Recently in The Wire Category

Detectives Bunk and Freamon, y'all's transfer has come in: The Wire's Wendell Pierce and Clark Peters will rejoin David Simon for his new NOLA show, Treme. "Pierce will play Antoine Batiste, an accomplished jazz trombonist who is now scratching for gigs, trying to support a live-in girlfriend and a new baby, while still carrying a torch for a failed marriage...Peters will play Albert Lambreaux, a big chief of the White Feather Nation trying to bring the tribe's members home."

"[T]he cameo of a red pack of Skittles in the opening scene of David Simon's new HBO miniseries, Generation Kill, was a welcome sight, because it signaled that the program was going to be faithful to the smallest detail of the invasion I had witnessed...It wasn't until later episodes that I realized this miniseries is so realistic it should be used as an educational tool for troops going to Iraq and Afghanistan." In Slate, former embed Peter Maass sings the praises of Simon & Burns' (and Evan Wright's) Generation Kill.

While the ass-hattedness of the hick Sgt. Major obsessed with grooming standards, the Howard Zinn-lite ruminations of the Mexican Sgt., and Ziggy's wry way with the perfect quip all seem a little overdone, I've found Generation Kill interesting and compulsively watchable so far, and particularly enjoy the "Situation Normal" bungling of the officers. (I would so not want to get stuck in a firefight with the likes of "Captain America" on my six.)

"I've not seen any recent comic book films, but I didn't particularly like the book 300. I had a lot of problems with it, and everything I heard or saw about the film tended to increase [those problems] rather than reduce them: [that] it was racist, it was homophobic, and above all it was sublimely stupid." As a companion to their Watchmen story, EW has a wide-ranging sit-down with Alan Moore, wherein he discusses Zack Snyder, 300, magic, the afterlife, DC Comics, and his favorite television show: "The absolute pinnacle of anything I've seen recently has got to be The Wire. It's the most stunning piece of television that has ever come out of America, possibly the most stunning piece of television full-stop...So yeah, everything else looks pretty lame next to The Wire."

Speaking of Moore's critique of Snyder, I felt a similar unease after reading Snyder's EW Q&A. Says Snyder of Watchmen: "Everyone says that about [Christopher Nolan's] Batman Begins. 'Batman's dark.' I'm like, okay, 'No, Batman's cool.' He gets to go to a Tibetan monastery and be trained by ninjas. Okay? I want to do that. But he doesn't, like, get raped in prison. That could happen in my movie. If you want to talk about dark, that's how that would go." Hrm. Ok. I'd have more faith in Snyder's Watchmen if he didn't persist in sounding like one of those "Totally Extreme!!" meathead whiteboys from Harold & Kumar.

The 60th annual Emmys nominees are announced, with plenty of justifiable love for John Adams (23 nods) and Mad Men (16). But, really, The Wire was overlooked again? No Mary McDonnell for Galactica? 2 and a Half Frickin' Men(?!) over Flight of the Conchords for Best Comedy? I just can't take these media monkeys or their plastic pantomime at all seriously anymore.

"I can start the story fresh, and at the same time there will be all these events that happened in between that will provide additional storytelling energy." Don Draper's destination? 1969. Apparently, Matthew Weiner and Mad Men have a five-season, ten-year mission, and will jump a year or so ahead after every season. (As noted here, Season 2 picks up on Valentines Day, 1962.)

Also in TV news, HBO announces its upcoming slate, which includes Treme ("Trah-May", a.k.a. David Simon in Nola), True Blood (Alan Ball does Southern Gothic), more Curb, a Scorsese project, and -- alas -- absolutely no Deadwood.

"What’s moving and shocking about McCarthy’s book is that it’s so believable.' Mr. Hillcoat said. 'So what we wanted is a kind of heightened realism, as opposed to the "Mad Max" thing, which is all about high concept and spectacle. We’re trying to avoid the clichés of apocalypse and make this more like a natural disaster.'" Also in movie news, the NYT checks in with the filming of John Hillcoat's The Road, based on the book by Cormac McCarthy and starring Viggo Mortensen and Kodi Smit-McPhee as father and son respectively, along with Guy Pearce, Robert Duvall, and Michael Kenneth ("Omar") Williams. I mean, it kinda figures that Omar would've survived the Apocalypse.

Via What's Alan Watching?, and much like these Battlestar Galactica images from two years ago, David Simon's Baltimore goes Springfield. (That's McNulty & Bunk down at the tracks above, but you probably already figured that out.)

