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Dope Thief Pulls It Off
A by-the-book crime tale transcends its genre with a central friendship that is as gooey and soft as the show surrounding it is bleak and bloody.
Fifteen or so years ago, the channel was the place for just-guys-being-dudes masterpieces like The Shield, Sons of Anarchy, Justified, and Terriers, series in which men’s personal and professional relationships were given distinct texture and emotional depth amid backdrops of organized crime, drug wars, and land grabs. The premiere, directed by executive producer Ridley Scott, sets the series’ drafty, desaturated palette; introduces its use of black-and-white flashback sequences; and lays out most of the crime story’s main players, starting with longtime best friends Ray (Henry) and Manny (Moura). The series’ most revealing dialogue is tucked inside Ray and Manny’s endless bickering, whether they’re arguing about which one has taken care of the other for longer or scoffing at a group of white Pennsylvania Dutch farmers calling them, a Black man and a Brazilian immigrant, “English.” Henry and Moura are usually yelling at each other, but the former is so good at being simultaneously exasperated and concerned, and the latter so skillful at veering between freneticism and compassion, that their antagonism always comes off as a form of love.
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