperance crusade, over which the Sheriff conspiratorially shares a nod and a wink with Nucky. It’s too much for the kid, who breaks down crying at his first glimpse of a life that’s emotionally rewarding — a life where he can simply be himself. Cut to an hour later, when he’s asking the Sheriff to assassinate his own father. The terms with which Lindsay demurs are revealing: “Don’t go where you don’t belong. Don’t take what isn’t yours. Don’t pass your burdens on to others. Don’t make me do my job — because I will.” Know your role, Deputy Sheriff Thompson.

The rest of my review of tonight’s Boardwalk Empire for Rolling Stone continues along these lines.

“Boardwalk Empire” thoughts, Season Five, Episode Three: “What Jesus Said”

September 21, 2014

Ironically, the underworld is the one place where our antihero’s real-life inspiration — Nucky Johnson — made a legacy that lasted. As the host of the 1929 Atlantic City Conference, a multiethnic gathering of crime bosses from across the country whose ranks included such Boardwalk Empire characters as Meyer Lansky, Charlie Luciano, John Torrio, Al Capone, Bugsy Siegel, Waxey Gordon, Jake Guzik, and Owney Madden, Johnson was a pivotal player in the organization of the criminal network known as the National Crime Syndicate. This in turn was a crucial step on the road to the establishment of New York’s “Five Families” and the nationwide governing body called the Commission by Luciano and Torrio several years later, following the bloody resolution of the war between Joe Masseria and Salvatore Maranzano.

But the Atlantic City Conference – like Arnold Rothstein’s murder in 1928, like the stock market crash and the St. Valentine’s Day Massacre in 1929 – falls in Boardwalk‘s seven-year gap between its fourth and fifth seasons. Generally, Boardwalk‘s storytelling instincts are sound, particularly in building to big climaxes, so that’s a decision worth trusting. Lining up the end of the show with (presumably) the final consolidation of power by Luciano and Lansky makes sense — and hey, nothing’s stopping us from deciding that Nelson Van Alden and Eli Thompson were Capone’s St. Valentine’s Day triggermen on our own. But given the fictional Nucky’s envy of Joe Kennedy’s legacy, cutting the real Nucky’s single greatest contribution to American history is a curious choice. However, Nucky’s conversation with Lansky in Havana, in which it’s revealed they haven’t seen each other since 1928, means the Conference never even took place in the Boardwalk universe — so it’s possible that the show’s simply playing with the timeline.

Either way, Nucky’s empire as it currently stands has narrow boundaries, and establishing them cost him everything. His sister and parents, including his abusive father, are dead. His brother Eli is in hiding. His surrogate father and son — the Commodore and Jimmy Darmody, respectively — both turned on him, and both died for it. His closest companion for years, Eddie, killed himself. He lost his first wife, Mabel, in childbirth and his second, Margaret, when she could no longer stand him. His relationship with his nephew Willie is cordial enough, sure, but as Kennedy notes, that’s a very thin reed to hang a life on.

It’s only in talking to Sally Wheat – long-distance love interest, business partner, and the closest thing he’s had to a friend in the entire series – that Nucky feels truly at home. In moment so sweet it’s shocking for a show like this, the two of them listen to “Happy Days Are Here Again” together over the phone. Suddenly a relationship between two Prohibition Era bootleggers becomes recognizable to anyone who’s ever enjoyed a favorite song with a loved one over videochat.

Well, I used my knowledge of mafia lore and close reading of film to try to predict the end of Boardwalk Empire AND compare a very sweet plot point to using Google+ Hangouts in my review of tonight’s episode, so I’ve probably peaked.

“Boardwalk Empire” thoughts, Season Five, Episode Two: “The Good Listener”

September 15, 2014

Elsewhere, Gretchen Mol demonstrates why she may be Boardwalk‘s MVP as Gillian Darmody. This has always been a show that’s had a hard time with its women, even more so than many of its macho peers. Margaret has often felt tangential to the action (remember that sex-ed subplot?). Angela Darmody’s entire story depended on her not being able to do anything she actually wanted to do. Nucky’s string of showgirl girlfriends (beginning with the delightfully batshit Paz De La Huerta) had little to do but be frivolous and naked. The two women around whom Chalky’s storyline centered last season, his daughter Maitland and singer Maybelle White, were both fascinating — and were each gone by the finale.

