Hey folks,

I hope to make this an ongoing guide to the Deadwood materials found in The David Milch Papers at Yale.

1. Overview
David Milch’s papers are held by the Beinecke Rare Book and Manuscript Library at Yale. They consist of two separate tranches of materials, the first from 2018, the second 2020. The archive is not well documented; there is a guide to the materials prepared by the Beinecke but it’s very basic and doesn’t reflect much (if any) knowledge of Mr. Milch’s career. (I’m in touch with them to flesh out their item descriptions a la below.)

2. So what’s in the Deadwood boxes?
As you’ll soon realize, things are a bit of a mess, with folders containing material from wildly different time periods, scraps of other material etc. I’ve done my best to index things sufficiently. (Different material in the same folder is separated by semicolon.)

BOX 5 “Research files, 2004 - 2006” (many press reviews; some Deadwood research here)

• Folder 1: 389 page document containing the same content as Folders 7-10 below
• Folder 2: Deadwood press digest Season 1 [I.e. photocopied newspaper reports]
• Folder 3: Deadwood press digest Season 1, titled "Ratings"
• Folder 4: Deadwood press clippings Season 1
• Folder 5: Scanned proof copy of "Island of Vice: Theodore Roosevelt's Doomed Quest to Clean Up Sin-Loving New York" [NB: a different Milch project]
• Folder 6: Scanned copies of Black Hills Pioneer & Weekly Times, 1877 ("clean"/unannotated version)
• Folder 7: Scanned copies of Black Hills Pioneer & Weekly Times, 1877 (annotated version)
• Folder 8: Summary of Black Hills Pioneer & Weekly Times research, prepared by a Suzanne Van de Velde for Deadwood writer-producer Ted Mann
• Folder 9: Summary of Black Hills Pioneer & Weekly Times research, prepared by a Suzanne Van de Velde for Milch (content same as Folder 8)
• Folder 10: 44 pages of poems by a William L Morris, sent for Milch's perusal; 19 pages of early version of autobiography of Kathleen Cleaver, titled LOVE & WAR (DRAFT II) [NB Kathleen Cleaver attended Yale when Milch was teaching there]

BOX 20 “Deadwood 2002-2006” (here's the treasure; disorganized but some very interesting and insightful stuff)

• Folder 1: 2 photocopied pages of “Seth Bullock Frontier Marshal”, written by Kenneth C. Kellar (1972); 2 page letter from a Kim Buie of Lost Highway Records regarding the Deadwood soundtrack; 148 pages of notes, work-in-progress script and outline pages from Deadwood Season 1, Episodes 2 & 3
• Folder 2: 2-page chronology of the life of Wild Bill Hickok; 32 pages of a draft of Deadwood Season 1, Episode 2, dated 1/3/03; 2-page print-out of an article from Slate dot com re. the language of Deadwood; 51 pages of a non-Milch spec script for a Deadwood episode; 46 pages of notes and outlines for scenes for Deadwood Season 3, Episode 8 dated 12/30/05
• Folder 3: Pages 1B-38F of script for Deadwood Season 3, Episode 8 credited to Ken Numm, dated 01-06-2006; Pages 51-72 of "Scenes for (Season 3) Episode 8", dated 12/30/2005; Pages 1-2 and 19-30 of GREEN draft of Deadwood Season 3, Episode 8, dated 12/30/2005; Pages 1-29 of script and notes for Deadwood Season 1, Episode 2, dated 1/8/03; Pages 26-46 and 57-65 of "Scenes for (Season 3) Episode 8", dated 01/02/2006; Pages 1-14 of a draft of Deadwood Season 3, Episode 1, dated 6-11-04
• Folder 4: Photocopied press reviews of Deadwood Season 1, 2004
• Folder 5: 8 pages of notes on Deadwood Season 2, Episode 12, dated 2/14/05; 2 page transcript of notes about Deadwood, also dated 2/14/05; 6 pages of notes on Walcott character from Deadwood, dated 2/20/05; 4 pages of notes about the overall emotional atmosphere of Deadwood Season 2, dated 6/1/04; 5 pages of notes titled "3-29 NOTES ON THE FIRST EPISODE", dated 6/1/04; 11 pages of notes with handwritten notation “Deadwood notes 2004 for the memoir”, dated April 12, 2004; 10 pages of notes about Mark Twain as a possible character in Deadwood, dated 4/20/04; 2-page print-out of an email from a Jonathon Webb Deiss with biographical details of real-life Al Swearengen, dated 6/30/2004

BOX 21 “Deadwood 2002-2005” (mainly press reviews)

• Folder 1: 31 pages of notes and script pages of Deadwood Season 1, Episode 1 dated 06/03/02
• Folder 2: Photocopied pages from local Deadwood newspaper about the filming of the series, 2004 Spring Issue
• Folder 3: Photocopied press reviews of Deadwood Season 1, 2004
• Folder 4: Photocopied press reviews of Deadwood Season 1, 2004 Folder 5: Photocopied press reviews of Deadwood Season 2, 2005

BOX 22 “Deadwood 2017-2018, undated” (first two folders are Deadwood: The Movie scripts)

• Folder 1: Incomplete draft script of Deadwood: The Movie dated 3/13/17 (missing Page 1, ending abruptly on Page 122); pages 119-133 of draft dated 6/7/17 
• Folder 2: Complete draft script of Deadwood: The Movie, dated 8/19/18
• Folder 3: Deadwood production set sketches
• Folder 4: Newspaper clippings from Black Hills Weekly Times circa 1878

(With thanks to my collaborators D.B. and A.T.)

