...is a weblog about the liberal arts 2.0 edited by Jason Kottke since March 1998 (archives). You can read about me and kottke.org here. If you've got questions, concerns, or interesting links, send them along.
Alan Sepinwall is watching season two of The Wire this summer and posting reviews. Here are his episode one reviews: one for newbies and another for veteran viewers. At the risk of sounding like a broken record, season two is underrated and if you didn't care for it the first time through, I'd give it another shot. (thx, david)
During a discussion with friends the other day, someone wondered, "Who doesn't like The Wire?" The show is easily one of a handful of shows considered the best ever and even those who feel that The Wire is overrated still don't dislike it. But someone's gotta hate it, right?
In the spirit of Cynical-C's excellent You Can't Please Everyone series, I went to Amazon and looked for bad reviews of The Wire season one DVD. There were six one-star reviews and four two-star reviews (versus 190 five-star reviews). Three of those were customer service complaints and one read like a five-star review that was accidentially mis-rated; here are parts of the remaining reviews:
I have watched 6 episodes of Season 1 and have desperately tried to get into The Wire. Despite the hype, and all the trendies saying what a mahhvellous show it is, actually it is pretty dull. Boring characters, little conflict, confusing scripts, same stuff repeated ad nauseam. Frankly, the lives of petty drug dealers in Baltimore don't do it for me, and not do the cops who are a pretty unattractive bunch with few dramatic qualities. I know that Prison Break was appallingly acted but at least it had a story line. The Wire is like an improvisation at one of those let it all hang out stage schools which never produces particularly great actors.
I had 1000's of hours of viewing movies, television series, and television programming behind me before I sat down to watch this series on DVD, season one, the box in my hand. I was very dissapointed. This series stinks. I watched only episode 1, and have the experience and perception to know that it won't get any better. [...] If watching cheap white trash and cheap black trash destroy themselves and probably each other interests you, this is for you. I have a better way to spend my evenings. I experience enough negativity in the world on a daily basis, that I don't have to put it in my dvd player after dinner for it to "entertain" me.
I really disliked this show, i watched the entire first season in two days, i only did so because i was waiting for it to become interesting. After so many glowing reviews, i could not belive how just plain awful this show turned out to be. I would rather watch reruns of Barney Miller, you get the same effect of watching the Wire except with slightly more enjoyment. I know it's not The Shield and it's not supposed to be but i implore you to purchase that series if you want to enjoy a television experience.
I got the Wire because I thought I was missing the boat on 'the best show on TV'. Well...I must be missing something because after watching 5 episodes I don't get it. I kept thinking it was going to get better..not that it was bad...it just wasn't that interesting. The only reason I kept watching was to see Idris Elba who plays Stringer Bell cause he is a cutie!
Perhaps it is in the office where the show falters the most, sometimes having camera shots zoom in on a person for three seconds at a time while they are thinking about nothing. Then there is the whole thing with the detective using a typewriter. Okay, did I miss something? Is this 2008 or 1978 people?? High Profile crime unit using typewriters, sure I buy it and a bag of that counterfeit money they had in the first episode.
I tried it sober; perhaps I should have tried it drunk. Ham acting, cliched backdrops (pole-dancing was an idea already on its last legs before The Sopranos ran it into the ground) and dialogue which may possibly be realistic but certainly is dull. I labored manfully through the whole first episode. I shall not torment myself with a second.
If Barney Miller is more your speed, season one of that show is also available on Amazon with reviews almost as good as The Wire's.
Update: I had totally forgotten about Andy Baio's Amazon.com Knee-Jerk Contrarian Game.
Short video interview of David Simon.
You know, newspapers are gonna say, "We already let the horse out of the barn door. How can you charge for content? Information wants to be free." All that bullshit. As I remember, there wasn't an American in America 30 thirty years ago who paid for their television. Television was free 30 years ago. Now everybody's paying 16 bucks a month, 17 bucks a month, 70 dollars a month.
Related: the NY Times recently ran the poignant story of a interracial Baltimore couple who turned to The Wire for comfort when the husband underwent treatment for cancer.
Also related: read David Simon's HBO pitch for The Wire from Sept 2000.
This is quite a treat. Someone got ahold of some scripts from The Wire and posted them online. [Update: I've mirrored the files for convenience.]
Season 1, episode 1, "The Target"
Season 1, episode 9, "Game Day"
Season 5, episode 10, "-30-"
But the real gem is a document dated September 6, 2000 that appears to be David Simon's pitch to HBO for the show. The document starts with a description of the show.
Simon had the show nailed from the beginning. Near the end of the overview, he says:
But more than an exercise is realism for its own sake, the verisimilitude of The Wire exists to serve something larger. In the first story-arc, the episodes begin what would seem to be the straight-forward, albeit protracted, pursuit of a violent drug crew that controls a high-rise housing project. But within a brief span of time, the officers who undertake the pursuit are forced to acknowledge truths about their department, their role, the drug war and the city as a whole. In the end, the cost to all sides begins to suggest not so much the dogged police pursuit of the bad guys, but rather a Greek tragedy. At the end of thirteen episodes, the reward for the viewer -- who has been lured all this way by a well-constructed police show -- is not the simple gratification of hearing handcuffs click. Instead, the conclusion is something that Euripides or O'Neill might recognize: an America, at every level at war with itself.
The list of main characters contains a few surprises. McNulty was originally going to be named McCardle, Aaron Barksdale became Avon Barksdale, and the Stringer Bell character changed quite a bit.
STRINGY BELL - black, early forties, he is BARKSDALE's most trusted lieutenant, supervising virtually every aspect of the organization. He is older than BARKSDALE, and much more direct in his way, but nonetheless he is the No. 2. He has BARKSDALE's brutal sense of the world but not his polish. BELL is bright, but clearly a child of the projects he now controls.
The final section is entitled "BIBLE" and contains draft outlines of a nine-episode season. I didn't read it all, but the main story line is there, as are many plot details that made it into the actual first season. (thx, greg)
Some think it's unfair that the former president of Countrywide Financial, a mortgage company that played a big (and negative) role in the subprime mortgage debacle, is now the head of a company making big money buying troubled mortgages from the US government for cheap and then refinancing with the owner, making big money in the process.
