I suppose there’s some relief in wrapping up a series I thought wasn’t particularly great, for reasons I attempted to outline in each recap.
In my insistence in wanting to like the show, I’ve found myself trying to step outside the box a little.
Each episode, amidst the futility of attempting to bite off more than it can chew, also offers scenes that stretch beyond the format.
The discussion was entitled “The Making of The Wire,” and much of the evening was spent relaying behind-the-scenes trivia.
Look, not for a minute do I think executive producer David Simon is trying to kowtow.
I still don’t feel connected toGeneration Kill, now almost halfway through its run on HBO.
The first combat episode ofGeneration Kill is analogous to lousy sex.
There’s an old saying that, in good storytelling, action precedes explanation and commitment precedes realization.
Much of the last 20 minutes was unapologetic fan service, which in this case was by no means a bad thing.
David vs. David vs. David, or Which Is the Greatest TV Drama Ever, The Wire, Deadwood, The Sopranos?
For me, The Sopranos is a tough choice, because the three shows deal with America in different ways.
It’s been fascinating to see (and attempt to predict) how various characters respond to McNulty’s ruse when they learn the truth about it.
Of course, McNulty won’t evade punishment if Bunk has anything to say about it.
With each successive episode of The Wire’s final season, it seems, fans have become more firmly split into two camps.
I doubt many folks would disagree if I described the narrative momentum of The Wire’s fifth season as freight train-esque.
By the end of “Unconfirmed Reports,” all of the pieces for The Wire’s final season are on the board.
David Simon, the creator of The Wire, likes to take a few episodes each season to set his stage.
Varied as the street characters are, their African-American counterparts in the police department are just as individualized.
Joe may still get backed into a corner, but the big guy seems smart enough to talk his way out and get back to business as usual.
In the world of The Wire, it’s the story that rules—and that may even get the great Omar in the end.
The Wire is one of the finest works ever produced for American television.