Reconsidering 'The Wire' Amidst the Baltimore Uprising (Dave Zirin for The Nation)
“You know what Miami gets in their crime show? They get detectives that look like models, and they drive around in sports cars. And you know what New York gets, they get these incredibly tough prosecutors, competent cops that solve the most crazy, complicated cases. —What Baltimore gets is this reinforced notion that it's a city full of hopelessness, despair and dysfunction. There was very little effort—beyond self-serving—to highlight the great and wonderful things happening here, and to indict the whole population, the criminal justice system, the school system.” —Baltimore Police Commissioner Frederick H. Bealefeld III, on the effect of The Wire on Baltimore’s reputation. [more inside]
The Wire - David Simon's original pitch and series bible. "At the end of thirteen episodes, the viewer - who has been lured all this way by a well-constructed police show - is not the simple gratification of hearing handcuffs click. Instead the conclusion is something Euripides or O'Neill might recognize: an America at every level at war with itself." [Previously.] (via)
WireFilter: David Simon speaks at USC Law on journalism and The Wire. (Youtube - 1:22:50; a few mic/sound problems in the first few minutes)
The Wire is dissent; it argues that our systems are no longer viable for the greater good of the most, that America is no longer operating as a utilitarian and democratic experiment. An already-quite-good discussion about The Wire, originating in Mark Bowden's Atlantic article ('The Angriest Man in Television') and continuing through Mark Bowden's post on the show's nihilistic bleakness gets even more interesting on Matt Yglesias's blog, where the creator of the show stops by to give his opinion on what it's all supposed to mean.