But as a Baltimorean explains to McNutty in the very first scene of the first episode of The Wire, that's how America works.
McNulty: Let me understand. Every Friday night, you and your boys are shootin' craps, right? And every Friday night, your pal Snot Boogie... he'd wait til there's cash on the ground and he'd grab it and run away? You let him do that?
Suspect: We'd catch him and beat his ass but ain't nobody ever go past that.
McNulty: I've gotta ask you: if every time Snot Boogie would grab the money and run away... why'd you even let him in the game?
(thx, aaron)
David Simon, formerly of The Wire and The Baltimore Sun, noticed an underreported Baltimore shooting involving a police officer and decided to investigate it himself. What he found is not good news for the citizenry.
Well, sorry, but I didn't trip over any blogger trying to find out McKissick's identity and performance history. Nor were any citizen journalists at the City Council hearing in January when police officials inflated the nature and severity of the threats against officers. And there wasn't anyone working sources in the police department to counterbalance all of the spin or omission.
I didn't trip over a herd of hungry Sun reporters either, but that's the point. In an American city, a police officer with the authority to take human life can now do so in the shadows, while his higher-ups can claim that this is necessary not to avoid public accountability, but to mitigate against a nonexistent wave of threats. And the last remaining daily newspaper in town no longer has the manpower, the expertise or the institutional memory to challenge any of it.
In other Simon news, apparently he's doing a pilot for HBO for a show called Treme, "post-Katrina-themed drama that chronicles the rebuilding of the city through the eyes of local musicians". The cast will include Clarke Peters and Wendell Pierce, who played Lester and Bunk on The Wire.
And speaking of The Wire, the latest issue of Film Quarterly has several articles devoted to the show. Only one article is online so you best send Lamar out to the newsstand for a paper copy. (thx, david & walter)
Regarding Berkeley's class on McNulty & Co., Jason Mittell is teaching a class on The Wire at Middlebury College this spring. More information is available on the class blog, including the course schedule. This class *will* include the underrated season two.
UC Berkeley is offering a class called What's so great about The Wire?
Discerning critics and avid fans have agreed that the five-season run of Ed Burns and David Simon's The Wire was "the best TV show ever broadcast in America"--not the most popular but the best. The 60 hours that comprise this episodic series have been aptly been compared to Dickens, Balzac, Dreiser and Greek Tragedy. These comparisons attempt to get at the richly textured complexity of the work, its depth, its bleak tapestry of an American city and its diverse social stratifications. Yet none of these comparisons quite nails what it is that made this the most compelling "show" on TV and better than many of the best movies. This class will explore these comparisons, analyze episodes from the first, third, fourth and fifth seasons and try to discover what was and is so great about The Wire. We will screen as much of the series as we can during our mandatory screening sessions and approach it through the following lenses: the other writing of David Simon, including his journalism, an exemplary Greek Tragedy, Dickens' Bleak House and/or parts of Balzac's Human Comedy. We will also consider the formal tradition of episodic television.
They're skipping season two? Shameful. (via unlikely words)
When The Notorious B.I.G. was shot dead in Los Angeles, a composite sketch of the shooter done shortly after the killing depicts a clean-cut black man in a suit and bow tie. Was Biggie's killer the partial basis for Brother Mouzone, the bow-tied hitman from The Wire?
At least until I hear from Mr. Mouzone's lawyer, I say: case closed! (thx, alex)
The complete series of The Wire on DVD (all five seasons) is on sale today only at Amazon for $82. That's a whopping 67% off the recommended retail of $250. (thx, doug)
Update: The box set is back to its regular Amazon price of $135 (still pretty good).
The Ravens are looking good in the playoffs but Mark Lamster imagines a football team made up of characters from The Wire. The most inspired choices:
Offensive Coordinator: Lester Freamon
FB: Thomas Hauk
MLB: Wee-Bey Brice
MLB: Cheese Wagstaff
Kicker: Ziggy Sobotka
Fan club president: Roland Pryzbylewski
A five-minute rap video that summarizes all five seasons of The Wire.
Police chief, yeah, his rank is proper
'Cause of the window, he starts a war with Frank Sobotka.
MIA's Paper Planes is still my favorite Wire-inspired song, but this is pretty sweet. (thx, about 2000 people)
Photos of the abandoned soundstage for The Wire.
So I found out yesterday that the soundstage for "The Wire" still existed. I wasted no time in visiting it and was there almost less than 24 hours. It's one of my favorite TV shows ever and I had to see this before everyone ruined it. The building is also scheduled for demolition and they are going to build a super market on it.
(thx, hurty)
An interview with a translator about the difficulty of dubbing The Wire into German.
To bring over the style of the speech out of the slums or ghettos, we haven't used very exact, grammatically correct German. Nobody says "Wegen des Fahrrads" (because of the bikes), rather "wegen dem Fahrrads" ('cause of them bikes), for example there we use wrong German. Here and there we've used other phrases, sometimes with an English or American sentence structure.
The interview itself was translated from German to English. (via panopticist)
Two covers of Tom Waits' Way Down in the Hole, the title song for The Wire: Tom Waits and Kronos Quartet and MIA and Blaqstarr. (thx, brandon)
Some of the cast of The Wire appeared in a "get involved" commercial for Barack Obama. Related: Carcetti for Mayor tshirts, re-elect Clay Davis shirts, and Pray for Clay campaign buttons. (thx, farhad)
If kottke.org had a movies and TV store, here's what I'd be selling today:
- The Dark Knight on Blu-ray or DVD. Out Dec 9.
- Wall-E on Blu-ray or DVD. Out Nov 18.
- The Wire: The Complete Series on DVD. Out Dec 9.
An mp3 of the entirety of last month's discussion of The Wire presented by the Museum of the Moving Picture is online. Participants included David Simon, Richard Price, Wendell Pierce (The Bunk), and Clark Johnson.