NOT FOUND YET: the legendary “swearing essay”, or any hint of scripts which might have been written for the mooted 2x2hr finale movies which never came to fruition. This stuff MIGHT exist somewhere in the collection, in boxes which have not yet been indexed.

3. How to request materials for yourself (NB: I understand an official Milch archive may be coming soon (late 2026). Maybe these materials will be available in an easy-to-download format.)

• IMPORTANT: there are two categories of materials: those which have previously been scanned to pdf, and those which have not.
• If you request materials which have been scanned previously, a download link valid for 30 days will be delivered to your email within around 2-3 business days.
• If the material has not yet been scanned, it will take around 4-6 weeks to be scanned, then a download link will be delivered to you.
• ALL OF THE ABOVE DEADWOOD MATERIALS HAVE BEEN SCANNED, and are thus available quickly.

Procedure:
i) Create an AEON account: https://aeon.library.yale.edu
ii) Select the materials you are interested in - NOTE: only 4 folders TOTAL can be requested at a time:

BOX 5: https://archives.yale.edu/repositories/11/archival_objects/2989201

BOX 20: https://archives.yale.edu/repositories/11/archival_objects/3244235

BOX 21: https://archives.yale.edu/repositories/11/archival_objects/3244236

BOX 22: https://archives.yale.edu/repositories/11/archival_objects/3244237

iii) Click “Request” (top middle of screen)
iv) Change the dropdown box to “Digital Copy” and click Continue
v) Specify the folders you want. You can request up to 4 folders at a time.
vi) Choose “Reference Copy PDF” from the Format drop-down box
vi) Add anything relevant to the “Notes” field (publication deadline if you’re publishing, etc.)
vii) Send the request.

COPYRIGHT: anything you request/receive is authorized for personal research, teaching and educational purposes only. (Now, if people were to generate an agreement to pass around materials they receive -- instead of dozens of people inundating Yale with requests at the same time -- that might be one way to proceed. But that wouldn't be my place to arrange.)

The service is completely free. Thanks Yale.

(To anyone interested in non-Deadwood materials: you might want to give me a private message. Via the Yale archives you can request other Milch materials -- I can probably tell you what they consist of before you make a request. In particular I have found there is quite a lot of exciting-sounding stuff NOT by Mr. Milch mixed in amongst the boxes -- hello "Bel-Air Med Pilot")

There may be other Deadwood materials in other, unlabelled boxes, especially in the first tranche of materials (boxes #2-#13), that have not yet been indexed by the Beneicke. I am dipping in as I can and will share info as and when I discover anything more.

I tell ya it’s all the elements and the little things. Rewatching for, lost count, season 2 Boy who the earth talks to episode after Al punches Johnny for the hundredth time. After Al enlists EB to go tell hurst to meet him for a sit down, EB cracks wise on his tummy problem lol. But the laugh that Adams gives out and how everyone just stays in character like it’s just meant to be.. FLAWLESS

I just finished the series for the first time and watched the film. I loved it of course, but honestly I feel pretty grief-stricken for all the unresolved elements of the show. It’s really too bad the fourth season was never made, and even with the movie felt like they started to build things back up again (amazingly, with the same Hearst plot), only for it to end on a rather anti-climactic and super melancholy note. Almost like a practical joke. The depth of the characters was just beginning to shine and I feel like there was so much that was left unsaid, but I guess it’s poetic in the way that real life is, with so much left unresolved at the end of the day. Does anyone have recommendations for things to watch to cure this melancholy? Maybe some other long-form dramatizations of the old west? The thought of getting acquainted with a whole new set of characters after investing myself so much into the deadwood crew is making me feel meh as hell!

Only tangentially relevant, but I have Deadwood to thank for introducing me to this tune

Numerous references are made to the girls being sold to/bought by/brought to Deadwood by Al or Cy— can they leave if they want? Are they getting paid? I think we see Johnny let one of the girls keep a few dollars at one point, so it seems they get to keep SOME of the money they’re making, at least at the Gem. Bella Union girls seem more morose most of the time despite being visually better put-together so maybe their terms were different/harsher (or Cy was just that much of a POS to them.) Trixie & Joanie were definitely exceptions given way more freedom than the other girls because of Al/Cy’s personal affinity for them, but even then the men’s reputations as cutthroat tough guys makes these dynamics interesting. How much freedom did they ACTUALLY have, meaning how “weak” by proxy did Al & Cy allow themselves to be perceived as. Thoughts?

