Spider-Man: Far From Home
Toy Story 4
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The Deuce not only forms increasing layers of complexity but grows more compelling as the denizens of Time Square start seizing their shots for a better life.
Perhaps having to cram so much in with so many characters over just eight episodes seems to have flattened out its effect and the portrayals are less nuanced than in The Wire.
Simon's criticism of capitalism - and hypocrisy of social mores in general - is his trademark, and he does it phenomenally.
New York is a city in transition at the time of The Deuce, and so are many of the show's characters, who spend "The Principle Is All" trying very hard to get new businesses off the ground, or at least get out of the job that's making them miserable.
[Candy's] grade-A protagonist material, and [Maggie] Gyllenhaal is such a maestro in her role, it almost seems silly that the camera ever trains its lens on someone else.
As The Deuce points out and then underlines, the system is rigged, though in the scheme of things, a Cornell kid having a make-work job at a construction site isn't the worst of it.
I enjoyed the close of this third episode; it gave me a warm feeling.
While this week's Deuce-stallment touched on a broad number of people and places as the series winds its way toward a greater purpose, several key themes did jump out.
Despite the abundant charms of this episode, problems remain.
The Deuce is starting to feel solid beneath our feet, and The Deuce keeps building.
This episode is slow - there's no rush to get anywhere now that all the pieces and players have been set into motion - but at the risk of getting into innuendos, it's a good time.