#larry gilliard

[triforcevillains]

Der Maschinist (2004) Trevor Rezniks Leben besteht aus schlaflosen Nächten, Besuche der Prostituierten Stevie und den nächtlichen Besuche eines Flughafencafés, mit dessen Kellnerin er tiefgründige Unterhaltungen führt.

Nach einem Arbeitsunfall, bei dem sein Arbeitskollege seine Finger verliert, gerät Rezniks Leben zunehmend in ein totales Chaos, das an seiner mentalen Gesundheit zerrt. Er verfällt durch seine Schlaflosigkeit und seinen Verfolgungswahn seinen unbarmherzigen Halluzinationen. (10/10)

[theersatzcowboy]

Cecil B. Demented (2000)

John Waters’ hysterical satire of art house film culture, the lobotomizing efforts of Hollywood, and cinematic gate-keeping is so ahead of its time you’d swear it was made yesterday…not 20 (!) years ago.

Director: John Waters

Cinematographer: Robert M. Stevens

Starring: Melanie Griffith, Stephen Dorff, Alicia Witt, Adrian Grenier, Michael Shannon, Maggie Gyllenhaal, Larry Gilliard, Jr., Zenzele Uzoma, Ricki Lake, Eric Roberts, Patricia Hearst, and Mink Stole

[blueiight]

In response to the disbelief that D'Angelo actor Lawrence Gilliard, Jr. turned 52, here's the actual ages of #TheWire actors pictured when the show premiered on 6/2/02.

(the pilot was filmed in 2001, which may shave a year off of some of them)

Hassan Johnson- 25 (Wee-Bey)

Brandon Price- 19 (Stinkum)

Larry Gilliard, Jr.- 30 (D'Angelo)

Idris Elba- 29 (Stringer Bell)

Chris Clanton- 16 (Savino)

[thisreviewerslife]

Cecil B Demented (2000)

One has to wonder how many Hollywood A-listers would include the name of John Waters on their personal list of "Directors I'd really like to work with". Melanie Griffith, perhaps aggrieved at receiving seven Razzie nominations in the last ten years (after an Oscar nom in 1988 for Working Girl), was at least one such, when she signed up to star in this bizarrely off-the-rails satire.

It had been more than a decade since Waters experienced a genuine success (Hairspray in 1988; his more recent movies Cry-Baby (1990), Serial Mom (1994) and Pecker (1998) had all flopped at the box office) but it seems that his reputation was still sufficient to attract a motley combination of future film and TV stars (a pre-stardom Michael Shannon and Maggie Gyllenhaal, as well as Alicia Witt, Adrian Grenier and The Wire's Larry Gilliard, Jr.) together with a handful of Waters' alumni (Mink Stole and Ricki Lake) and they mostly seem to be having great fun alongside Stephen Dorff as the titular Cecil. Demented is a radical filmmaker determined to upset the status quo and force a rebirth of 'true' cinema (his followers have the names of notable--and, presumably, 'true'--directors tattooed onto their bodies, ranging from Preminger and Peckinpah to Spike Lee), which he attempts to accomplish through a lot of violence, yelling, and sexual abstinence on the part of his crew (this part is, sadly, never explained in any detail, and mostly seems to be an excuse for a bawdy sex scene towards the end of the movie).

Griffith, as the Hollywood diva kidnapped by the terrorist filmmaker and forced to star in his magnum opus, does well enough, although the subject matter does make it hard to tell whether she's acting badly or badly acting. The staging and script are typical of Waters; high melodrama is the order of the day, although most of the cast do at least manage to deliver their ridiculous lines with a straight face. Patty Hearst, whose 1974 kidnapping and subsequent participation in her kidnapper's crimes serve as a loose inspiration, even shows up late in the film as a concerned mother. And, although the individual pieces wouldn't stand up to much scrutiny in any serious film, taken as a whole Cecil B. Demented is still a worthy addition to Waters' oeuvre.

8/10

[somebaconlover]

The Wire (2002-2008)

Created by David Simon

Cinematography by Uta Briesewitz

Starring Dominic West, John Doman, Idris Elba, Larry Gilliard Jr. and Wood Harris

"A life, Jimmy, you know what that is? It’s the shit that happens while you’re waiting for moments that never come."

