walk the straight and narrow track.”
—Tom Waits, “Way Down in the Hole”
The Wire returned Sunday, September 10th after two years in limbo, a stretch equal to the last Sopranos hiatus. Yet while The Sopranos’ production gap was seen as an affront to the show’s fan base, The Wire languished in relative silence. Its largely non-white cast, tangled narrative, and bleak assessment of public institutions pretty much guaranteed a minuscule audience so it was unsurprising that HBO chairman Chris Albrecht shelved the drama after three seasons and then told TV columnists, “I have received a telegram from every viewer of The Wire—all 250 of them.”
After lobbying by fans and pitches by Simon, Albrecht reconsidered and gave the show another year (and the love continues: the show was recently picked up for a fifth and final season). Having viewed Season Four in its entirety, it seems to me that two years away from Jimmy McNulty (Dominic West) and the gang may have actually been beneficial, giving the writers the necessary time to think about The Wire’s vision of America and how each season progressively enlarges the scope of that vision.
Over time, the show has evolved from cops versus gang-bangers into a look at the similarities between organizations on both sides of the law, and how their struggle affects individual citizens and failing public institutions. Each main plot and subplot affirms that every part of society is somehow connected to every other part—that we’re all part of the same (to use a phrase that often crops up in discussions of Deadwood) “human organism.”