In order to make ends meet, she follows Harvey’s connection to a high-priced escort service, which brings her to a fancy hotel for a little drinking and room service before heading to the bedroom. Her tweaks on set improve the film but push the schedule back enough to push her own scene off the schedule. For this brief window, a little artistry behind the camera might pay off.Īnd for the time being, it limits how often Eileen has to have sex for money. But as we hear later in the episode, a $100,000 production called “Deep Throat” is about to hit theaters and bring hard-core pornography into the mainstream. Whether such care matters to the trench coat crowd plugging quarters into loops is another question.
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Harvey’s assessment of a particularly lifeless sex scene, “This is actually joyless,” is made funnier by the utter defeat in his body language.) Eileen is a born filmmaker, on top of being a sex professional, and she knows how to raise the temperature: Vaseline on the breasts to catch the light, an arch of the back, a less appalling bed cover, well-fed performers. (David Krumholtz has been a delight as Harvey all season. Harvey is a pornographer, yadda-yadda-yadda-ing his way through the production schedule with an eye on the bottom line and a basic, brute understanding of peeper prerequisites. Their choice is to adapt or perish.Įileen is adapting. And for many of the characters, their destinies have been determined without their input. The rise of the porn business and massage parlors has “cleaned up” Times Square, purging the corners of streetwalkers and bringing them under the control of a corrupt network of gangsters and cops. And yet, the episode makes you realize that everything has changed, perhaps more dramatically than it might have seemed from the deliberate pace of the show. Given the tendency of shows to drop bombs in the penultimate episode of a season, leaving the finale to assess the fallout, this week’s episode is notable in that it doesn’t break much from the steady evolution of the previous six hours. In a Simon show, individual actions can have far-reaching consequences, especially when the decisions of the powerful bear down on the vulnerable.
In that respect, his approach is analogous to that of the great documentary filmmaker Frederick Wiseman, who has spent half a century trying to understand human behavior within the context of systems and institutions - like a high school (“High School”), a mental ward (“Titicut Follies”) or, more recently, the New York Public Library (“Ex Libris”). For all the detail invested in the particulars of his characters’ lives and in the stories that animate them, Simon insists foremost on revealing how they fit into the larger ecosystem. The world of a David Simon show always comes first.
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