[ansatsu-sha]

Michael B Jordan, Tray Chaney, Larry Gilliard Jr + JD Williams | Season 1 of The Wire

Photograph: HBO

[ifeelalot]

[erstwhile-punk-guerito]

[screeencap]

[extreme-measures]

See this? This the kingpin, aight? He the man. You get the other dude’s king, you got the game.

[kwebtv]

The Beast  -  A&E  -  January 15, 2009  -  April 23, 2009

Crime Drama (13 episodes)

Running Time:  60 minutes

Stars:

Patrick Swayze as Charles Barker

Travis Fimmel as Ellis Dove

Kevin J O'Connor as Harry Conrad

Lindsay Pulsipher as Rose Lawrence

Larry Gilliard as Ray Beaumont

[gutterballgt]

I feel like the younger generation is accidentally sleeping on Simply Irresistible. It’s not anyone’s fault. It’s basically a somewhat forgettable romantic comedy from the late ‘90s starring Sarah Michelle Gellar and Sean Patrick Flannery, but it’s hecking adorable, and does not take the usual romantic comedy track. It’s one of those movies that critics loathed but consumers really enjoyed.

If you watch it for no other reason, watch it for Lois and Nolan (Patricia Clarkson and Larry Gilliard, Jr., respectively). Lois is Tom’s (the hero’s) assistant who is the classiest, sassiest, smartest scene stealer you’ll ever see in a movie. Nolan is Amanda’s (the heroine’s) sous chef best friend who loves basketball and making Amanda’s dolls fight. Also a scene stealer.

The premise of the movie is goofy and doesn’t bear explaining. It’s just a fun set-up for a woman coming into her confidence and finding herself just when it seems all is lost. Yeah, there’s a man in the picture, but he’s a bit of a thot, though a wealthy, high-placed one. He’s charming but unwilling to commit.

But, lo and behold... HE has to change for HER. He has to make up for his behavior toward her. She proves that she can make her way with or without him, and it’s up to him to realize that she’s not trying to take anything from him. And she, frankly, doesn’t need him.

Best scenes:

1) dancing in the unfinished restaurant in front of the mirrors. In widescreen (I only mention this because I first saw it on VHS, fullscreen, and it didn’t have the same feel), the mirrors are set to create a cool effect where they seem to magically appear in each mirror at different times across the stage. It’s great cinematography in the same movie where you can clearly see a cameraman’s leg in an earlier mirror in a different restaurant.

2) Nolan playing with Amanda’s dolls while giving her the requested Man Advice (his advice: talk about sex). He heckin’ LOVES those dolls. If half this website doesn’t end that scene shouting “1-800-RU-SLAPPIN”, I don’t know Tumblr at all.

3) the first restaurant scene where Tom’s having an orgasmic experience with his meal, but his girlfriend absolutely loses her mind and trashes the place. And the preceding scene where Nolan’s listing all the ways said girlfriend is perfect. “And that sharp suit. She trip and fall, she’ll cut her leg off.”

4) Lois wooing Jonathon. Pretty much any scene with Lois, actually. When she experiences the eclairs for the first time... outstanding. Patricia Clarkson is a goddamn genius.

5) Aunt Stella trying to explain what’s happening out in the fancy restaurant without freaking Amanda out. Aunt Stella is adorable. I love her. In fact, every scene from the restaurant during the fancy dinner is solid hecking gold for all involved.

It’s just really entertaining, guys, and actually has a good message, excellent relationships between women, outstanding female characters, the best best friend that has ever best friended (seriously, Nolan is perfect), and a silly and ridiculous plot that is pure, unproblematic fun. Two sets of male-female friends that are... GASP... just friends. Nothing more and nothing less. It’s beautiful.

Also, a really good soundtrack of late ‘90s women’s hits.

Get to it, Tumblr. This flick needs a new audience. I think it was before its time, but... hey. It’s time now.

