Part of me wanted to title this post “A Eugoogoly for The Wire” but I don’t know how appropriate that would be for the situation.
Anyway.
[By the way, a quick note: this will have absolutely nothing to do with Amsterdam, so if you only read these to follow my overseas exploits, you can turn back now. Also, beware of thpoilerth.]
I suppose I’ll begin with my experience with The Wire. At some point during second semester of sophomore year at Mac, Will and I decided that this was a show that we should probably be watching. This was around the time that season four was wrapping up on HBO and critic across the country were hailing the show as the greatest television program ever made. I was skeptical, but it’s also not like I had anything else to watch, either. I had finished Six Feet Under freshman year with Brendan, The Sopranos never captured me like it did everybody else, I caught up with Battlestar Galactica over break, Lost was on hiatus after its disappointing six episode “miniseries,” Studio 60 wasn’t nearly the worthy followup to The West Wing that I had hoped for and season five of 24 just sucked. Hard. The only shows I was watching on a regular basis were Veronica Mars and The Office, but two weekly shows aren’t nearly enough to keep me entertained. So I torrent season one of The Wire and Will and I began to watch.
I should mention, hopefully briefly, the kickass set up Chris and I had in our room to watch pirated content. We had a very respectable off-brand flat screen television measuring 22″ or 24″, I can never never remember. The TV was set up right next to my desk and I had an s-video cable running directly from my laptop to the television. A pair of pimp, twleve-year-old Altec Lansing speakers that came with my family’s first computer, a Gateway 2000, hooked into my laptop completed the setup. Coupled with Bittorrent and VLC player and The Couch of Magical Naps, the room was well-prepared for the consumption of illegal media. And it was glorious.
The Wire captured me right away. The first scene of the series, which I have since learned was lifted almost verbatim from David Simon’s previous show Homicide: Life on the Street, which in turn had lifted the scene from Simon’s book Homicide: A Year on the Killing Streets, laid out the entire philosophy of the show. Detective McNulty sits next to an unnamed character on the steps leading into a vacant row house, a dead body in the street. The victim, we learn, is Snot Boogie. Snot, the witness explains to McNulty, was known for getting in on their weekly game of back-alley craps, waiting until the pot got big, then running off the money. Usually they would just beat on him a little bit once they caught up to him, there was no need to kill him, the witness, a friend of Snot Boogie’s, laments. If he did this every week, McNulty asks, confused, why did you let him play? He gets his answer: “We got to, man. This is America.”
Perhaps more so than any other single scene, this opening vignette, unrelated to the show’s greater narrative, illustrates one of the show’s primary themes: America as an institution is broken, and from these institutions, the shit always rolls down hill. Characters throughout the show, from all walks of life, are trapped in their existence, unable to move up in life or better society because society and its institutions are against everybody. Scott Tobias, writing for the A.V. Club sums this up far more elegantly than what I can:
The main effect of the homeless murders, though, is to get us right back where we started: In a system so paralyzed by corruption that even the good-intentioned, principled people within it cannot function. The massive cover-up of the murders in City Hall and at the Sun might seem outlandish, but it’s all been worked out to where everyone has to bottle up: If Rawls doesn’t talk, he gets a plum job at the statehouse. If Daniels decides to blab, then he takes down his lover and his ex-wife, and he loses his shot at being Police Commissioner. The Stanfield case can’t go to trial or else the dirt behind an illegal tap and a non-existent “source of information” gets exposed, and maybe more with a little digging…The whole plot has been ingeniously devised to maintain the status quo, and ensure that the system remains broken indefinitely.