Gillian is different. As a character, she’s required to get naked on command as much as anyone — it used to be her job as a showgirl, and her route to continued influence over the Commodore; now, in an insane asylum following her unwitting confession to a murder last season, it’s a condition of her imprisonment. But her nudity has a terrible energy to it, informed by her rape when she was a girl, and her subsequent determination to turn that victimization to her advantage. Here, that energy is reflected in the freakish image of a room full of mental patients erupting out of strait-jacketed bathtubs like aliens from chest cavities. When Gillian herself finally emerges, slowly and deliberately instead of in a panicked fit, her naked body is both a come-hither and a middle finger all at once. That’s part of what made the shaggy-dog-joke nature of her caged-heat storyline in this episode so satisfying. No, her female warden isn’t the queer-predator cliché she seems; she’s just one woman bargaining for a taste of the good life with another woman who fought tooth and nail to taste it herself.

I reviewed last night’s Boardwalk Empire for Rolling Stone.

Spoiler Alert

September 8, 2014

Here I am talking about The Leftovers, Boardwalk Empire, and Masters of Sex with Ricky Camilleri, Drew Grant, and Matthew Jacobs on the debut episode of Spoiler Alert, HuffPost Live’s new talk show about TV. Hooray!

STC on HuffPost Live

September 8, 2014

I’ll be talking The LeftoversBoardwalk Empire, and so forth on HuffPost Live’s Spoiler Alert show, tonight at 5:30pm. This link will take you right to the show when it airs. Hope to be seen by you then!

“Boardwalk Empire” thoughts, Season Five, Episode One: “Golden Days for Boys and Girls”

September 8, 2014

As its final eight-episode season begins, with tonight’s ironically titled premiere “Golden Days for Boys and Girls,” it’s time to be honest about Boardwalk Empire. Appropriately enough given the attention the show has paid to family traumas, HBO’s sprawling gangster epic has long suffered in the shadow of its siblings. It lacks the seismic influence of The Sopranos, where creator Terrence Winter previously worked; the acclaim and tonal versatility of Mad Men, helmed by fellow Sopranos alum Matthew Weiner; the relentless suspense and narrative arc of Breaking Bad, the era’s biggest crime show; and the epic-fantasy scope and pop-culture cachet of Game of Thrones, the network’s other big costume drama about bloody power struggles.

What it does better than 99% of its competitors, however, is mount pure sensual spectacle. No other show on television says so much about its world through sight and sound alone – via meticulously composed frames, thoughtfully arranged sequences, colors, voices, tics of performance, and, yes, gore, all designed to communicate the violent tragedy at the heart of Nucky Thompson’s story directly to the heart. Tonight’s season premiere offered ample evidence of this — as well as suggesting that Boardwalk Empire might very well be the New Golden Age of Television’s secret masterpiece.

I’m so excited to be covering the final season of Boardwalk Empire, a show I love and admire tremendously, for Rolling Stone. Here’s my review of the season premiere.

“Boardwalk Empire” thoughts, Season Four, Episode 12: “Farewell Daddy Blues”

December 1, 2013

* I think there’s long been a sense that Chalky White, and Michael K. Williams, and by extension African Americans, have been underused on this show. From what I gather from post-finale interviews with Terence Winter, he realized this was true at some point, and this season was conceived in part as a corrective. From an in-world perspective one solid way to demonstrate the vitality of this character is to have him sneak back into town with a small handful of strangers and quietly level the entire defense force surrounding Nucky Thompson’s beachfront redoubt. Like, by rights this episode should feel elegiac regarding Chalky, and to an extent it does — it’s his last best failed attempt to retake the throne. But he remains formidable until the moment Richard Harrow pulls the trigger.

* “So he your nigger now….So you HIS nigger now.” Chalky’s spite is righteous, even if misdirected.

* “Wearing another man’s clothes,” he spits, complaining of his situation. No, this isn’t a guy who’d take well to usurpation.

* THE NEXT DAY in big block letters was my thought when we cut from the standoff between Nucky and Chalky to Knox’s meeting with Hoover in DC the following morning. It let us know that the two of them lived through the night, no matter what else its purpose was. A curious choice, but that’s kind of how the show works.

* I love the audible sneer quotes Hoover places around “organized crime.” I’m actually quite excited to see if Hoover becomes a major character, since in the end he’s easily the most dangerous and destructive person historical figure we’ve encountered so far. (I suppose you could make a case for Lansky & Luciano, but that would require extending a lot more kindness to Hoover than I’m inclined to impart.)

