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The Deuce, season 1 (2017)
HBO gets really down an dirty with this one, deciding to do a series focused on the beginnings and growth of the modern pornography film industry in the early 1970s.
It took until a little ways into the second episode to fully grab me, but I'm now hooked. I suppose this should have surprised me, given that it took me about three or four episodes to completely fall in love with Simon and Pelecanos's earlier HBO project, The Wire. These guys know how to craft a tale with the long game in mind. They won't introduce or completely reveal all of the fascinating aspects of great characters in the initial episode. Rather, they spread them out as they slowly weave a larger story.
That story is not for the prudish. This first season follows several denizens of Manhattan's Times Square distrcit, which was nothing like the garish, Disneyfied, laser light show tourist trap of today. Back then, it was as seedy a place as they come, where the sex trade was there for the seeing and taking. Pimps and prostitutes roamed the streets. Stores peddling sex books, viewings or short, softcore pornography, and even short porn films (which was actually illegal then) were huddled next to movie theaters offering pornographic films. In The Deuce (the name refers to the "two" in 42nd Street, and the general area where it crosses between 7th and 8th Avenues in Manhattan), we follow several of the people who live and work in this shady area, including several prostitutes, a few cops, and a handful of people who work in or frequent some of the bars. The primary characters in this first season are the twin brothers Vincent and Frank, the individualist prostitute "Candy," and the bright, liberated NYU dropout Abby. Vincent opens a bar in The Deuce, backed by a mafia lieutenant who takes a liking to him. Abby, after trying and failing to forge her own way outside of the college setting, ends up working at Vincent's bar, and Candy is an aging but extremely savvy hooker who is exhausted by her occupation and seeking a way out of the trade. All of their lives begin to change when certain morality codes are loosened, allowing for the creation of massage parlors (which are actually bordellos) and pornographic films. This all leads to a sort of legitimacy for the sex trade that had not existed before, in turn altering the perceptions of nearly everyone involved.
Similar to my experience watching The Wire, The Deuce took a couple of episodes to become fully engaging. When it did, though, it really did. Yes, it's on the very salacious topic of the early days of the modern porn industry. Still, there is nothing titillating about what we see in this show. Sure, there is nudity aplenty, as we see the various sex workers ply their trades, but it is all very businesslike, often very seedy, and sometimes even disturbing and dangerous. And it is fascinating. The truth is, whether one wants to admit it or not, that pornography is a massive industry, both in the U.S. and throughout the world. The Deuce offers some insight into the lives of people on the front lines of this commercial juggernaut, and how their sexuality is turned into a commodity - a commodity that is at first essentially illegal, but gradually becomes more and more legitimate and socially acceptable. Simply learning about the system of heirarchy at work, between the prostitutes, their pimps, the police, and even politicians and mafiosi, bears all of the intrigue of learning the inner-workings of any fringe or criminal trade. This is why stories about the rises and falls of drug runners and bootleggers have always been fascinating, and it's why the film Boogie Nights was so compelling. They offer us a view into worlds that most of us know exist, and which reflect our more secretive desires, even if we ouselves may not be driven to partake in the ways that the characters on screen do.
Beyond the subject matter, the production values of the show are as good as it gets. This will probably come as no surprise to anyone familiar with the show creators' previous works, and The Deuce lives up to their reputations. The writing and acting are excellent, with Maggie Gylenhall (also a producer of the show) being a standout who is likely to
HBO gets really down an dirty with this one, deciding to do a series focused on the beginnings and growth of the modern pornography film industry in the early 1970s.
It took until a little ways into the second episode to fully grab me, but I'm now hooked. I suppose this should have surprised me, given that it took me about three or four episodes to completely fall in love with Simon and Pelecanos's earlier HBO project, The Wire. These guys know how to craft a tale with the long game in mind. They won't introduce or completely reveal all of the fascinating aspects of great characters in the initial episode. Rather, they spread them out as they slowly weave a larger story.
That story is not for the prudish. This first season follows several denizens of Manhattan's Times Square distrcit, which was nothing like the garish, Disneyfied, laser light show tourist trap of today. Back then, it was as seedy a place as they come, where the sex trade was there for the seeing and taking. Pimps and prostitutes roamed the streets. Stores peddling sex books, viewings or short, softcore pornography, and even short porn films (which was actually illegal then) were huddled next to movie theaters offering pornographic films. In The Deuce (the name refers to the "two" in 42nd Street, and the general area where it crosses between 7th and 8th Avenues in Manhattan), we follow several of the people who live and work in this shady area, including several prostitutes, a few cops, and a handful of people who work in or frequent some of the bars. The primary characters in this first season are the twin brothers Vincent and Frank, the individualist prostitute "Candy," and the bright, liberated NYU dropout Abby. Vincent opens a bar in The Deuce, backed by a mafia lieutenant who takes a liking to him. Abby, after trying and failing to forge her own way outside of the college setting, ends up working at Vincent's bar, and Candy is an aging but extremely savvy hooker who is exhausted by her occupation and seeking a way out of the trade. All of their lives begin to change when certain morality codes are loosened, allowing for the creation of massage parlors (which are actually bordellos) and pornographic films. This all leads to a sort of legitimacy for the sex trade that had not existed before, in turn altering the perceptions of nearly everyone involved.