[bdscuatui]

Trang trại Rectortown 308 mẫu được bán với giá 9 triệu đô la Một trong những trang trại 308 mẫu gần Rectortown, được bán với giá 9 triệu đô la.Một trang trại rộng 308 mẫu gần Rectortown được bán vào tuần trước với giá 9 triệu đô la.Sau đó, Patrick Patrickswell, dọc theo Kada Lane và Rectortown Road, có một ngôi nhà bằng đá rộng 10.000 mét vuông được xây dựng vào năm 1984.Tài sản bao gồm hai chuồng lớn, một nhà khách, nhiều ao, các tòa nhà khác và một sân tennis.Tổ chức ngoài trời Virginia tổ chức nới lỏng bảo tồn trên 210 mẫu đất của trang trại.Patrickswell đã có mặt trên thị trường vào tháng 9 với giá niêm yết 10 triệu đô la, theo Realtor.com. Tài sản được bán lần cuối vào tháng 11 năm 2012 với giá 7 triệu đô la.Sheridan-MacMahon Realtor ở Middleburg đại diện cho người bán và người mua.Cũng trong tuần trước, một trang trại rộng 83 mẫu gần The Plains được bán với giá 2,85 triệu USD.Dọc theo đường Zulla, nông trại Gone Away Farm có một ngôi nhà chính gồm bốn phòng ngủ với bảy phòng tắm, một nhà bếp sành điệu và bốn lò sưởi.Tài sản bao gồm một người thuê nhà ba phòng ngủ, một nhà khách, hồ bơi, bốn ao, hai chuồng trại, một nhà kho thiết bị và các tòa nhà khác.Tài sản đã đi vào thị trường vào tháng 5 năm 2018 với giá chào bán 4,98 triệu đô la, theo Realtor.com. Giá tháng 12 năm 2019 đã giảm xuống còn 2,99 triệu USD.Emily Ristau của Thomas & Talbot Bất động sản đại diện cho người bán và Kimberly Green của Avery-Hess Realtor đại diện cho người mua.Quỹ Virginia Out Outdoor tổ chức một sự nới lỏng bảo tồn trên hầu hết các tài sản.Văn phòng Thư ký Tòa án Hạt Fauquier đã ghi lại những lần chuyển nhượng bất động sản này từ ngày 2 đến 8 tháng 4 năm 2020:Khu vực chạy tuyếtBernard E. và Lelia E. Mullen đến Angela M. và William J. Fromm, 2 mẫu Anh, Lô 2, Đoạn 1, Phân khu Nhà máy bia Brewster, Đường 4018 Ensor, Cửa hàng Midland, Midland, $ 329.000.R. Mitchell Heflin đến Kevin E. Gilliard, 4 mẫu Anh, 10596 Shenandoah Path, Catlett, $ 585,000.Earl C. và Theresa Lewis đến Jose C. Jimenez, 2 mẫu Anh, Lô 4, Phân khu Laurel Ridge, 12391 Old Mill Road, gần Midland, $ 315.000.Gia đình Ruther Allen LLC đến Ấm đun nước gia đình LP, 11,59 mẫu Anh, Đường Cromwell, gần Catlett, 160.000 đô la.Marilyn D. Pasley đến Eric G. và Tammy M. Snyder, 5,68 mẫu Anh, 2306 Đường cao tốc Đại bàng, gần Midland, 550.000 đô la.Bất động sản của John M. Rohrbaugh Sr, do John M. Rohrbaugh Jr. làm giám đốc điều hành, cho Jefferson Holdings LLC, 2,33 mẫu Anh và 1,07 mẫu Anh, tài sản của trường Old Calverton, 9705 Bristersburg Road, gần Catlett, 955.000 đô la.Randall và Jennifer M. Lambert đến Wade K. Pendley, 11,2 mẫu Anh, Lô 9, Phân khu Colt Hills, Đường mòn Hunt 8777, gần Warrenton, 520.000 USD.Bất động sản của Flora M. Turchi, do Maria P. và Donna M. Turchi làm giám đốc điều hành, cho Earl Lewis, Theresa Lewis, Thomas Lewis và Morgan Lewis, 20,58 mẫu Anh, 4638 Đường Hill Hill, gần Bealeton, 575.000 đô la.Monica R. Pyles đến Leonard D. và Ashley N. Wright, 0,99 mẫu Anh, 4735 Đường Dumfries, gần Catlett, $ 465.000.Quận trung tâmLaura J. và Darrin C. Decoster cho Marc và Linda Rozak, Lô 73, Đoạn 2C, Phân khu Cúp vàng Olde, Tòa án Pint bắt đầu 709, Warrenton, $ 540.000.Denver R. và Kristi E. James đến James F. Myers, Lô 33, Phân khu Whites Mill, Tòa án 7540 Millpond, gần Warrenton, $ 529.900.Dịch vụ hành chính quốc gia VBT, Edward Armand làm ủy thác, cho Thomas B. và Pamela Hugill, 1,5 