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| Photo: HBO |
In the episode titled "You'd Be Surprised," after venting with Nucky about his liquor travails, Rothstein sends Gyp an unequivocal message in Tabor Heights. In Washington, Gaston Means (Stephen Root) sees opportunity in a Senate investigation of Harry Daugherty (Christopher McDonald) and the Justice Department. Billie (Meg Chambers Steedle) gets a new co-star to revive her faltering show; Van Alden (Michael Shannon) and Sigrid (Christiane Seidel) receive an unexpected visitor; Gillian (Gretchen Mol) worries about keeping her business afloat in Jimmys absence; Margaret has Awkward moments at the hospital and, later, at Madam Jeunets (Anna Katarina).
Watch a sneak peek below:
ABOUT BOARDWALK EMPIRE
Atlantic City, New Year’s Eve, 1922: The Roaring `20s are about to begin in earnest. Despite a booming economy, alcohol is scarce and gangster violence is heating up. With his marriage to Margaret already on the rocks, Nucky Thompson faces the challenge of mending old relationships and encounters new competition from a hairtrigger gangster determined to siphon off his business.
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| Photo: HBO |
L.P. continues to dig deeper into his investigation of police cover-ups and corruption after Katrina, but worries that his work is starting to attract some unwanted attention. Meanwhile, Janette interviews applicants for her kitchen, but frowns on Tim's choices for the front of the house; Delmond talks to a developer about a music project and helps Albert find medical assistance; LaDonna and Larry go house hunting; and Nelson feels left out of the lucrative business deals he's sure are coming.
ABOUT TREME
First, the people came back. Then, the crime. Now, more than two years after the near death of a great city, the money is starting to arrive, which would sound like a solution if this were some place other than New Orleans, and this was some other era but America at the millennium.
For the people of New Orleans, even the promises of redevelopment come with strings attached, and every dollar that shows up – whether from government disaster relief, or from venture capital, or even from those seeking to remake New Orleans in the wake of Katrina – carries with it new dynamics and new risks. National interest has waned, moving on to the next headline, but those who know and love the Crescent City have no choice. They must find their way back to what matters in the life of their city. However, little of what they can bring to bear yields a quick result, and nothing about New Orleans – its government, its police department and courtrooms, its school system – works as it should. Nothing is easy.
In the end, their only weapons are community. And culture.
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