This is late notice and who knows if there are even tickets left, but David Simon and several cast members of The Wire (Carver, Daniels, Gus, Lester, and the Bunk) will be discussing the show in NYC tonight in a Museum of the Moving Image program.
Too Weird for The Wire, a story of a number of Baltimore drug dealers and their unusual "flesh-and-blood" defense in federal court. It's a tactic used by white supremacists and other US isolationists groups in tax evasion cases and the like.
"I am not a defendant," Mitchell declared. "I do not have attorneys." The court "lacks territorial jurisdiction over me," he argued, to the amazement of his lawyers. To support these contentions, he cited decades-old acts of Congress involving the abandonment of the gold standard and the creation of the Federal Reserve. Judge Davis, a Baltimore-born African American in his late fifties, tried to interrupt. "I object," Mitchell repeated robotically. Shelly Martin and Shelton Harris followed Mitchell to the microphone, giving the same speech verbatim. Their attorneys tried to intervene, but when Harris's lawyer leaned over to speak to him, Harris shoved him away.
David Simon, I believe you've got enough here for a sixth season of The Wire. Hop to.
We interrupt this vacation for an important message: there's a new episode of The Wire where Bunk and McNulty go skiing. Here's a screenshot.
David "The Wire" Simon's new show, Generation Kill, starts on HBO on July 13 and will continue for six Sundays after that.
Season five of The Wire on DVD is available for pre-order on Amazon. Release date is August 12, 2008. (thx, marshall)
As rumored yesterday, the iTunes Store has added some HBO shows to their lineup. The initial offerings are the first seasons of The Wire, Flight of the Conchords, Rome, and Deadwood, as well as seasons 1 and 6 of the Sopranos and all of Sex in the City. Prices are between $2-3 per episode. (thx, dhrumil)
A few drawings of characters from The Wire drawn in the style of The Simpsons. Here's a scene from season one; D'Angelo tries to teach chess to Wallace and Bodie:
This might be my new favorite thing on the web. (thx, andy)
Paul Ford has plans to make a better TV show than The Wire, "set in even worse parts of Baltimore".
I'll use cave paintings as the model for my series. Omar will chase mammoths through the streets and Carcetti will wear a robe made from a wolf and Beadie will chew bear meat for her children before passing it from her mouth. And everyone will speak proto-Indoeuropean without subtitles and the hidden cultural theme that no one sees will be land-bridge migration and phenotype variation.
I have already pre-ordered seasons 1 through 261,492.
Long long but good good roundbrowser** discussion about which is the best TV drama ever: The Wire, Deadwood, or The Sopranos.
MZS: And I would be, frankly, stunned if, as great an actor as Ian McShane is, he ever did anything that was as demanding and as complex as what he did on Deadwood. Same thing for Gandolfini. And there are even smaller players I think that's true of as well. Molly Parker, you know, my God, look at all the things she got to do. When is she going to be able to do all those things again?
AS: A lot of that comes from the fact that these people were doing series, and now they're trying to move on to movies, and no movie part will ever be as complex as Tony Soprano or Al Swearengen or Bubbles.
MZS: Is that an inherent strength of the medium, then, as opposed to movies?
AS: Yeah.
Obviously, there are spoilers here if you haven't seen all three shows in their entirety.
** A roundbrowser discussion is a roundtable discussion that takes place online. Ok, yeah, I didn't think it was all that clever either. Oh well.
Tyler Cowen has a short review of Peter Moskos' book, Cop in the Hood: My Year Policing Baltimore's Eastern District.
This is one of the two or three best conceptual analyses of "cops and robbers" I have read. It is mandatory reading for all fans of The Wire and recommended for everyone else.
Sheeeeeeeeeeit.
WARNING, **EXTENSIVE SPOILERS** ABOUT SEASONS 1-5. So, The Wire is over. The 60th and final episode of the show aired on Sunday night. I watched it last night and felt very sad afterwards. Sad that it's over and that doing a sixth season could not and would not work. A good chunk of my morning was spent clinging to the show's final moments; I must have read close to 50 or 60 pages of interviews and analysis concerning the end of the show. Here are a few of those articles worth reading:
Heaven and Here is providing their usual excellent coverage of the end of the show.
I don't know if Cheese's speech about the game was one of the more definitive the show's ever put forth, or the ultimate in dime store Wire-isms. I also don't know which way it was supposed to be perceived by the characters. But that it was immediately followed by a murder that contradicted everything it contained -- one that went against a lot of what's been both depressing and demoralizing about the show -- was kind of awesome.
Alan Sepinwall has the definitive end-of-the-show interview with David Simon. It's long but oh so good.
We knew that if we got a long enough run, all three of the chess players would be out of the game, so to speak. Prison or dead. We did not chart all of their fates to a specific outcome, but we knew that the Pit crew would be subject to an exacting attrition.
We knew, for example, that when Carcetti declares that he wants no more stat games in his new administration that the arc would end with his subordinates going into Daniels' office and demanding yet another stat game. Or that McNulty would end up on the pool table felt like Cole, albeit quitting rather than dead. Or that Carver's long arc toward maturity and leadership would begin with him making rank under ugly pretenses and then being lectured by Daniels about what you can and can't live with. (It's at that point that Carver slowly begins to change, not merely when he encounters Colvin's integrity.) We knew that the FBI file that Burrell would not be put into play in season one would eventually be used to deny Daniels the prize.
Sepinwall also wrote an extensive recap of the final episode.
Heather Havrilesky's interview with David Simon on Salon covers some of the same ground as Sepinwall's interview but is still quite fine. Here's David Simon explaining what the whole season five newspaper thread was all about:
[The season] begins with a very good act of adversarial journalism -- they catch a quid pro quo between a drug dealer and a council president -- which actually happened in Baltimore. Not necessarily the council president, but between a drug dealer and the city government. That whole thing with the strip club? That really happened in real life. It was news. The Baltimore Sun did catch that, it was good journalism, so I was honoring good journalism. It ends with an honorable piece of narrative journalism, about Bubbles. And the Baltimore Sun has, on occasion, done very good narrative journalism.