* Are we to take it that the state used a prosecuting attorney with a facial deformity in part to normalize star witness Richard Harrow? Or is the purpose more extradiegetic, a reminder that there are a lot of Richards out there in one sense or another?
* “They keep my face on.” Gasps from the crowd. Richard must be miserable being the center of attention like that. Even as a sniper he operated from a remove from the target audience.

* “I was in love! I was tricked! How can that be right? I’m not allowed to speak. I’m not allowed to live. Why does a man get to do anything he wants!” Cheering! Gillian Darmody, proto-Solanis.

* “You have a brother, Knox? Whatever fuck your name is. Family?” “That’s none of your business.” “Fuck you. You too, you smug son of a bitch.” There’s really no better Eli than end-of-his-rope Eli. Remember when he beat that ward boss to death in his garage when the guy started wimping out of the anti-Nucky conspiracy?

* “Weiss. With Bugs Moran and Schemer Drucci. Sure, after that O’Banion thing? Who else could it be?” One thing I really enjoyed about this episode is that by the time the smoke clears, it’s no clearer who was responsible for the various assassination attempts on Capone and Torrio than it was at the start — to us or to them. I mean, you can read that final scene in the hospital as Torrio and Capone basically acknowledging they’d each tried and failed to have the other killed, they feel bad about it, and Torrio’s bowing out gracefully. I mean, as best we can tell from history that’s not in fact what happened — the North Side mob really did try to hit them both. But look at this as a more effective version of the sleight-of-hand the show pulled last season with Luciano and Lansky trying to strike out on their own as heroin suppliers and Masseria and Rothstein colluding with corrupt cops to teach them a lesson. You can color within the lines of history but still use an unexpected palette.

* This just occurred to me: ex-lawmen Nelson Van Alden and Eli Thompson are going to be two of the gunmen who dress up as cops to perpetrate the St. Valentine’s Day Massacre on Al Capone’s orders, aren’t they.

* Sign #1 that Nucky was wise to Eli: Eli knew nothing about Nucky’s trouble with Chalky the previous night.

* LOL at Mickey Doyle giving Richard the hairy eyeball.

* If somehow an anonymous source were to disclose to the authorities the whereabouts of Jimmy’s body, what would you do for that anonymous source.” “I would do whatever you asked.” I’ll tell you what, the awe in which all these seasoned killers hold Richard Harrow’s ability to kill strikes some very deep chords in me. That is such a menacing, magnetic dynamic.

* “If that’s Darmody, then who’s the other one?” I love when Boardwalk does the anonymous-reporter-voice-in-a-crowd thing. And Christ, that overhead shot of the burial site, the path worn through the field. Our final glimpse of Jimmy Darmody is one of people feeding off him.

* “I’m the mayor.” “I’ll change that if it’s the last thing I do.” Poor Mayor Ed. Backed the wrong horse, guy.

* “Endings have been attempted, have they not, on all sides.” I was just about to say “I’m gonna miss Narcisse,” but I’m not, am I? He’ll be back.

* “I don’t have friends. I have partners.” Nucky sums himself up. And yet…

* “I don’t ever want to worry about that spook coming at me in the dark again. Do we understand each other?” “We do. At long last.” We know this isn’t a legit sellout of Chalky because Nucky doesn’t talk that way.

* “That singer. He says he knows where she is.” That’s the kicker.

* “What are we, paupers? I want artichokes for Christ’s sake.” Been there, Johnny! And then another nice Godfather-style hit, just to scratch as many of your itches as this show can. Fuckin’ Boardwalk Empire works really hard for your ungrateful ass.

* Knox is nervous with the bug in the room. He’s getting bugsy, if you will.

* “Pop! Pop, it’s Uncle Nucky!” “We should walk in together. Present a united front.” The saw-playing. Willie eyes the phone. Marvelous stew of sights and sounds in that one little plot-advancing phone call from Nucky to Eli.

* Richard has a brother-in-law now, lol. I guess the sister settled!

* “Tommy. I love you.” Oh no.

* “I will see you in three days.” Messiah!

* Eli walking up to the camera and past it to go to Nucky’s house.

* “Hello? Nuck?”

* “I’m leaving town. Heading to Cuba with Sally. As soon as I finish what I need to do. I intended to tell you now. There is no meeting. I saw to that. There are names on a hotel register with three empty rooms, and you, and me.” Eli, you really do suck at this and always have.

