A dizzying hall-of-mirrors stunt, a horror remake as autobiographical X-ray, and a fantasy that serves as a cleansing creative exorcism.
The Wire has never reduced its stories to a soundbite and this season is no different.
“Change the course” often means more of the same, only more of it.
Carcetti is keen to meddle, but knows what to leave be.
The dealers know the kids, and the kids know the cops.
Its opening credits are not an ordinary credits sequence, but a series of four short films that distill each season’s themes, goals, and motifs.
On The Wire, everyone’s in school.
Varied as the street characters are, their African-American counterparts in the police department are just as individualized.