mẫu Anh, 155 Broadview Ave. (Tòa nhà chi nhánh ngân hàng Wells Fargo), Warrenton, $ 650.000.Brian A. và Caroline Folker đến Aran Capital Partners LLC, Lô 22, Phân khu bốn lượt xem, 482 Foxcroft Road, Warrenton, $ 305.000.Joseph L. và Michelle L. Lugo đến Frederick Kuhn, 24.739 feet vuông, Lô 81, Giai đoạn 3, Phân khu Ivy Hill, 7144 Manor House Drive, gần Warrenton, 495.000 USD.Daniel T. và Fawntella L. Jackson đến Marhilda Morales, 0,26 mẫu Anh, Lô 5-B, Phân khu Gia đình Gỗ, 31 Ranh giới, Warrenton, 420.100 USD.Quận LeeLewis E. và Cynthia Propps đến Wyatt và Samantha Propps, 2 mẫu Anh, 5176 Courtney Way Corner Road, gần Sumerduck, 280.000 đô la.Wyatt L. Đề xuất với Maggi M. Harich, 1,14 mẫu Anh, 13854 Union Church Road, Sumerduck, 270.000 đô la.Mintbrook Developers LLC, Russell Marks làm quản lý, cho NVR Inc., Lô 1-7, Vùng lân cận B, Giai đoạn 1, Phân khu Mintbrook, Bealeton, 454.000 USD.Lawrence R. Groves Sr. và những người khác đến Kate D. Ross, 22,2 mẫu Anh, Freemans Ford Road, gần Remington, $ 237.000.Thomas G. Carberry J. và Gregory T. Carberry đến Rock Investments LLC, 28,5 mẫu, Rt. 632, gần Morrisville, $ 225.000.Andrew L. Jackson và Irene E. Brown đến Cassandra Merritt, 3,8 mẫu Anh, 10345 Fayettesville Road, gần Opal, 178.000 đô la.Quận MarshallTeresa D. Arellano đến Jorge C. Zepeda, Đơn vị 11, Phần B, Nhà phố, 8611 Ashby Court, Marshall, 90.000 USD.Christina L. Mulville đến Terry L. và Livia Mitchell, Lô 40, Đoạn 1, Phân khu Cúp Bạc, 7438 Silver Cup Drive, gần Warrenton, $ 579.000.Stephen F. Thurber đến Bethann K. Laign-Beeman, 31 mẫu Anh, Lô 9, Phân khu Nông trại Hollowum, gần Delaplane, $ 325.000.Quận ScottJeremy M. và Catherine E. Cobos đến Jillian L. và Jessie L. Chen, Lô 30, Giai đoạn 13-A, Phân khu Brookside, Tòa án Nhà bơm 2206, gần Warrenton, $ 524.900.Christy và Philip Mangano đến Soon H.L. Odderstol, Lô 47, Giai đoạn 12-B, Phân khu Brookside, Tòa án Bee 4603, gần Warrenton, 525.000 USD.Adam và Madelyn M. Lawyer đến Philip và Christina Mangano, Lô 55, Giai đoạn 12-B, Phân khu Brookside, Tòa án 4596 Bee, gần Warrenton, $ 575.000.Jonathan M. và Julie G. Crater, ủy thác, đến Phillip B. và Courtney H. Brown, Lô 16, Giai đoạn 7 B-A, Phân khu Brookside, 6918 Emma Court, gần Warrenton, $ 750.000.Strategic Equity Corp đến Lindsay S. Beale, 2,46 mẫu Anh, 1608 Zulla Road, gần Middleburg, $ 575.000.Kada Holdings LLC, Bonnie A. Orleans làm quản lý, đến Patrickswell Farm LLC, 213 mẫu Anh, 2669 Kada Lane, gần Rectortown, 50,9 mẫu Anh và 43,6 mẫu Anh, 2607 Atoka Road, gần Rectortown, 9.000.000 USD.Brian và Erin Kilday đến Joel và Britnee Millage, 2 mẫu Anh, Lô 29, Phân khu Westervelt, Đường 4526 Den Haag, gần Warrenton, $ 795.000.Lori K. và John J. Carroll III cho Lisa C. và Larry J. Gebhardt Jr., Lô 38, Đoạn 2, Phân khu Cán bộ, 7328 N. Marigold Court, gần Warrenton, $ 420.000.Gloria J. và Lloyd M. Shelton Jr. đến Academy Street LLC, 1 mẫu Anh, 5637 O đườngBannon, gần The Plains, $ 235.000.Gregory P. và Laura L. Womack cho Donald L. và Patricia A. Hall, 1,62 mẫu, Lô 37, Giai đoạn 1, Phân khu Đồi tuyết, 5868 William Drive, gần Warrenton, $ 645.000.Stanton D. và Susan E. Sloane cho Kevin P. và Kimberly M. Green, 83,4 mẫu Anh, 3656 Zulla Road, gần The Plains, 2.850.000 đô la.Cassandra E. Hoppe và Meghann M. Taibl cho Adam B. và Kim A. Tomlinson, 11,5 mẫu, Lô 10, Phân khu Ests Farm Estates, 6059 Deborah Drive, gần Warrenton, $ 675.000.[ad_2] Nguồn

