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It is possible to trace at least two coincidences between the reactions of American viewers and Cubans who, with just two years of difference, accessed the 18 episodes of the series Stumpdown: the impression of being in front of a production that resisted, without quite succeeding, to reproduce the habitual channels of the detective genre, and the establishment of a sympathy-antipathy relationship with the protagonist, Dex Parios, a commissioned and self-employed investigator.

Almost all the chapters summarize a case that tests the ability and intuition of the detective. As such, they are not very new: the search for an adolescent, the dismantling of a drug trafficking network, the vindication of a family bond, and so on, until reaching the one with the highest density and, at the same time, the one that screenwriter Jason Richman dodges in depth: the death of the American Indian soldier Benny Blackbird, Dex’s former partner, in Afghanistan, a turning point he shares with tribal leader Sue Lynn.

Let’s not ask in this last pears to the elm. Neither imperial interventionism is in the field of questioning, nor the concealment of the Pentagon. The truth about Benny is a little mystery solved on a smaller domestic scale, no matter how well put together the plot seems.

the hook of Stump down it’s in characters and atmosphere and not in the criminal investigation itself; in the emotional dysfunction of Dex Parios – brought to the fore for the benefit of the histrionic qualities of Cobie Smulders – that ranges from breaking rules to her stark sexuality; on her friend Ella Gray’s (Jake Johnson) Sisyphean labors to reinvent her life; in the increased doubt of the policeman (Michael Ealy) before the holes of the system; in the encirclement of Sue Lynn (a more than convincing Tantoo Cardinal) to defend her identity plot in a community space that has the sole advantage of exploiting the gaming business; and in the humor that Tookie (Adrián Martínez) distills, to cope, from his Mexican food truck, with his ethnic marginality.

But, above all, the series wins in the very humane treatment with which Ansel is clothed, Dex’s brother, a young man with Down Syndrome who develops and integrates to have his own life. Character and interpreter – Cole Sibus has made a career aware of his particular genetic condition – they demystify prejudices and compassionate attitudes.

As for the atmosphere, James Griffiths, with the consent and collaboration of the creator of the original story, did nothing more than overturn the elements contained in the homonymous graphic novel launched by Greg Rucka in 2011, illustrated by Matthew Southworth, and published by Oni Press, an independent publisher from Portland, Oregon, whose locals often call Stumpdown.

Apart from DC and Marvel, the great emporiums of the film industry comic –for the first Rucka created nothing less than Wonder Woman (Wonder Woman)-, the author wanted to return with Stumpdown to the planes of reality.

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