TVSquad

(S01E03) Consider this episode of Swingtown a case of being betwixt and between. The Millers have been in their new home all of two weeks and so much has happened to shake their foundation; Susan especially seems like the song "caught in the middle with you." Does she want to be the good wife going to church and being satisfied with the way they were, her and Bruce, back in the old neighborhood? Or is she ready to embrace swinging?

She's at first drawn back to Janet and Roger and the old ways. Because she's still perturbed by the business card she found in Bruce's pants from the Playboy Club, the one from Sylvia suggesting a get together, Susan drags her family to Sunday services for a little God-time. Impulsively, when chatting with Janet, Susan announces that she's having a housewarming and wants Janet's help. It's like she's clinging to a simpler past.

How swinging is CBS's new summer series Swingtown? It's not swinging in the Sinatra-Rat Pack-ring-a-ding-ding way. No, this Swingtown is set in an era ten years later, specifically July 4, 1976, the bicentennial. But Swingtown, which premieres on Thursday at 10 PM ET, is not a nostalgic, optimistic wallow. However, It does evoke a time when America was undergoing a lot of change as the college kids from the late sixties were moving into the seven-year-itch of marriage, raising children, exploring boundaries.

Swingtown reminded me of Knots Landing meets Boogie Nights with a dollop of The Stepford Wives thrown in there, too (maybe it was those scenes in the supermarket). Superficially, there are elements of Swingtown, in particular the attention to detail in the production design and music, that are as spot on for 1976 as Mad Men was for 1960. When you see that pop-top can of Tab, you can't help but go back in time.

Way back in July 2007, TV Squad wrote about a bunch of shows CBS previewed and were slating for the upcoming season, including Swingtown. It was supposed to premiere in mid-season, but then mid-season came and it was nowhere to be found. The network will announce today their plans for the serial drama; it's going to run this summer. Instead of taking that move as a lack of faith in the show, executive producer Carol Barbee told The Hollywood Reporter that a summer run creatively suits the project. "A summer launch is perfect for Swingtown since the pilot takes place on the Bicentennial Fourth of July," Barbee said. Barbee has most recently been working on Jericho.

CBS is on a good run, being the most watched network for the last five years, but they have taken a bit of heat for the formulaic way they have gone about doing it. Not arguing with success, the whole family of CSIs, and their crime based cousins, will be back, but the network is trying to branch out with some edgier programming. Most notably, Swingtown, Viva Laughlin, and Moonlight.

Returning: The Amazing Race, Cold Case, 60 Minutes, How I Met Your Mother, The New Adventures of Old Christine, Two and a Half Men, Rules of Engagement, CSI: Miami, NCIS, The Unit, Criminal Minds, CSI: NY, Survivor, CSI, Shark, Without A Trace, Ghost Whisperer, Numb3rs, 48 Hours Mystery.

New: Viva Laughlin, Swingtown, Moonlight, Cane, Big Bang Theory, Power of 10, Kid Nation

Out: King of Queens, Jericho, The Class, Close To Home

Moving: Without A Trace moves back to Thursday at 10. Shark heads to Sunday at 10.

(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.

(S03E04) Even the slow episodes are good. I'm sure the die-hards (and I'd like to think that I'm one of them) will disagree with me when I say that this episode was slow but let's be honest. Not much happened and what did was a lot of filler. The biggest, and most important, event was Alma's decision to finally open the Deadwood Bank. Am I the only one who thought this was sudden though? I know she proposed the idea last season to Sol and I think we were to assume it was a go by all accounts, but this came out of nowhere. There's been no mention of it this season (that I can remember) and now here it is. Of course, this would explain why Alma was only willing to sell Hearst a 49% stake in her gold claim in last week's episode. She knew she would still need a majority share so that it could be used to back any deposits at her bank. I love when little connections like that are made though, because last week it made no sense to me in regards to the offer Alma made Hearst. Now it makes perfect sense. A "powerhouse" I believe Mr. Ellsworth called her.

(S03E03) New arrivals in the camp. Wu has returned from his recruiting mission in San Francisco. The rest of his workers he's hired will be arriving in "ten day." Nice to see that his vocabulary is growing. His return set the tone for the episode though. Wu is a changed man. Believe it or not, he's become quite the shrewd businessman despite his lack of English skills and his appearance is slightly updated too. Let's be honest, he looks ridiculous. But Wu's transformation seems to mirror that of the camp's. Things are changing and I don't think the end result is going to be what anyone expects.

(S03E02) Episodes like this are the reason why people were so ticked at HBO for being stingy with the season four funds. Actually, I really shouldn't put it that way. Any episode of Deadwood is reason enough for the outcry. This one especially, though.

Picking up right where we left off last week, I'm guessing it's probably the following morning. The mental chess match between Hearst and Swearengen is in full throttle as the two continue to jockey for the upper hand in the camp.

(S03E01) One of the things you need to realize about this show is that you're bound to get confused. Especially after you've gone a year without seeing an episode and hearing that trademark "F this and F that and F you" dialogue. It takes a good ten minutes for your ears and mind to adjust. Part of is also the multitude of characters. But you have to respect a show that's so ambitious in that respect and Deadwood does it well.

I will say though, it was a great feeling to see Swearengen walk out onto his deck and slug down some coffee from that dirty tin mug. I missed this guy... which is odd, because I don't think I'd want him as a friend.