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Indeed, most articles I read about The Deuce insisted the women depicted were empowered — not victims, but agents. Referencing a scene where Gyllenhaal’s character takes a nervous teenager up to a seedy hotel room for what is assumed to be his first time (a birthday gift from his friends), Erik Adams at The A.V. Club writes, “When Candy is giving Stu the ‘feels good’ and ‘that’s nice,’ it’s evident that the businesswoman is in control.” At Flavorwire, Jason Bailey helpfully reminds us, “Of course, that not everyone involved in pornography, even in this period, was at their absolute rock bottom; some people liked to have sex, liked to get paid for it, and liked the drugs and the pseudo-celebrity and the life.” At Refinery 29, Rebecca Farley calls C.C.’s “bottom bitch,” Ashley, his “girlfriend and employee,” jokingly adding, “an H.R. nightmare if you ever did see one.” That quip is even more “funny” considering a later scene where C.C. slices up Ashley’s armpit with a switchblade after she comes in from the cold rain, soaked, complaining that she doesn’t want to work anymore that night. Farley later refers to Darlene’s violent regular as having “out-of-the-ordinary requests,” claiming he only “pretends to slam Darlene into the wall and rape her… accidentally bruis[ing] Darlene’s cheek.” Of course, the violence isn’t “pretend” at all. It certainly isn’t an “accident.” Darlene may well be paid to endure that violence, but the violence remains real.


full: http://www.feministcurrent.com/2017/09/11/deuce-critical-sex-trade-whether-liberal-america-likes-not/
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