[margaritalevievablog]

I haven’t gotten to see the early showing of the first ep yet (if it’s still available) but here’s a promising review! :)

http://www.hollywoodreporter.com/review/deuce-review-1032504

James Franco and Maggie Gyllenhaal lead the remarkable ensemble of David Simon and George Pelecanos' entertaining and substantive HBO drama about sex and power in 1971 Manhattan.

In many ways, The Deuce represents the logical and satisfying culmination of David Simon's HBO journey from The Corner through The Wire and Treme. Long fascinated with the way that institutions grind down individuals and the citizenry, turning people and neighborhoods into statistics and commodities, Simon and co-creator George Pelecanos are able to use the New York City sex trade in the early 1970s to explore the exploitation of the human body itself.

A gritty, grimy (but rarely grim) tapestry of pimps and hoes, cops and pornographers, feminists and misogynists, crusaders and deadbeats, The Deuce has a lower intimidation threshold than Simon's last HBO project, the tremendous and tremendously wonky public housing miniseries Show Me a Hero, but it still balances the salacious with the journalistically inquisitive. It's another Simon drama that's a discipline-spanning sociological treatise on one level and a showcase for dozens of memorable, colorful characters on another. After watching the full eight-episode first season, which premieres on September 10, most of my complaints boil down to wishing The Deucehad at least five more episodes in which to let rapidly unfolding storylines breathe a bit more.

The show's initial point-of-entry is twin brothers Vincent and Frankie Martino (both James Franco). Vincent is ultra-trustworthy and responsible by standards that allow him to be a little bit of a progressive white knight, while also abandoning his kids and philandering wife (Zoe Kazan) early on with no serious audience repercussions. Frankie is a hot-headed vagabond who thinks nothing of running up gambling debts that fall on his brother. Their respective skills quickly make them valuable to Rudy Pipilo (Michael Rispoli), a Gambino capo who brings the Martinos into an ambitious, morally murky business plan for the 42nd Street area involving bars, massage parlors and sex shops.

The "James Franco plays twin brothers in a '70s porn drama" hook will lure some viewers in (and scare a few viewers off), but The Deuce is an ensemble and Frankie and Vincent stand out because they're played by the cast's biggest, most easily marketable actor and not because they're the show. To put it in The Wire terms, they're double-McNulty, a good star surrounded by countless juicier character roles. Vincent and Frankie share a mustache and Franco differentiates them effectively in small ways, via the wild glint in Frankie's eyes or the weary disapproval in Vincent's mien. Perhaps because Franco also had to be behind the camera directing two episodes, you never feel like the Martinos are dominating the screen and, as such, it's a perfect performance; you're glad when he's around and rarely miss him when he isn't.

There's too much happening in The Deuce to give more than a cursory plot summary. Maggie Gyllenhaal is probably the second lead after Franco as Eileen, who walks the streets under the name Candy, suffering indignities in order to support a son who lives with his grandmother. Eileen takes an interest in the pre-Deep Throat world of adult cinema and the greatness of Gyllenhaal's performance is in the contrasts she's able to convey between Candy's fatigued-but-talented professionalism, Eileen's growing desperation to change her life and her captivated zeal for the world of adult movies and the control she thinks it might offer her.

Candy works without a manager, which frustrates the various pimps, including Larry (Gbenga Akinnagbe), Rodney (Cliff "Method Man" Smith) and C.C. (Gary Carr), and makes her a curiosity and inspiration for the sex workers, including fresh-off-the-bus Lori (Emily Meade) and inquisitive Darlene (Dominique Fishback).

