Authenticity. It is a concept that I respect and admire, perhaps because it is infrequent. Postmodernity and a certain modernity, so addicted, genetically or vocationally, to imposture, farce and emptiness, tried to devalue that way of being and being, but they have fucked up. You do not need explanations to understand what "someone authentic" means, legal people, true professionalism. And it can be extended to types that operate outside the law.
Authenticity, feeling of truth, knowing that this can be very complex. All this together with exceptional talent. This is what a man named David Simon represents for me, creator and soul of the best series I've ever seen, that is, The Wire. He has not reached that state of grace again, but his originality and his artistic ambition are perceived in everything he signs. Tremé It was not a success, but it is one of the most beautiful and bittersweet tributes I've seen towards people who live by and for music. In that New Orleans that survives the desolation of Katrina and the ferocity of the real estate and political vultures.
And I like The Deuce, the most sordid and realistic reconstruction of street smacking in New York in the early seventies. In the second season, the filmed porn, the peepshows, the lumpen brothels controlled by the mafia and the decision of some whores to become independent from their exploiting boyfriends and to control their own business make black pimps flinch and tremble. The world portrayed by Simon, as harsh as it is depressing, also endowed with some small oases in that terrible everyday life, continues to exude strength and credibility. Helping him to construct that dark reality, sometimes tragicomic, with characters and nuanced and credible situations, writers as inventive as Pelecanos and Price, who, together with the great Dennis Lehane, contributed to The Wire it was a work of art.