The Wire creator’s We Own This City serves as another closely observed analysis of institutional rot.
This lyrically titled film resonates deeply as a portrait of idealistic beliefs co-opted and mutated.
The Wire has never reduced its stories to a soundbite and this season is no different.
The Wire’s landscape is thick with men almost desperate to reach back and snatch some kid from the vortex.
Carver is one several cops and ex-cops taking an extracurricular interest in individual kids on the street.
The quartet of eighth-grade boys at the center of The Wire have their own way of dealing with bad police.
“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 cat-and-mouse isn’t much of a contest at this point.
The dealers know the kids, and the kids know the cops.
Marlo Stanfield has maneuvered to the top of the West Baltimore drug trade, and he’s executing a broad campaign to stay there.
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.