In between those bookends, which I thought were important, because in our minds we weren't writing a piece that was abusive to the Sun or any other newspaper ... the paper misses every story. They miss that the mayor wants to be governor, so ultimately the guy who was the reformer ends up telling people to cook the stats as bad as Royce ever did. Well, in Baltimore that happened. And they missed the fact that the third-grade test scores are cooked to make it look like the schools are improving, when in fact it doesn't extend to the fifth grade, and that No Child Left Behind is an unmitigated disaster. They set out to do a story on the school system, but they abandoned it for homelessness because they're sort of reed thin. Prosecutions collapse because of backroom maneuvering and ambition by various political figures, speaking of Clay Davis ... And when a guy like Prop Joe dies, he's a brief on page B5.
That was the theme, and we were taking long-odd bets that very few journalists would even sense it. That would be the critique of journalism that really mattered to me, because we've shown you the city as it is, and as it is intricately, for four years. It was all rooted in real stuff.
The last of Andrew Johnston's recaps for The House Next Door. He remains skeptical about the newspaper part of season five's main plot:
In my decade-plus as a professional journalist, I've seen a lot of people compromise their principles in order to stay employed, but never have I seen so many people compromise so much. At the risk of seeming terminally naive, I have to ask if things are really that much worse in the newspaper world than they are in the magazine biz (and now that I've raised the question, I'm sure more than one person will provide evidence in the comments below that yes, things are that bad).
Yanksfan vs. Soxfan views The Wire through the lens of Baltimore sports.
From the air, the picture isn't quite so romantic. The satelite image above shows the site that was once home to Memorial Stadium. An entire neighborhood is oriented in a horsehoe around it. But there's practically nothing on the site now. It's a void. The last remnant of Memorial Stadium came down in 2002. That was a concrete wall dedicated to the soldiers who gave their lives in the First and Second World Wars. It read, "Time will not dim the glory of their deeds."
The Orioles moved into Camden Yards in 1994. You'd think that, when the city agreed to build a new home for the team, there would have been a plan for the old site. But that's not how the development game works. A rising tide doesn't necessarily lift all boats. The money was downtown, and that's where it stayed.
Assorted other articles that I'll leave unexcerpted: AV Club interview with Simon, final episode recap from Thoughts on Stuff, and a letter on HBO's site from David Simon to the fans of the show.
And finally, a few other tidbits.
Now that it's done, I think we're going to cancel HBO and everything but basic cable. I doubt it'll be missed much...aside from sports and movies, The Wire was only thing we watched on TV.
There was a big bust in Chinatown yesterday...32 vendors selling counterfeit watches, sunglasses, and handbags were shut down. All up and down Canal St today, not only are the busted stores closed but all the other shops selling fake goods are shuttered as well. And not a single person asked me if I wanted to buy Juno on DVD.
What's funny about the whole thing is how open the vendors are about what they're selling. These are actual physical shops like the Apple Store or the Gap, not a bunch of purses out of a garbage bag set up on a rickety card table. And uniformed police are around all the time, doing absolutely nothing about it. And then all the luxury fashion houses get the mayor's ear, he can no longer ignore the problem, and Bloomberg ends up at the scene, grandstanding for the cameras and calling the whole thing a big problem that they're working on tirelessly. A friend said this morning it reminded him of the "dope on the table" scenes in The Wire...little more than constabulary theater.
No spoilers, no spoilers. It appears that the very last episode of The Wire will not air a week early on HBO OnDemand like all the previous episodes have this season. Air date is Sunday, March 9...the show appears OnDemand the next day. The series finale will clock in at 93 minutes, longer by 15 minutes than last season's finale.
NOTE: don't read any further if you haven't watched episode 6 of The Wire's 5th season. SPOILERS.
I've been meaning to write a post on my thoughts about season 5 of The Wire but luckily Heaven and Here beat me to much of what I was thinking. The highlights:
Too many characters, too many stories, too much telling and not enough time for showing, which is why it feels more like a conventional TV show than in years past.
Unnecessary cameos. What is this, a reunion tour? Hi Nicky, hi Randy! (Although I think the Randy thing is interesting in relation to his dad...did Cheese get the way he is through a similar trajectory? And I suspect that Randy will come back into play...the season 4 kids are the only ones, besides the drug dealers themselves, who have any evidence of wrongdoing by Marlo, et. al.)
How are they going to wrap this up? I don't care what happens to Carcetti or McNulty or Freamon or Daniels and we're obviously going to get some sort of closure on either Omar or Marlo, but if they leave the Dukie, Bubs, and Michael threads significantly hanging, I'm gonna be pissed. (Prediction: if Marlo gets got, it will come from within...either Chris or Michael or both.)
The whole McNulty/Freamon thing: blah. Same thing with the newspaper angle...not as interesting as I thought it was going to be.
But all the rest of the seasons started slow and built into something...they coalesced. Maybe this one will as well?
The only thing I really like about McNulty's manufactured investigation is how it affects so many different things in the system. Carcetti running for governor on the homeless issue. The newspaper switching their focus from the schools to the homeless. All the little things that pull resources and energy away from the Marlo Stanfield case. Pulling Kima off her triple. Motivating Bunk to reopen the case files on the bodies in the vacants. Everything is connected, unexpectedly.
Oh, and I love the "Dickensian" stuff in the newsroom...it's Simon's little shoutout/fuck you to the real media's coverage of the show, frequently called Dickensian. Heaven and Here on the term's misuse:
Something that has been bothering me about the deluge of stories on the show lately (which is , as Shoals said to me earlier today, "split now between nay-sayers and people drowning in their own adulation,") is the loose use of the term "Dickensian." Some stories are simply grabbing onto the upcoming plotline of the Sun editor assigning a story on "Dickensian" kids, but more often than I like, I see lazy writers using Dickens as a sort of shorthand for intricacy, urban despair, and nightmarish institutional breakdown, as if he owned the patent on all that.
Maybe much of the media criticism we were promised in season 5 is meta?
The Sound of Young America's Jesse Thorn interviews Wendell Pierce and Andre Royo, who play The Bunk and Bubbles on The Wire. (thx, jesse)
Sudhir Venkatesh recently sat down with some real gang members to watch some episodes of the The Wire.
