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| Photo: HBO |
In the episode titled "Blue Bell Boy," after tracking down a liquor thief, Nucky (Steve Buscemi) and Owen (Charlie Cox) spend a long night hiding out from the feds with the precocious perp. In his boss absence, and with Rothstein (Michael Stuhlbarg) fuming over a late delivery, Mickey (Paul Sparks) overrules Eli (Shea Whigham) to make a routing call that will have far-reaching consequences for Nucky and Gyp (Bobby Cannavale). Margaret (Kelly Macdonald) encounters a familiar face while promoting Dr. Masons (Patrick Kennedy) classes at the new womens clinic at St. Theresas. In New York, Lucky (Vincent Piazza) haggles with Joe Masseria (Ivo Nandi) over heroin splits, while in Chicago, Capones (Stephen Graham) feud with OBanion (Arron Shiver) heats up when one of his collectors gets roughed up on the South Side.
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 |
Antoine’s students show interest and Annie’s demo hits the mark; Sonny and Linh show interest, but no marks are hit; L.P. Everett’s new case has smoke and fire; heat at the in-laws’ house forces LaDonna to move; Hidalgo discovers a new angle; Janette’s resistance slips; Albert learns he has chronic obstructive pulmonary disease.
Written by Eric Overmyer; directed by Jim McKay.
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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