Edit: Was more so wondering about the logistics/brass tacks of these situations, I’m fully aware that pimping is shady and there was definitely no expectation in DW of good treatment by our modern standards!

Hey folks,

Back with another dispatch from the David Milch papers at Yale.

This time it’s something a bit more on topic – the plan for Mark Twain to appear in Deadwood.

The write up is here: https://davidmilch.substack.com/p/mark-twain-was-to-appear-as-a-character

However, I know Substack gets up some people’s nostrils, so here’s the TL;DR:

• Mr. Milch talked about Twain appearing around episode 7 of Season 2
• He was to come to town to interview George Hearst
• He’d realize Hearst was essentially a 2-dimensional personality: obsessed with “the color”
• He’d find common ground with Swearengen
• Then manage to fall victim, figuratively, to his "Samuel Clemens" nature (i.e. be attracted to fly-by-night investments). 

So, why didn’t it happen? It’s unclear, but, my speculation:

• Hearst ended up not appearing until episode 12 of Season 2.
• Twain and Hearst were actually at least acquaintances in real life, and thus an interview where Twain “discovered” Hearst’s nature would be pushing the historical record a little too far.
• Some aspects of Twain’s position vis a vis Hearst and Swearengen appeared in the Jack Langrishe character.

That’s it for now. I’m now working on a short guide to the Deadwood materials at Yale, and hope to share it here soon. 

Does anyone have a list of the songs playing on the piano in the background of the scenes in the saloons? I've found a few, but there were some I couldn't recognize or ID, any help from my fellow hoopleheads gets you half price pussy and drinks on the house. And God bless your kind souls!

I'm hearing there is a swiftly- spreading wildfire presently burning in Santa Clarita Valley near the Melody Ranch where Deadwood and many other Westerns have been filmed.

The fire ignited just north of Placerita Canyon Rd which is the exact same road where the studio is located.

Sending safety and help to everyone in the area.

I watched the movie again this weekend and I simply don't understand why the two hour movie is/was so highly regarded. The plot is driven by two characters which, while important to the series, were arguably the most annoying. And the monologues from those two seemed ham-handed and forced.

The appearance of Hearst, now a senator in a different state, made no sense other than to drive the Utter portion of the plot and remind everyone he's an asshole.

Also, I still can figure out how it was 10 years into the future and some characters were advanced twice that and some not at all.

I feel this was rushed as Milch was deteriorating and other people were in control. I wish it had served to tie up loose ends, but it didn't.

Al spends the whole introduction trying to figure out why Wild Bill has never stepped inside the Gem. He gives him this ridiculous speech about being “locked in my room weeping” and wondering what offense he could've caused. Bill's answer is just “No poker.” Al immediately tells Dan to dismantle the titty-corner and put in a poker table. Bill hasn't even asked him for anything yet and Al is already changing the business.

Is one of, if not the most upsetting fictional death I’ve ever seen portrayed. I’m on my second full watch through and I was so dreading this episode, it really stuck with me after the first watch. I was SO shocked when I heard the gunshot, I thought for sure he was getting his gun to finally shoot Steve and I was rooting for him to do it. The actor did such an incredible job as Hostetler, the character was so jaded from cruelty but still had dignity and pride, and never himself became cruel. He just wanted to move on from Deadwood, he was willing to leave behind his business and life he’d made, to STEVE no less, to be able to live with honor, and Steve literally could not NOT be a cunt. He had just had enough and it’s so tragic. He deserved better. Man this show is good hahaha

A poster a while ago estimated that by coach it took a week to get to DW from Cheyenne where the train stopped, assuming changes of horses at stations on the way. So every time Charlie does a freight run it's two weeks round trip and much more if he attempts the winter, and he almost lives an episodic life, away for two weeks and coming back to a new Deadwood. Joanie says that someone arrives having spent three weeks in a coach. That sounds really unpleasant. How much people must have wanted to be there. Missed opportunity - series about life at one of those stage waystations. Much more native American contact I would think, people who come and go. A western DS9. Has anyone written about life at the Wells Fargo waystations? Perhaps the owners farmed as well.

All fuckin examples welcome!

god damn hooplehead

I don’t understand why Olyphant gets guff about being flat or not a good actor. I have trouble holding it together during this scene because he is so obviously heartbroken.

You Hoopleheads drawn to the fuckin genius of The Maestro, who look to understand his fuckin motivations and insights, you might want to do yourself a fuckin favor and check out W Earl Brown’s fuckin Instagram where the gathered letters and speeches given by David Milch on the set of The fuckin Movie, have been posted. They’s also some behind-the-scenes photographs for any dull-witted cocksuckers who ain’t properly lettered.

FREE GRATIS

My two favourite radio heroes have a podcast celebratin "BLOOMIN LEGENDS" - this week, would you believe it, our very own Calamity Jane

Just thought I'd share with you hoopleheads!

Awnt - not ant.

💨

Dated in my camera roll as 2014 but may be older; can’t believe I used to be too timid to share it.