From the top down, each character in each institution is stuck in stasis. Tommy Carcetti starts out as an idealistic, silver-tongued member of the city council is elected mayor of Baltimore on his pledge to reduce crime, making promises to the police department about how he’s going to change things, to give them the money they need. But when a budget shortfall is discovered and the schools need money, Carcetti, instead of getting money from the Republican governor who he plans to run against in the next gubernatorial election, cuts funds to the police department, shortchanging them in order to further his career, trapped in the political game. The police are too trapped, forced to make meaningless street corner arrests in order to pump up their stats, ignoring major crimes in favor of the simple bust. Massive drug rings function unabated because knocking the heads of street level dealers is preferred to real po-lice work. The schools similarly chase statistics, teaching for the standardized tests. When Dukie does well in class, he’s transferred to high school, no matter that he’s not prepared, regardless that, removed from his friends, high school is as foreign to him as an expensive restaurant is to Namond. This push through the system, with clearance rates valued above actual learning, ultimately causes Dukie’s downfall, leading him to drop out of school, damning him to a life as a junk collector’s apprentice. The media is the same, with prestige and Pulitzers placed above factual integrity. Of course, the criminals, the drug dealers, the street level peddlers are the embodiment of being trapped in a life they cannot escape. Born into a life of drug operations, raised as soldiers, indoctrinated from an early age to value loyalty to the game above all else, these are people condemned from birth to a life of jail time or early death.
The show treats each character with humanity. Even Marlo Stanfield, the show’s closest likeness to a soulless, inhuman sociopath is show is treated with empathy in the finale, when, after trying to get out of the game and make a new life for himself, he returns to the corners, to the only life he knows. Throughout the first four seasons, I can think of only a handful of characters who appear completely one-note, without a hint of redeeming qualities. The lawyer, Maurice Levy, is the most obvious example, a scumbag who exploits the law and uses backhanded dealings to keep the dealers he represents out of jail. This introduces an interesting paradox, because as much as I, the viewer, empathize with the members of the Barksdale organization, yet I become incensed when Levy’s shady dealings keep them out of jail. This is, perhaps, The Wire’s greatest accomplishment: treating these characters with humanity without glorifying their lifestyle, allowing an affinity for them without glossing over the horrific death and destruction they cause. Because, make no doubt about it, these people are criminals. They deserve to go to jail. But The Wire, like life itself, is fascinated by these shades of gray. When speaking about past police dramas, Simon says in his own words: “The best crime shows…were essentially about good and evil. Justice, revenge, betrayal, redemption. The Wire, by contrast, has ambitions elsewhere…Specifically: We are bored with good and evil. We renounce the theme.”
And so I mourned the passing of many characters on The Wire. Wallace, the bright, young, low-level dealer was the first, murdered by his own friends when it became apparent he was talking to the police. Bodie Broadus, a good, honorable soldier, taken out by the Stanfield organization after he too talked to the police. Omar Little, a gangster living by his code, stealing from drug dealers, only killing within the game, a mythical legend in Western Baltimore shot from behind while buying cigarettes, a superhuman warrior consigned to being forgotten with no newspaper article to mention his passing, the wrong tag attached to his corpse in the morgue. Hardest to take for me personally was the fate of Randy Wagstaff, a cheerful, enterprising kid. When his police protection abandoned him, his foster mother’s home was firebombed by bullies angry and his cooperation with the police, putting her in the hospital with serious burns and forcing him back into a group home. His future becomes clear when he is jumped by a group of older boys in his dorm room, again attacked for being a snitch. His brief appearance the next season is heartbreaking when Bunk goes to interview him further about a murder. He has become cold and angry, a thug, a tormentor of younger children all as a defense mechanism against the brutalities of the group home.
In The Wire everything is cyclical. A new drug kingpin will always rise. The government will always fail its citizens. There will always be an Omar, just as there will always be a McNulty. In this way, the characters, like the show, will never really die. As long as DVDs spin in players, with their lasers interpreting the complex code of zeroes and ones, the show will live on. The characters will live on, and with them, the knowledge that in Baltimore and across the country, the game continues unabated. People die in the streets, dealers are thrown in jail, and every once in a while, every once in a while, a McNulty, or a Pryzbylewski, or a Carver, or a Colvin come along and try to make things just a little bit better.
To borrow the words of Harry Knowles in his review of The Lord of the Rings: The Two Towers: Is The Wire the greatest television series ever made? Yes. No. Maybe. For me, it is enough to know it is among my favorites.