The greatest uproar occurred when the upstart Marlo challenged the veteran Prop Joe in the co-op meeting. "If Prop Joe had balls, he'd be dead in 24 hours!" Orlando shouted. "But white folks [who write the series] always love to keep these uppity [characters] alive. No way he'd survive in East New York more than a minute!" A series of bets then took place. All told, roughly $8,000 was wagered on the timing of Marlo's death. The bettors asked me -- as the neutral party -- to hold the money. I delicately replied that my piggy bank was filled up already.
(thx, matt)
With The Wire final season premiere approaching rapidly (the episode is already on HBO OnDemand and the first two are on BitTorrent), news outlets everywhere are covering and reviewing the show. My favorite article -- because it's something different and critical for a change -- is a profile of David Simon by Mark Bowden in the Atlantic Monthly. He starts out slow with a comparison of fiction and nonfiction in telling stories:
Fiction can explain things that journalism cannot. It allows you to enter the lives and motivations of characters with far more intimacy than is typically possible in nonfiction. In the case of The Wire, fiction allows you to wander around inside a violent, criminal subculture, and inside an entrenched official bureaucracy, in a way that most reporters can only dream about. And it frees you from concerns about libel and cruelty. It frees you to be unfair.
But then you get to the part describing Simon's vindictiveness and how it has shaped him, which adds some depth to the earlier fiction/nonfiction comparison. Worth a read.
Also of note is that the full text of The Believer conversation between Simon and Nick Hornby has been put online.
With the new season right around the corner, Heaven and Here, an excellent group blog about The Wire, is starting back up again. The latest two posts are about season two, the most underrated season IMO.
Radio interview with Felicia Pearson, who plays Snoop on The Wire. It's apparent from the interview that she doesn't so much act in The Wire as play herself. "I have patience." (thx, adam)
New episodes of The Wire, available now! Well, sort of. The Amazon page for the season 4 DVDs contains three mini prequels to the series: one with a grade school-aged Prop Joe, a teenaged Omar, and McNulty's first day with the homicide unit.
Found while browsing HBO OnDemand last night: the first 4 episodes of The Sopranos and the entire season 3 of The Wire. Go nuts.
Big Screen Little Screen has some info of the upcoming season of The Wire. It begins Jan 6th and the episodes will appear OnDemand a week early (they did this last year, yes?). The post also contains 5 promos for season 5. Almost here!
Long profile of David Simon and The Wire in the New Yorker this week. Haven't read it yet, but digging in now.
Update: Ok, all done. I thought this observation about the two main groups of fans of the show (urban poor and media critics) was canny:
Sometimes the fan base of "The Wire" seems like the demographics of many American cities -- mainly the urban poor and the affluent elite, with the middle class hollowed out.
The last bit of the article talks about a new show that Simon's thinking of doing for HBO about New Orleans musicians.
Season 1 of The Wire is currently showing on HBO OnDemand. I presume seasons 2-4 will follow as the January premiere of season 5 approaches. (thx, michael)
Speaking of, here's a short teaser promo for season 5. (thx, gary)
Update: The post originally said that season 2 was OnDemand...I corrected it to read "season 1".
Amazon just sent me an email about my preorder of The Wire season 4 DVD. They say the shipping date has slipped a little, but the page still says it'll be out on Dec 4. Anyway, they made me verify the "change"; if I hadn't, they would have canceled the order, which seems a less-than-optimal solution to the problem. If you preordered, you might want to watch your inbox.
It's been a few weeks since I saw the movie, but I still can't get the Rhubarb Pie song out of my head:
But one little thing can revive a guy,
And that is home-made rhubarb pie.
Serve it up, nice and hot.
Maybe things aren't as futile as you thought.Mama's little baby loves rhubarb, rhubarb,
Beebopareebop Rhubarb Pie.
Mama's little baby loves rhubarb, rhubarb,
Beebopareebop Rhubarb Pie.
Related "fascinating" facts:
Garrison Keillor got the idea for doing A Prairie Home Companion (the radio show) after writing an article for the New Yorker about the Grand Old Opry in 1974.
While driving in unfamiliar territory in an episode of The Wire, Bodie Broadus ends up listening to A Prairie Home Companion on the radio when he can't find any hip-hop.
A breaking addendum to Wednesday's update on The Wire: the season four DVD of The Wire is now available for pre-order at Amazon. Release date: December 4.
What with the newborn taking up much of my days, I didn't have too much time to watch TV this summer. I did catch a few shows, however.
Ninja Warrior. This is my new favorite show to truly zone out to. It's an obstacle course competition program from Japan called Sasuke, repackaged by the G4 network for an American audience. This YouTube video -- featuring my favorite Ninja Warrior competitor, fisherman Makoto Nagano -- should provide you with a decent taste of the show. Wikipedia has more information than you probably want to know about the program. Time/place: G4, all hours of the day (but officially 6pm & 10pm ET).
Are You Smarter Than a Fifth Grader? See Idiocracy. See also Miss Teen South Carolina. I couldn't click away fast enough. Time/place: not even gonna tell you.
Deadwood, season one. Finally got around to checking this out after many recommendations from friends. Big fan so far, through 10 episodes. Gem Saloon owner Al Swearengen is one of the best TV characters in recent memory. Aside from the obvious -- Wild Bill, Calamity Jane, and Deadwood itself -- I was surprised to learn that many of the characters, events, and establishments in the show actually existed and took place, including Swearengen, E.B., and the Gem. I imagine there's an extensive discussion on the web somewhere about how much the show deviates from recorded history, but I'm staying away for now for fear of spoilers, having already made the mistake of learning of Wild Bill's story arc in a book about the Wild West. Time/place: HBO2 is currently rerunning season one at 8pm ET. Also available on DVD, anytime.