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| Inside the Hi-Hat, the closest thing that we have to an anchor in the sleazy surroundings of the pre-glitz Times Square of the early 1970s. The Hi-Hat a bit of a dive, to be sure, but it becomes cozy by the end of the 8-episode first season. |
Beyond the subject matter, the production values of the show are as good as it gets. This will probably come as no surprise to anyone familiar with the show creators' previous works, and The Deuce lives up to their reputations. The writing and acting are excellent, with Maggie Gylenhall (also a producer of the show) being a standout who is likely to
be nominated for various awards. And lest one think that a show about the porn industry will have a strongly male slant, the creators took great care to have women involved as much as possible, with half of the episodes directed by top-shelf female directors. The balance shows, as we get plenty of well-balanced characters of both genders, and the subject of social views on homosexuality are an apparent theme.
The overall tone of the show is rather dark, not unlike The Wire. But also like that earlier masterpiece, is it liberally cut with moments of humor. Both intentionally and unintentionally, many of the characters here are funny people. In true New York City fashion, humor is a way to deal with bad situations, and there are plenty of them to be found in The Deuce.
I don't know if the subject matter of The Deuce will ever allow it to reach the heights of popularity of other gritty, big city series like The Wire, but I'll certainly be eager for future seasons.
Daredevil, season 2 (2016) rewatch
Nothing leads one into a nice, solid binge of TV watching quite like getting a stomach infection that lays you up at home for a few days. Such was my situation recently. With the forthcoming Netflix series The Punisher set for imminent release, I had the urge to go back and give a second viewing to his introduction in the Marvel Cinematic Universe during the second season of Daredevil. You can find my original review here, if you're interested, so I'm going to keep this semi-review to a few revised thoughts and new observations.
Surprisingly, I actually enjoyed this second viewing more than the first. After re-reading my original review, I still feel the same about nearly every aspect, though the weak points didn't strike me as being quite so annoying this second time through:
The Punisher story is still just as good, and I actually didn't mind the slow pace of the courtroom drama as much this time, probably since I knew it was coming. It speaks to Jon Bernthal's presence that I still loved watching every scene he was in, as he portrayed this complex character. The relationship be forms with Karen Page is excellent, though I still wish the show had more overtly connected Karen's desire to find the good in Frank with her own guilt over killing a man, as shown in season one.
The Elektra storyline still didn't fully strike home for me, though it wasn't as frustrating this time. I did buy into their earlier relationship just a bit more, but I still found Matt's rekindled love for her rather forced. It's very clear that he knows that she is a sadistic murderer, to the point that he literally tells her how he saw the pleasure on her face when she killed people. And yet, he somehow still has some passion for her? I suppose that I could take this as a part of himself that wishes he could just kill people whom he found guilty and even perhaps enjoy it, rather than feel so much guilt. Yet the show doesn't lay out those dots to connect terribly well. I will also say that I wasn't as annoyed with Elodie Young this time through. I never had a problem with her acting, but that I didn't buy her as a world-class assassin and fighter. In doing some research, it turns out that Young has studied karate for many years; however, she has also studied dance equally as long. To me, she still moves more like a dancer than a combatant who can take out hordes of bigger, stronger thugs and ninja.
This second season probably suffered a little bit from being a bridge to future shows. While it is self-contained enough to mostly stand on its own, there is certainly a "Punisher 0.5" and even a bit of "Defenders 0.5" feel to it. When taken with The Defenders, it makes a nice piece. And it looks like The Punisher, due in the middle of November, should be solid.
Link Souce
The overall tone of the show is rather dark, not unlike The Wire. But also like that earlier masterpiece, is it liberally cut with moments of humor. Both intentionally and unintentionally, many of the characters here are funny people. In true New York City fashion, humor is a way to deal with bad situations, and there are plenty of them to be found in The Deuce.
I don't know if the subject matter of The Deuce will ever allow it to reach the heights of popularity of other gritty, big city series like The Wire, but I'll certainly be eager for future seasons.
 |
| Jon Bernthal's portrayal as the Punisher, and that character's progression, are the strongest part of this season. His counter- point to the slightly-better adjusted Matt Murdock is a solid element in the first two-thirds of this season. |
Nothing leads one into a nice, solid binge of TV watching quite like getting a stomach infection that lays you up at home for a few days. Such was my situation recently. With the forthcoming Netflix series The Punisher set for imminent release, I had the urge to go back and give a second viewing to his introduction in the Marvel Cinematic Universe during the second season of Daredevil. You can find my original review here, if you're interested, so I'm going to keep this semi-review to a few revised thoughts and new observations.
Surprisingly, I actually enjoyed this second viewing more than the first. After re-reading my original review, I still feel the same about nearly every aspect, though the weak points didn't strike me as being quite so annoying this second time through:
The Punisher story is still just as good, and I actually didn't mind the slow pace of the courtroom drama as much this time, probably since I knew it was coming. It speaks to Jon Bernthal's presence that I still loved watching every scene he was in, as he portrayed this complex character. The relationship be forms with Karen Page is excellent, though I still wish the show had more overtly connected Karen's desire to find the good in Frank with her own guilt over killing a man, as shown in season one.
 |
| The Elektra storyline follows a pretty satisfying arc, in general, but the hate/love relationship with Matt still feels rather forced and begs a few too many questions for me. |
This second season probably suffered a little bit from being a bridge to future shows. While it is self-contained enough to mostly stand on its own, there is certainly a "Punisher 0.5" and even a bit of "Defenders 0.5" feel to it. When taken with The Defenders, it makes a nice piece. And it looks like The Punisher, due in the middle of November, should be solid.
Link Souce
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