Speaking of BSG, does anyone else feel like Battlestar is on the verge of entering late-season X-Files territory at this point? (Or as Starbuck (and MC Hammer) might screech, WE'RE GOING THE WRONG WAY!!!) I was never sold on the Watchtower Four or all the Vision Questing at the end of Season 3, but figured i'd see where the show goes thereafter...maybe the Cylons really do have a plan. But this season to me, the Cylon civil war notwithstanding, has seemed mostly meandering and purposeless, and last episode (particularly the Tigh-Ellen-Six stuff) bordered on incoherent and self-parodying. I'm not giving up on Galactica just yet, but the show is definitely starting to lose me.

"I feel that those citizens who say that have never heard my sermons, nor do they know me. They are unfair accusations taken from sound bites...I served six years in the military. Does that make me patriotic? How many years did Cheney serve?" I haven't watched the Sunday shows yet, but, if today's press is any indication, the Rev. Jeremiah Wright is the big story in the news, after he delivered remarks in several venues aimed at defending himself against the recent media throng, as well as horrifying attempts by the like of George Stephanopoulos to McCarthify him on national television. (As I said here, we seem to have entirely skipped the rails when kindly ole Mike Huckabee is the biggest voice for tolerance and historical understanding in the conversation.)

At any rate, the return of Obama's Angry Black Preacher-Man prompted tut-tuts of electoral worry from Clinton-leaning concern trolls like like Salon's Joan Walsh, and the usual waiting for the other-shoe-to-drop from breathless political blogs like War Room and Ben Smith. What I haven't seen yet today, amid all the puttering from the press on the subject of Wright, is any attempt to put the Reverend's remarks in context of this weekend's highly dubious acquittal in the Sean Bell case. To wit, New York City cops shoot an unarmed black man and his friends 50 times and end up getting off for it, and, outside of Harlem, there's barely a shrug, including in the news media. Meanwhile, when it comes to anything and everything involving the fates of Natalee Holloway, Laci Peterson, and any other white damsel in distress, the press drone on about it endlessly, funnelling info to us months or even years after the cases have gone cold. But, as they say, this ain't Aruba, b**ch.

Is Rev. Wright angry? At this point, and as this weekend's fiasco makes clear, he has every right to be. Perhaps the press and the punditocracy could investigate more thoroughly why black America may be less inclined to think well of our nation at times, rather than working themselves into yet another holier-than-thou froth about occasional intemperate remarks, and/or endlessly fretting about their potential impact on the electoral whims of the white working class. God forbid these media asshats break out of their echo chamber bubble once in awhile and do some honest-to-goodness reporting. Heck, I'd be happy just to see a few of 'em think for themselves.

They may have lost some luster due to Scott Templeton garnering one for the Whiting/Klebanow regime. Nevertheless, the 2008 Pulitzers were announced yesterday, and they included 6 for the WP, Daniel Walker Howe's What Hath God Wrought in the history category and a special citation to the freewheeling Bob Dylan "for his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power." Well, ok then.

By way of my bro, Underground Online queries numerous celebrities and luminaries on the most pressing issue of our time: Who would win in a fight between a minotaur with a trident and a centaur with a crossbow? Those weighing in on the debate include David McCullough, Ridley Scott, Helen Mirren, Ed Harris, Marc Singer, and the Battlestar and Wire crews. I was asked before being shown the site, and you can count me in the centaur camp. Screw the dice: If this is happening outdoors and not in close quarters, ranged cavalry > heavy infantry (although admittedly there's something to be said for the existential Nolte thesis.)

"No one went near the theme; everyone stayed dead-center and literal, oblivious to the big-ass elephant in our mythical newsroom...Here's what happened in season five of The Wire when almost no one -- among the working press, at least -- was looking: Our newspaper missed every major story." With the finale come and gone, David Simon has to explain to the press the theme of the season, which they -- ironically -- missed. (See also: the next post.)

Fare thee well gone away, there's nothing left to say. Pour a glass of Jamesons and give the devil (way down in the hole) his due: The Wire, a television show with a better claim than most to the title of "Best Ever" (and definitely the best show ever made about American politics), ends this evening. As such, before one last Sunday round with the men and women of Baltimore, some links from the vault:

"What the drugs themselves have not destroyed, the warfare against them has. And what once began, perhaps, as a battle against dangerous substances long ago transformed itself into a venal war on our underclass. Since declaring war on drugs nearly 40 years ago, we've been demonizing our most desperate citizens, isolating and incarcerating them and otherwise denying them a role in the American collective. All to no purpose. The prison population doubles and doubles again; the drugs remain."