The Wire, seasons one, two, and three. Everyone dogs on season two of The Wire (relatively speaking), but after a second viewing, it's right up there with one and three for me. Collectively the best program ever shown on TV, case closed, next topic, I'm not even gonna discuss that with you. G.O.A.T. However, up for debate: despite being everyone's favorite character on the show (but not mine), Omar Little is actually the least realistic character on a show defined by its realism. A gay thief/killer/felon who doesn't swear and adheres to a personal code of conduct? Come on! Time/place: BET is showing episodes of season three on Thursdays at 9:30pm ET, but edited for content and with commercials. Which is like viewing Titian's nudes with all the naughty bits pixelated out and a "Sponsored by AXE Deodorant Body Spray" banner draped over it. Just get the DVDs...beg, borrow, or steal if you have to.
Planet Earth. A highly recommended nature series that originally aired on the BBC in early 2006 (with David Attenborough narrating) and jumped to the Discovery Channel earlier this year (with Sigourney Weaver narrating). We caught several episodes on Discovery HD, which is a spectacular way to watch the series. My favorite scenes depicted the symbiotic relationships that develop in the wild: snakes and fish hunting together, dolphins and birds herding fish, spiders diving for prey trapped by pitcher plants. NY Times review, Washington Post review, detailed Wikipedia entry. Time/place: Not on TV in the US anymore, as far as I know. Your best bet is on DVD or, if you have an HD player, get the full effect on HD DVD or Blu-ray. Get the Attenborough-narrated version if you can. Oh, it looks like there's a few highly pixelated complete episodes of Planet Earth on Google Video...get 'em before they get taken down.
Show creator David Simon talks with author Nick Hornby (High Fidelity, etc.) in the The August 2007 issue of The Believer. The entire interview isn't available online but one of the three best bits is:
My standard for verisimilitude is simple and I came to it when I started to write prose narrative: fuck the average reader. I was always told to write for the average reader in my newspaper life. The average reader, as they meant it, was some suburban white subscriber with two-point-whatever kids and three-point-whatever cars and a dog and a cat and lawn furniture. He knows nothing and he needs everything explained to him right away, so that exposition becomes this incredible, story-killing burden. Fuck him. Fuck him to hell.
Simon goes on to talk about the overarching theme of The Wire: the exploration of the postmodern American city and the struggle of the individual against the city's institutions. Many of his thoughts on that particular subject are contained in this Dec 2006 interview at Slate. But in talking with Hornby, Simon draws a parallel between these city institutions and the Greek gods:
Another reason the show may feel different than a lot of television: our model is not quite so Shakespearian as other high-end HBO fare. The Sopranos and Deadwood -- two shows that I do admire -- offer a good deal of Macbeth or Richard III or Hamlet in their focus on the angst and machinations of their central characters (Tony Soprano, Al Swearingen). Much of our modern theatre seems rooted in the Shakespearian discovery of the modern mind. We're stealing instead from an earlier, less-traveled construct -- the Greeks -- lifting our thematic stance wholesale from Aeschylus, Sophocles, Euripides to create doomed and fated protagonists who confront a rigged game and their own mortality.
But instead of the old gods, The Wire is a Greek tragedy in which the postmodern institutions are the Olympian forces. It's the police department, or the drug economy, or the political structures, or the school administration, or the macroeconomics forces that are throwing the lightning bolts and hitting people in the ass for no reason. In much of television, and in a good deal of our stage drama, individuals are often portrayed as rising above institutions to achieve catharsis. In this drama, the institutions always prove larger, and those characters with hubris enough to challenge the postmodern construct of American empire are invariably mocked, marginalized, or crushed. Greek tragedy for the new millenium, so to speak.
The NY Times still deals in the Shakespearian and tells us the story of Donnie Andrews and Fran Boyd (thx, nirav), whom Simon and The Wire co-creator Edward Burns introduced to each other. Andrews was the inspiration for the popular Omar Little character on the show and Boyd was depicted in a previous Simon/Burns collaboration called The Corner. The Times also has their wedding announcement.
And finally, some news about season five. Sadly, instead of 12 or 13 episodes, the final season of the show will only consist of 10 episodes. The shooting of the final episode wrapped on September 1 and the season will premiere on Jan 6, 2008 (both facts courtesy of a Washington Post article about the end of the show). The season 4 DVD should be out a month or two before that. Two actors from Homicide: Life on the Street (based on a book by, you guessed it, David Simon) will appear in the final season: Clark Johnson (who also directed the final episode) and Richard Belzer, who will reprise his Homicide role as Detective John Munch.
Here are some updates on some of the topics, links, ideas, posts, people, etc. that have appeared on kottke.org recently (previous installment is here):
The Celluloid Skyline exhibition at Grand Central is well worth checking out...I was up there this past weekend. Pentagram collaborated with Saunders on the exhibit and wrote up a brief piece on how it came together.
My short post on Nina Planck's reaction to the recent "death by veganism", as she calls it, of a baby boy is a good reminder that I don't always agree with the things I link to. My only criteria for posting a link is that it's interesting, whether I think it's right or wrong or am still trying to form an opinion about it. Anyway, I got lots of mail about this one, much of it that said that the parents' veganism was beside the point -- which the prosecutors and jury in the subsequent criminal case agreed with (thx, matt) -- and that a headline like "Death By Stupidity" was probably more appropriate. After all, you don't see "Death by Omnivorism" headlines every time a baby with a more traditional diet dies of starvation.
Debra from Culiblog pointed out that contrary to Planck's assertion that "there are no vegan societies", the Jainists practice vegetarianism and veganism. On the other side of the aisle, meat fan Michael Ruhlman chastised Planck for going too easy on vegans, saying that "Veganism is a colossal arrogance, a refusal to admit to our own nature, a denial of our humanity. Sometimes it kills people. And it's not very much fun, besides." You can imagine the discussion that generated...although it was nothing like the 300+ comment thread on MetaFilter.
My opinion of Cars improved with a second viewing.
Discover's chat bot conversation reminded a reader of this old interview with the Ask Jeeves search engine (thx david). Back in 2002, I interviewed ELLEGirl magazine's AIMbot:
jkottke: Do you do anything to celebrate or recognize the changing of seasons?
ELLEgirlBuddy: do you do anything to celebrate or recognize the changing of seasons? that's a tough choice.
jkottke: yes, to celebrate or merely recognize. that is a toughie.
