--- title: "The Deuce" year: 2017 kind: "series" canonical: "https://film.one/tv/the-deuce" fi1m_score: 84 critics_score: 83 critics_reviews: 12 published: "2026-09-17T17:12:16.447631+00:00" updated: "2026-09-17T17:12:28.114815+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Deuce (2017) Created by David Simon, George Pelecanos · MPA TV-MA · Drama, Crime **Fi1m score: 84** · Critics 83 from 12 reviews *In a sentence:* A neighbourhood full of men taking a cut, and women doing the arithmetic > *The Deuce* makes the New York sex trade into a patient, humane drama about work and power. Maggie Gyllenhaal gives it a compelling centre, though the crowded storytelling and James Franco’s double role can make the opening unnecessarily demanding. ## Synopsis In 1971, sex workers, pimps, gangsters and police share the streets around New York City’s Times Square. Eileen ‘Candy’ Merrell (Maggie Gyllenhaal), Vincent Martino and Frankie Martino (James Franco), and Lori Madison (Emily Meade) are among the people whose lives intersect in the neighbourhood. Making a living here means negotiating relationships in which money, affection and control are difficult to separate. The sex trade and pornography draw people into business arrangements with unequal risks and rewards. For the people selling sex, personal loyalties complicate the effort to keep control of their working lives. ## Review *The Deuce* is a patient, humane crime drama that earns the attention it asks for, though its crowded opening will test anyone expecting a quick route into the story. Creators David Simon and George Pelecanos approach the sex trade in 1971 New York as a workplace, where people need money and somebody else usually has the stronger bargaining position. The early episodes spend time establishing the neighbourhood and the people working in it. We are asked to learn who deals with whom before we can understand the consequences of those dealings. Maggie Gyllenhaal is the strongest reason to stay. As Eileen ‘Candy’ Merrell, she makes independence feel like something that requires constant attention, and her intelligence gives even ordinary exchanges a purpose. There is no need for a speech telling us this woman has a mind of her own; the performance makes us look for what she thinks of the person opposite her. She remains interesting even when the story is asking us to take in several other people at once. The relationships between pimps and sex workers are the most difficult material, because the writing allows affection and dependency to sit alongside exploitation. We were unsettled by the warmth in these conversations: a friendly exchange can leave the balance of power entirely unchanged. The writers do not make every person explain the arrangement they live under, which lets the dialogue sound like people who know one another. The sexual violence is hard to watch, and the surrounding tenderness never quite allows us to settle. The cinematography by Pepe Avila del Pino and Yaron Orbach makes the period streets convincing without making them inviting. Scott Dougan’s production design gives Times Square the dirt and bustle needed for this many working lives to fit together. The recreated neighbourhood remains interesting even when keeping track of the people becomes difficult. Its strongest quality is that the crime and the everyday business appear to belong to the same place. Keeping track does take work. Editor Shelby Siegel helps the overlapping stories accumulate, but the early stretches ask us to absorb a great many names before the relationships are clear. James Franco, playing Vincent Martino and Frankie Martino, adds another demand: the double casting is conspicuous enough to draw attention away from the men themselves. He supplies useful energy, but we occasionally catch ourselves watching the performance as a technical exercise. The quieter acting elsewhere holds our attention more firmly. As a crime series, *The Deuce* gives the routine business between the threats an unusual amount of space, and that is where it earns our recommendation. The conversations make exploitation harder to dismiss as something done only by obvious monsters; people can be funny, companionable and still benefit from somebody else’s lack of choices. It can be slow, and the introductions can be confusing, but the patience allows us to understand people whom a quicker drama might barely notice. Give it an evening when learning the names will feel like part of the pleasure. *Fi1m score 84, published 17 September 2026.* ## What the critics say The reviews are uniformly positive about The Deuce, with praise centred on its convincing recreation of 1970s New York and the humanity of its large ensemble. Critics repeatedly pick out the period detail, vivid street life and attention to people working within the sex trade. Maggie Gyllenhaal’s performance as Candy draws particular approval, while the shifting relationships between characters give the social observation emotional force. Most critics find the treatment of power and exploitation substantial without sacrificing absorbing drama. The differences are chiefly in enthusiasm rather than verdict, with no negative reviews in this selection. The Guardian finds the density occasionally bewildering and notes the discomfort of its portrayal of power and sexual violence. The Hollywood Reporter’s reservation is that the first season could use more episodes. The more restrained notices still value the authenticity and performances, so there is little evidence of a fundamental split. ### Reviews we read (12) - **The Telegraph** (5/5): The review hails the series as the most potent and provocative drama of the year, praising its gritty, dense portrait of the early Seventies New York sex trade. It singles out Maggie Gyllenhaal’s performance as Eileen/Candy for its feminist edge and James Franco’s dual role. [Read](https://www.telegraph.co.uk/tv/0/deuce-potent-provocative-drama-year-review/) - **IndieWire**, Ben Travers (90/100, inferred): The series is an instantly immersive experience that delves into 1971 New York City with an eye for overlooked denizens. It stands as David Simon’s most absorbing series since The