The Deuce is not just another HBO series with nudity and violence

We watched the first episode of the new creation of The Wire producer

Although the anecdote that the HBO series always rests on nudity and violence is still old, examples that confirm the rule continue to emerge. The youngest is The Deuce , but the TV series created by David Simon knows how to use that expectation in favor of his dramaturgy in a very interesting way.

The producer of Homicide and Treme once again creates a panorama with several subplots that cross in an organic way, format that renders to Simon compliments until today on account of its The Wire . In The Deuce , the context is New York in the 1970s and 1980s, a critical period of city abandonment and hopelessness, and the subplots involve near types of social outcasts: prostitutes and their pimps, gamblers, night entrepreneurs. James Franco and Maggie Gyllenhaal pull the cast (both appear naked in the first episode, including), but the strength of The Deuce is the web of characters. Get more updates about new TV series from hd motion movies, your number one source for daily entertainment.

The porn industry will eventually become the central theme of the series, whose first season has only eight episodes, but the pilot gives only hints of it (the movie theaters in the Times Square region look like a cross-hatching subplot) and is in no hurry to cross plots and even demarcate their themes. The traffic between spaces of the city is the highlight in that first moment; the protagonist Vincent (one of the twin brothers Franco interprets) arrives in Manhattan from subway coming from Queens with the biggest semblance of defeat, it is as if the route itself was some kind of punishment. The computer graphics that show the recreation of the NY of the time is noticed, but the main one, as a playwright, is this shuttle that denotes the emotional distances between the characters.

So when these characters intersect, as when Vincent witnesses an assault from a pimp that we have also followed since the beginning of the episode, this is amplified because we can understand well the separations of spaces. Here is how David Simon uses the expectation of nudity and violence in his favor: because we are in New York in 1970, we do expect violence, but it comes only at certain moments, after much suspense, and it is possible to understand that this violence is born, above all, of the crosses of these characters. In The Deuce , the encounters can generate empathy, but given the vocation of tragedy of this series it is clear that will generate mainly disruption, as it also happens in The Wire .

This suspense and this creation of expectation do not depend only on the text of Simon, and they manifest in a powerful way in the image thanks to the safe direction of Michelle MacLaren . It is she who breathes life into the mood of the time, not only in the elegant camera moves, which give a more cinematic and less televising character to The Deuce , but especially in the details. These records could be very fetishistic (details of vintage objects, posters, seventh-century decorations), but MacLaren knows what to shoot and what he privileges in the image, and the detailed details of boots, feet and hands, gestures , help to give specificity to things.

Although the 1970s in New York are already a time well explored in Hollywood production (Franco is the face of a young Harvey Keitel ), this specificity can in The Deuce air a plot that many people should consider well handled. If this new creation of David Simon seems to have enough potential, it is because his talent for cross-plots plots find in the long format of television an ideal vehicle to unfold and expand.


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