"Everything is fine and the world is beautiful. It's raining, it's dark, I woke up at 5:30AM, I'm commuting in traffic. I would have had a headache, I would have been miserable, I would have wondered how my life took me to this point. This point I'm at right now. But no, no, everything is fine. Life is beautiful. The rain drops are just falling and in each one I see the reflection of every persons life around me. Humanity is beautiful. In this still frame shot of traffic on this crowded bus I just found love and peace. Heroin is a wonder drug. Heroin is better than everything else. Heroin makes me who I wish I was. Heroin makes life worth living. Heroin is better than everything else." [more inside]
Bill Moyers interviews David Simon
"Again, we would have to ask ourselves a lot of hard questions. The people most affected by this are black and brown and poor. It’s the abandoned inner cores of our urban areas. As we said before, economically, we don’t need those people; the American economy doesn’t need them. So as long as they stay in their ghettos and they only kill each other, we’re willing to pay for a police presence to keep them out of our America."
The Wire's Felicia ("Snoop") Pearson has been arrested
as part of large scale drug raids according to the Baltimore Sun
Life imitates art, but in this case art had closely imitated life, as Pearson was not a trained actress, but grew up in tough Baltimore neighbourhoods and has a conviction for second degree murder for an act at the age of 14. However in recent years she had been involved in anti-violence campaigns and other work with young people.
Nathan Avon "Bodie" Barksdale
is a real life Baltimore gangster upon whom the character from "The Wire" was based. Now, Nathan Barksdale has a chance to tell his side of the story in this upcoming documentary
. [more inside]
You’re going to hire people to guard your sh*t, but you’re not going to give them health care. Vice
has a long spoiler- and profanity-laden interview with The Wire
creator David Simon, running the gamut from backstage Wire
details to the media's obsession with "the Dickensian aspect" to his next series (set in New Orleans) to Joe Lieberman to this fight he almost got in at a concert one time. Via /Film
Bill Moyers Journal, April 17, 2009
From crime beat reporter for the BALTIMORE SUN to award-winning screenwriter of HBO's critically-acclaimed The Wire, David Simon talks with Bill Moyers about inner-city crime and politics, storytelling and the future of journalism today.
Sorry for the one link post.
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.
In a recent report for the Abell Foundation
, University of Maryland Criminologist Peter Reuter
asks whether, in light of the evidence from Switzerland
, The Netherlands
and elsewhere, Baltimore
might not be the best place to try the first US heroin maintenance programme
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.
Prior to his critically acclaimed program The Wire, creator Edward Burns wrote the HBO miniseries The Corner
, which also focused on the drug trade in Baltimore. Charles S. Dutton
, an African-American Baltimore native and former convict probably best known to most as TV's "Roc," was chosen to direct the miniseries. Who Gets To Tell a Black Story?
, part of a Pulitzer-prize winning NYT series
on race in America, examines Dutton's take on how to make a TV program which portrays a mostly African-American cast of characters, the struggles and differing perspectives of Dutton and Burns, and how race is portrayed in Hollywood. [more inside]