Wire. [Read](https://www.indiewire.com/criticism/shows/the-deuce-review-james-franco-hbo-porn-1201872317/) - **The Guardian**, Lucy Mangan (85/100, inferred): The critic finds the series an extraordinary recreation of 1970s Times Square that is dirty, real and brilliantly alive despite being intense and bewildering at times. She singles out the vivid, high-definition characters and their intersecting stories for praise while noting the uncomfortable portrayal of power and sexual violence. [Read](https://www.theguardian.com/tv-and-radio/2017/sep/27/the-deuce-review-david-simons-extraordinary-recreation-of-the-porn-industry-in-70s-new-york) - **The Hollywood Reporter**, Daniel Fienberg (85/100, inferred): The review describes it as a substantive, provocative, and entertaining sociological drama with a tremendous ensemble cast and strong attention to power dynamics and exploitation. The critic singles out the vivid, grimy period texture and memorable characters as standout features while noting the first season could benefit from more episodes. [Read](https://www.hollywoodreporter.com/tv/tv-reviews/deuce-review-1032504/) - **The i Paper**, Veronica Vera (85/100, inferred): The reviewer finds the series highly authentic and true to the era, praising the producers' extensive research and attention to period detail in recreating 1970s Times Square. She singles out the accurate portrayal of characters, relationships, and the gritty environment as particularly impressive. [Read](https://inews.co.uk/culture/television/the-deuce-reviewed-former-porn-star-93296) - **Variety**, Sonia Saraiya (80/100, inferred): The critic calls it a worthy heir to The Wire, praising its immersive, kaleidoscopic look at the seedy underbelly of 1971 New York with exceptional period atmosphere and performances. She singles out the complex, fluid relationships between pimps and prostitutes as the show's strongest and most gutting element. [Read](https://variety.com/2017/tv/uncategorized/deuce-review-hbo-james-franco-maggie-gyllenhaal-david-simon-1202544105/) - **Vulture** (70/100, inferred): The Deuce offers a look at the ’70s entirely void of glowing nostalgia, depicting sex workers and pornographers with understated frankness. It achieves a balance of coolheaded representation and you-are-there immediacy at its best. [Read](https://www.vulture.com/2017/09/the-deuce-tv-review.html) - **Paste**, Matt Brennan (85/100, inferred): The piece lauds the careful world-creation and the show's skeptical, tender take on the allure of 'decline' in 1970s America. Maggie Gyllenhaal's performance as Candy is singled out as magnificent. [Read](https://www.pastemagazine.com/tv/the-deuce/the-deuce-70s-set-tv-and-the-allure-of-american-de) - **Collider**, Allison Keene (★★★★): The critic praises the show's humanity, dialogue, performances, and ability to find depth in characters amid gritty settings. The conversations and vivid capture of the 1970s New York setting are singled out for praise. [Read](https://collider.com/the-deuce-review/) - **Den of Geek**, Tony Sokol (4/5): The pilot promises sordid fun and weaves a tapestry as diverse and smeared as the population of its titular street. It grinds to a rhythm far more inviting than anything seen from Vinyl. [Read](https://www.denofgeek.com/tv/the-deuce-premiere-review-spoiler-free/) - **/Film**, Karen Han (80/100, inferred): The review highlights the pulpy, romantic tone of 1970s New York and the strong introduction of a large cast of pimps, sex workers, gangsters, and cops. It singles out the promising setup and Maggie Gyllenhaal's central performance for praise. [Read](https://www.slashfilm.com/553379/the-deuce-review/) - **The Ringer**, Jason Concepcion (70/100, inferred): The critic finds the series a strong, authentic portrayal of 1970s New York that gets the era right and humanizes its characters amid systemic forces. He singles out the city itself as the real star, crediting its vivid recreation as a highlight alongside strong performances. [Read](https://www.theringer.com/2017/09/10/tv/the-deuce-new-york-city-review) ## Details - **Created by:** David Simon, George Pelecanos - **Creator:** David Simon, George Pelecanos - **Director:** Alex Hall, James Franco, Roxann Dawson, Michelle MacLaren, Tanya Hamilton, Susanna White, Uta Briesewitz, Zetna Fuentes, Will Ralston, Tricia Brock, Ernest Dickerson, Minkie Spiro, Steph Green - **Writer:** David Simon, George Pelecanos, Richard Price, Chris Yakaitis, Carl Capotorto, Will Ralston, Stephani DeLuca, Megan Abbott, Iturri Sosa, Marc Henry Johnson, Lisa Lutz, Anya Epstein - **Cinematography:** Yaron Orbach, Pepe Avila del Pino - **Editor:** Shelby Siegel - **Production design:** Scott Dougan - **Producer:** Marc Henry Johnson, Maggie Gyllenhaal, Laura Schweigman - **Cast:** James Franco as Vincent Martino / Frankie Martino; Maggie Gyllenhaal as Eileen 'Candy' Merrell; Chris Bauer as Bobby Dwyer; Chris Coy as Paul Hendrickson; Lawrence Gilliard Jr. as Chris Alston; Luke Kirby as Gene Goldman; Margarita Levieva as Abigail 'Abby' Parker; Emily Meade as Lori Madison - **Certificate (MPA):** TV-MA - **Release (the US):** 10 September 2017 - **Genres:** Drama, Crime - **Trailer:** https://www.youtube.com/watch?v=FkzaGABsOQA ## Where to watch in the US - HBO Max: streaming, uhd - Amazon Prime Video: add-on, uhd - The Roku Channel: add-on, hd - Hulu: add-on, hd - Amazon Prime Video: buy, sd *Checked 2026-09-17.* Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, HK, HR, HU, ID, IE, IL, IS, IT, LT, MX, MY, NL, NO, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Working Girls* (1986): Sex work observed through routines, negotiations and the strain of staying polite. - *The Wire* (2002): Another patient ensemble drama about people working within institutions that punish them. - *The Long Good Friday* (1980), Fi1m 88: Crime treated as business, with a city changing around its would-be owners. — [Fi1m page](https://film.one/film/the-long-good-friday.md) - *House of Tolerance* (2011): A more enclosed account of sex work, with the same attention to companionship. - *A Touch of Sin* (2013): For the same anger about exploitation, with less patience for polite conversation. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/the-deuce