ELLEgirlBuddy: yes to celebrate or merely recognize that is a toughie? i dunno.
jkottke: you seem like an actual 13 year old girl.
ELLEgirlBuddy: i haven't really made a decision 'bout that.
jkottke: growing up is tough, isn't it?
ELLEgirlBuddy: i dunno.
And whoever posted the chat bot story to Digg (5696 Diggs and counting!) used the exact wording from my original post. You're welcome!
Prime, David Burke's quarter-million-dollar Black Angus bull, has his own web site. (thx, brian)
Regarding Alex Reisner's excellent baseball statistics web site and, in particular, the pennant race graphs, here's another interesting visualization of the pennant races...you can see the teams race to the end of the year like horses. (thx, scott)
Re: my post on better living through self-deception, I've heard that pregnant women tend to forget the pain of childbirth, perhaps because "endorphins reduce the amount of information trauma victims can store". Also related tangetially is this article on research into lying and laughing, which includes this simple test to see if you're a good liar:
Are you a good liar? Most people think that they are, but in reality there are big differences in how well we can pull the wool over the eyes of others. There is a very simple test that can help determine your ability to lie. Using the first finger of your dominant hand, draw a capital letter Q on your forehead.
Some people draw the letter Q in such a way that they themselves can read it. That is, they place the tail of the Q on the right-hand side of their forehead. Other people draw the letter in a way that can be read by someone facing them, with the tail of the Q on the left side of their forehead. This quick test provides a rough measure of a concept known as "self-monitoring". High self-monitors tend to draw the letter Q in a way in which it could be seen by someone facing them. Low self-monitors tend to draw the letter Q in a way in which it could be read by themselves.
High self-monitors tend to be concerned with how other people see them. They are happy being the centre of attention, can easily adapt their behaviour to suit the situation in which they find themselves, and are skilled at manipulating the way in which others see them. As a result, they tend to be good at lying. In contrast, low self-monitors come across as being the "same person" in different situations. Their behaviour is guided more by their inner feelings and values, and they are less aware of their impact on those around them. They also tend to lie less in life, and so not be so skilled at deceit.
The skyscraper with one floor isn't exactly a new idea. Rem Koolhaas won a competition to build two libraries in France with one spiraling floor in 1992 (thx, mike). Of course, there's the Guggenheim in NYC and many parking garages.
After posting a brief piece on Baltimore last week, I discovered that several of my readers are current or former residents of Charm City...or at least have an interest in it. Armin sent along the Renaming Baltimore project...possible names are Domino, Maryland and Lessismore. A Baltimore Sun article on the Baltimore Youth Lacrosse League published shortly after my post also referenced the idea of "Two Baltimores. Two cities in one." The Wire's many juxtapositions of the "old" and "new" Baltimore are evident to viewers of the series. Meanwhile, Mobtown Shank took a look at the crime statistics for Baltimore and noted that crime has actually decreased more than 40% from 1999 to 2005. (thx, fred)
Cognitive Daily took an informal poll and found that fewer than half the respondants worked a standard 8-5 Mon-Fri schedule. Maybe that's why the streets and coffeeshops aren't empty during the workday.
Beyond Chron: "In San Francisco, neighborhoods that have defeated gentrification have been treated as 'containment zones,' meaning that unreasonable levels of crime, violence and drugs are tolerated so that such activities do not spread to upscale areas. The Tenderloin has long been one of the city's leading containment zones, but those days are over." Sounds a bit like Hamsterdam from season three of The Wire.
Generation Kill is the newest project for HBO from David Simon and Ed Burns, creators of The Wire. It's a 7-hour miniseries based on Marines fighting in the Iraq war. "Gritty mini will look at the early movements of the 1st Reconnaissance Battalion and depict the complex challenges faced by the U.S.-led mission even in the war's early stages." (via crazymonk)
BET is showing season one of The Wire. Not the best way to watch the show (with commercials and edited for television), but handy if you don't have other access to it.
A few years ago, I wrote about the potential hazards of watching time-shifted entertainment. Meg and I were watching a Red Sox-Yankees playoff game on TiVo and were about 20 minutes behind realtime events when Meg's phone rang:
She picked it up and looked at it, distracted by the game and unsure of what to do with it. I immediately realized it was her parents, calling with word of the completed game.
"No, no, don't answer it!" I yelled. "It's your parents! They're calling from the future!"
In promoting season four of The Wire, HBO sent out screener DVDs of the entire season to reviewers. By mid-October, some enterprising person ripped those DVDs and made all season 4 episodes available online, more than a month before the final episode was to be shown on TV. Unfortunately, those early viewers did some Googling about upcoming plot points which ended up in the referer logs of Heaven and Here, a popular blog about The Wire. (Note: if you haven't watched all of season 4, DON'T CLICK THROUGH to Heaven and Here...major spoilers!!) A spoiler-free excerpt:
Finally, I would like to say a few words on spoilers, On-Demand, and the concept of the collective. My big spoiler moment came about halfway through the season, which is rather a lucky break for me considering how much material I have been traversing each week related to the show. It was in the search terms for this very site, and it came in just three words: "[redacted]" It's the image you see for a second, recognize that you don't want to see, and quickly turn away from but can never even hope to forget. [...] I was able to avoid other spoilers, which again is kind of miraculous, but that note rang in my head all season, and it also had to be this ugly secret i kept while discussing the show here and with friends.
Who says time travel hasn't been invented yet?
Fantastic interview with David Simon in Slate. If you're a fan of The Wire and caught up on season four, I really recommend reading this. When Simon was asked what the show was about, he said: "it's about the very simple idea that, in this Postmodern world of ours, human beings -- all of us -- are worth less. We're worth less every day, despite the fact that some of us are achieving more and more. It's the triumph of capitalism."
Google Maps satellite view of where Marlo hangs out on The Wire. (thx, turbanhead)
Long but great NPR interview with Ed Burns, writer and producer of The Wire. We just finished season 4 last night and it took the stuffing right out of me. I haven't been this depressed for months. (thx to the several people who recommended this)
Profile of Felicia Pearson, who came off the streets of Baltimore to play Snoop on The Wire.