* “Nucky, I–” “‘Nucky I’ what. ‘Nucky, I’m sorry?'” “What’s it matter what I say?” “You have a lot to lose.” “Me? I don’t have anything. Sooner or later you wind up taking it all. Can’t help it. I’m ready. Are you?” Re-reading that dialogue…you know, I wasn’t sure another Nucky/Eli confrontation, or another season-finale facedown between Nucky and someone he once loved and vice versa, was going to hit all that hard. But it does, doesn’t it? There’s a weariness to it that we in the audience can feel along with the brothers precisely because we have been here before.

* I do wonder what would have happened had Willie not burst in. I wonder what would have become of all three of them.

* “Nothing will fill that hole you got inside. Don’t you know that yet?” And maybe here we see what separates Nucky from, let’s see here, Tony Soprano, or Walter White, or Don Draper, or Jaime Lannister: He’s not tortured inside. He’s unhappy, but his response is to try to make himself happy, not to wallow. And that’s how Eli gets his number here.

* Hahahahahahahahaha NO MEETING FOR YOU, KNOX, NO MEETING FOR YOU, YA PRICK! “You’ve been duped, Jim. Let’s face it.”

* “How you feelin’?” “I’m okay.” “Never heard you say that before.” Aw, Al and Johnny, you lovable mugs ya.

* “This is a young man’s game. I’m not gonna fight. It’s yours, Al. Take it.” “Take what?” “The whole operation.” “You win, kid. I’m outta your way. It’s Europe for me.” Al kisses the ring. What I’m curious about is whether we see Johnny again. The show aged him up considerably — though he was indeed Capone’s boss and mentor, he wasn’t yet 40 years old when prohibition started. But eventually, in real life, he took on an elder-statesman role and helped broker the alliance that eventually became the Commission, working closely with Luciano in the process. I hope he sticks around for that, which is what I kind of assume the whole show is building to.

* Here, in their entirety, are my notes about the fight between Eli and Knox:
My partner Agent Selby. He thinks I’m crazy. Do you think I’m crazy, Eli?
Playing the saw,

Sort of the show’s Dan Dority vs. Captain Turner, wasn’t it. Breathtaking.

* “Stay rightchea and don’t raise no fuss.” “Don’t like it.” “Not meant to be liked.” Chalky has a lot of confidence in the plan.

* “A daughter for a Daughter.” “I understand I rocked her right. That was some sweet jelly.” “Behold the noble savage.” “That me. Bankroll in one pocket and pistol in the other. And all the rest? I never did give a fuck.” “A nod from me and she’s gone. I’d say that makes us even.” These right here are two men who haaaaaaaaate each other. Narcisse is to Chalky what Gyp Rosetti was to Nucky: a force of nature our hero had the misfortune to attract and aggravate. The only difference is…well, it’s Richard, isn’t it?

* My notes on the sniper sequence, in their entirety:
There’s richard.
Oh shit.

Even if he were to survive, Richard would not survive this. Chalky, a man who couldn’t stand wearing another man’s clothes, likely couldn’t weather this either. And Maybelle White, a character I was just two weeks ago saying could have been fascinating, is lost to us. This was an ugly scene.

* Narcisse arrested. Everyone’s getting rolled up because Eli killed Knox — and Hoover’s using it to come at Marcus Garvey, not any of the world-historical criminals tangentially involved in the murder.

* “Truth is what those in power wish it to be.” Lord Valentin of House Narcisse, ladies and gentlemen.

* “I am a businessman and a follower of Christ.” Beneath Narcisse’s narcissism is a deep-rooted need for these things to be true, of course.

* “Yes…sir.” Now that’s a comeuppance.

* “Your father is safe with friends out west….He’s your father. My brother. And I’m not the person you think I am.” Or that I thought he was, for that matter. Once Eli popped up in the next scene I knew where he’d be and who’d be picking him up, but until he popped up I figured he was dead. Nucky surprised me.

* Eli and Van Alden, together again. Gillian’s nicked. Rothstein shows Margaret to her lush new apartment hahahahaha. Sally stood up. Chalky out to pasture. Daughter singing in some shithole. And Richard’s on the train, thank christ
oh no.
no, please.

Took me about 17 hours from when it aired, but I cried my fucking eyes out over the death of Richard Harrow. Thank you for bringing this magnificent character, responsible for my all-time favorite line of dialogue and my all-time favorite TV action sequence which ended with a shot that made me instantly cry harder than anything I’ve ever seen in a show or film, into my life, Jack Huston, Howard Korder, Terence Winter, Boardwalk Empire.

* This is a very, very, very, very, very good show. See you next year.