A landmark year for me as well as for the movies.
By the end of “Unconfirmed Reports,” all of the pieces for The Wire’s final season are on the board.
Each season of The Wire has introduced us to a different Baltimore institution.
David Simon, the creator of The Wire, likes to take a few episodes each season to set his stage.
Nobody on the series seems to have a conception of life outside of his or her own head.
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.
Even the aging players have a settled sense of place.
Carcetti is keen to meddle, but knows what to leave be.
The cat-and-mouse isn’t much of a contest at this point.
Those who grasp the personal consequences of the election play the angles with greater care.
Allying with rivals to thwart a third party is the cold calculus of the city’s politicians as well.
The dealers know the kids, and the kids know the cops.
Like Michael, Detective Lester Freamon bumps up against the larger forces of an organization.
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.
Marlo Stanfield has maneuvered to the top of the West Baltimore drug trade, and he’s executing a broad campaign to stay there.
Yes, for real.
On The Wire, everyone’s in school.