Video of a Steven Levitt talk on the economics of gangs and why gangbanger is not such a good vocation (for one thing, the job pays less than McDonald's). The board of directors stuff made me think of the co-op on The Wire.
Clay Davis: Sheeeeeeeeeeeeeeit. This is right up there with Khaaan! (thx, david)
Because of his open source programming connection, Hans Reiser's arrest for his wife's murder was big news in that community. After his wife disappeared, Reiser bought 2 books on murder, including David Simon's Homicide. Simon is the creator of The Wire.
I posted a link to this earlier, but after watching the first two hours earlier this evening, I must strongly caution against missing Eyes on the Prize on PBS this month. Using nothing more than archival film footage, on-camera interviews, period music, and a narrator's voiceover, the stories of Emmitt Till, the Montgomery bus boycott, and the desegregation of southern schools riveted me to the couch like few viewing experiences have. As compelling as the history of the civil rights movement in America is, the production of the film deserves some of the credit for its power. To hear the stories of these momentous events told by the participants themselves, without embellishment, is quite extraordinary. From a media perspective, watching Eyes on the Prize gives me hope that we can survive the era of the crescendoing musical scores and 20-cuts-per-minute editing and still tell powerful, engaging stories without worrying about window dressing. I won't soon forget the calm determination in the look and voice of Moses Wright or Mississippi governor Ross Barnett thundering away about segregation.
(For me, Eyes is also a nice companion piece to my twin obsessions of late, The Wire and The Blind Side, both of which deal with contemporary race relations in their own way. The PBS web site for the film lists dozens of resources for further exploration of the topic...does anyone have any specific recommendations for books about the civil rights movement? Lemme know.)
Update: Thanks for the recommendations, everyone...I posted a listing of them here.
Sounds like a tactic out of The Wire: instead of mass arrests, law enforcement officials in a North Carolina city have been using pressure from families and the threat of arrest to drive drug dealers out of business. (thx, micah)
Short Rolling Stone interview with The Wire's David Simon, part of a longer interview from the magazine. "I thought Katrina was literally America having to pause for a moment and contemplate the other America that somehow, tragically, Americans forgot. It's like America looking across the chasm saying, 'Oh, are you still here? Oh, and you're wet. And you're angry.'"
Long piece on the opening titles of The Wire. Contains nearly endless seasons 1-3 spoilers. The site also offers comprehensive weekly episode recaps...here's the one for episode 40.
Update: Edward Copeland also does The Wire recaps.
From Anya Kamenetz's recent HuffPo piece on The Wire, we learn about a group blog on The Wire called Heaven and Here, a pretty meaty exploration of the show. Show creator David Simon checked in recently.
Each week at Slate, writer Alex Kotlowitz and Steve James (director of Hoop Dreams) dissect the week's episode from the fourth season of The Wire. Warning: they are unabashed fans of the show. AOL recently interviewed The Wire creator David Simon. (via dj) Negro Please is posting fourth season episode synopsiseses summaries...here's 4.2.
Update: Season four of The Wire scored a 98/100 on Metacritic, the highest score for a TV show on the site.
Slate's Jacob Weisberg on The Wire: "no other program has ever done anything remotely like what this one does, namely to portray the social, political, and economic life of an American city with the scope, observational precision, and moral vision of great literature".
Stephen King: big fan of The Wire. "The Wire keeps getting better, and to my mind it has made the final jump from great TV to classic TV." Warning, some season 4 spoilers. (via crazymonk)
Season four of The Wire just started, but I've got a season five wishlist item to share. I'd love to see an entire season that flashes back to Stringer Bell and Avon Barksdale establishng their operation, say 5-6 years before the start of season one. Maybe we'd also get to see McNulty's days in the Western with Bunny, Daniels' dark days, Bubs getting hooked on the junk, some backstory on The Greek, a bit of the Sobotka clan, and more Omar (there's never enough Omar). This isn't unprecendented; The Godfather: Part II followed the first movie's saga of an aging gangster and his three sons with a look at how Vito Corleone's operation came to be. With the way they've handled The Wire so far, I think the show's creators could pull off something similar in effect and acclaim.
(Now that I think about it, they're sort of doing that this season anyway. Marlo is kind of a young Avon and in the young school kids, we get a look at drug dealers in the making. Not related at all, but the best line of the series so far is from Clay Davis in the second episode of the 4th season: "Sheeeeeeeeeeeeeiiiiiiiiiiiiit." Laughed my ass off.)
Oh, rejoice and be glad...there will be a season five of The Wire. "Balancing small audiences again critical acclaim, HBO has picked up a fifth season of drama The Wire." The season may focus on the media's role in politics. (thx, mark)
Bill Simmons, who writes at ESPN and is one of my favorite sports writers, recently penned a rave review of The Wire (scroll all the way down at the bottom). "Omar might be my favorite HBO villain since Adebici. And that's saying something." He also sings the praises of David Foster Wallace's article on Roger Federer.
The Wire influenced a Baltimore hip-hop producer to make a mix tape called Hampsterdam and now season four of the show will be featuring more of the local music scene there. (thx, doug)
It's difficult to talk about The Wire without wanting to reveal all sorts of plot details, character developments, and other spoilers, so instead I'll tell you how excited I am about the season four premiere tonight on HBO. (It's been available on HBO On Demand for a week or so now, but I've been out of the country so Meg and I are watching it tonight the old fashioned way: live.) Before we left for Austria, we burned through all 37 hours of the first three seasons in about four weeks, and in my opinion, The Wire is one of the very best television shows ever.
Despite being critically acclaimed, The Wire is also unfortunately one of HBO's less appreciated shows audience-wise. So, a little plug: get the season one DVDs from Netflix (or Amazon), park your ass in front of the television, and watch it. All the seasons tend to start a little slow but stick with it and ye shall be rewarded. (I was almost bored watching the first 3-4 episodes of season three, but the the payoff in the later episodes...oh man.) Alright, get to it.
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