And then there are the police officers, going between benign neglect, superficial enforcement and criminal collusion at a moment when the NYPD was under scrutiny for corruption. Officers Alston (Lawrence Gilliard Jr.) and Flanagan (Don Harvey) are central to that storyline, especially once Sandra (Natalie Paul), a reporter with an interest in the call girls, catches Alston's eye.

Some viewers will find the nudity, sex and, in particular, sexual violence to be barriers to entry for The Deuce, but like most Simon stories, the series is about power; the intermingling of sexual power and financial power is the text of the show. An early conversation between two pimps comparing their workplace approaches to Richard Nixon's carrot/stick incentivizing sets up a juxtaposition between how those with institutional clout and those who work outside of the system exert control in similar ways. The same is true of figures of authority, with law enforcement and criminal elements meting out punishment and offering protection in comparable fashion. As always, it's the exchange of money that drives everything, whether enterprises are entirely legitimate, organized rackets or in a state of flux because the courts are deciding minute-by-minute what is and isn't allowed (and the smart operators are the ones preparing to capitalize on every new loophole or opportunity). The characters in The Wire made cool, glib references to "the game," even as viewers were aware of the life-and-death stakes of the drug trade — and The Deuce is similarly enticing when it comes to documenting the swagger and glib cleverness of jive-talking pimps and sassy hookers, without ever ignoring the parasitic repugnance and frequent human misery of it all.

The world of The Deuce is often only a step up from the sewer, and led by pilot director Michelle MacLaren and cinematographers Pepe Avila del Pino and Vanja Cernjul, the show avoids being one of those period pieces in which every car looks new and every costume seems straight off the rack. The aromas of body odor, cheap cologne, garbage, cigarette smoke and inconsistently used disinfectant pervade every frame and unlike Vinyl, which will probably be a frequent point of comparison before people watch The Deuce, this new drama only sometimes becomes excessively enamored with nostalgic glamour. There's some nerdy excitement at the quality of the movies on the various marquees or the name-dropping of the occasional pre-iconic band, but this isn't a show that forgets the disillusionment of the moment for the low-income characters struggling to make ends meet and to be heard in a variety of civil rights struggles.

It's a show about exploitation and it's a milieu that runs the risk of being treated exploitatively, but with MacLaren directing two episodes and Uta Briesewitz and Roxann Dawson directing others, you can see the effort to not leer at the frequently exposed skin or, at the very least, never lose the context in which the skin is being bared. Anything that threatens to be sexy is only sexy to the point at which you spot the mildew on the walls, hear the sirens out the window, recognize the scary hunger in a john's expression or get any other reminder of the business transaction at hand.

The cast is tremendous, pulling from every corner of Simon's repertory company with the previously mentioned names plus the likes of Chris Bauer, Anwan Glover, Michael Kostroff and Chris Coy. Standouts in a group with no bad performances include the sweetly vulnerable Fishback, amiably well-meaning Gillard, darkly intense Akinnagbe and the spectacular Carr, whose suave-but-chilling C.C. may be the show's breakout character. David Krumholtz steals scenes as a limitedly artistic adult filmmaker and Margarita Levieva, whose student-turned-barmaid Abby is one of the show's more conventional characters, burns up the screen. Meade, Method Man, Jamie Neumann, Mustafa Shakir and even, beginning what may be his great comeback, Ralph Macchio all shine.

There are too many great things in The Deuce for them all to be serviced in eight hours and that's the show's weakness, such as it is. When a storyline like Officer Alston's arc with reporter Sandra feels rushed, that's a minor disappointment. There's a lot of hasty narrative here. It's worse when you sense that a couple of emotional beats with different prostitutes might have landed harder if we'd gotten a few more establishing scenes with the characters in earlier episodes.

That need for more is pervasive. We've only begun to get names, much less backstories and motivations, for some characters. The mob stuff is very familiar and needs more depth if they want me to think it's essential. At times I felt like I only understood what was happening with the cops because I'd seen The Wire and I've seen Serpico. Coy's character, a bartender who was at Stonewall, keeps the show's focus from feeling exclusively heterosexual, but the still-criminalized emerging gay underground is underserved.

Simon and Pelecanos are just beginning to put the machinery of The Deuce into motion in these eight episodes. As an opening act, the show's first season is substantive, provocative and entertaining. It's a journey through a certain kind of hell, but I'm already eager to return.

[ifeelalot]