Interesting cultural moment. Stripping wasn’t precarious enough, I guess. Now those jobs are fading into the bricks-and-mortar background, and next-gen tech-savvy personal-brands are cow-orking their spaces and disintermediating their cash. I suppose that shift is one way to look at The Deuce, isn’t it? In The Wire, Simons and Pelecanos took a constructionist approach (as in education, yes?) to look at Baltimore through a series of institutional lenses (BPD, labor, schools, elections, journalism). In The Deuce the terrain is women’s bodies — historicized, of course. The structure’s murkier than The Wire because the narrative lenses are more parallel than serial — they’re all happening at once, instead of serialized out over S1, S2, S3, etc.