On the eve of the final episode, the writers of The Wire -- Simon, Burns, Lehane, Pelecanos, and Price -- argue in favor of jury nullification as an act of civil disobedience against America's failed drug war. "If some few episodes of a television entertainment have caused others to reflect on the war zones we have created in our cities and the human beings stranded there, we ask that those people might also consider their conscience. And when the lawyers or the judge or your fellow jurors seek explanation, think for a moment on Bubbles or Bodie or Wallace. And remember that the lives being held in the balance aren't fictional."

"The season is about how far individuals and institutions and society in general can go on a lie. And if you think that theme is hyperbolic and that lies...are too big and too outrageous to sustain themselves, I'd simply point to this ugly mess of a war we are in, why we are in it, what was printed and broadcast and declared by the nation's elite and its top media outlets. You look at Iraq and how we got there and McNulty and Templeton are pikers by comparison." David Simon talks with Newsweek about the rationale for Season 5 of The Wire. "The season is about the chasm between perception and reality in American life and how we are increasingly without the tools that allow us to recognize our true problems, much less begin to solve them." Speaking of which, the penultimate episode, "Late Editions", is now available on On Demand.

"The suspect is likely a white male in his late-20s to late-30s. He likely is not a college graduate but feels nonetheless superior to those with advanced education, and he is likely employed in a bureaucratic entity, possibly civil service or quasi-public service, from which he feels alienated..." The Wire Episode 58: "Clarifications" is now available On Demand.

The Cannes winner of 2007 (over No Country for Old Men, which I still preferred), Cristian Mungiu's 4 Months, 3 Weeks, and 2 Days, a fearless look at a very dark day in the life of two Romanian women, is a tremendously harrowing exercise in Hitchcockian suspense, and a grim, unrelenting journey into the moral compromises and bureaucratic decay that characterized life in Nicolae Ceausescu’s Romania. I have some issues with Mungiu's film, which I'll get to in a bit, but no one can deny that it's a powerful and expertly-made movie, one that tortures with silences and devastates with quiet restraint. But it's also, I have to admit, a film I admired more than truly enjoyed. That's its intent, of course: I can't think of any other movie I've seen lately that had me squirming with as much psychic discomfort. (Remember the visceral suspense of the hotel scene in No Country, when Chigurh passes by Llewelyn's door and removes the hallway lightbulb? Now imagine having that feeling for over an hour.) Still, while I can't deny 4 Month's emotional hold, I think I ultimately prefer The Lives of Others -- a film that offsets its tragic tale with moments of grace, humor, and even redemption -- when it comes to recent fables of the Eastern Bloc.

4 Months establishes its naturalistic, real-time feel from its opening moments, as we watch a young Romanian student named Gabita (Laura Vasiliu) fiddle with her belongings and seemingly make preparations for an important trip. As she frets, her roommate, Otilia (Anamaria Marinca, Oscar-worthy) wanders down the hall of their dormitory, navigating the nooks and crannies of a casual black market economy with a bored, practiced ease. (She picks up cigarettes for bribing officials, looks over the recent array of smuggled-in beauty products, and procures some Tic Tacs from a friendly dealer-neighbor.) But Otilia too gives the sense that something major is afoot, something we gradually glean the outlines of as the day goes along. Leaving Gabita behind, Otilia ventures out to lock down a nearby hotel room (something Gabita was previously meant to do, but apparently didn't), borrows some money from her boyfriend (Alexandru Potoceanu), and eventually goes -- on behalf of Gabita -- to meet a Mr. Bebe (Vlad Ivanov, memorably sinister), a man we eventually come to learn is a back-alley abortionist.

Then, things get worse. For not only is abortion a criminal offense under the Ceausescu regime, one that carries a penalty of prison or even death, but the helpless Gabita (the pregnant one) turns out to be flaky and careless to the extreme, and basically an abuser of Otilia's competence and compassion. Worst of all, the seemingly innocuous Mr. Bebe -- despite dripping with doctorly condescension toward the "young ladies" -- turns out to be the type of monster that can readily flourish in the interstices of totalitarianism, reveling in the power he manages to hold over the desperate Gabita and Otilia. And, even beyond the ruthless Bebe -- who, trust me, is more than loathsome enough -- there awaits the very real risk of medical complications, and the danger of discovery by the authorities...

Sustained by long, masterful, and unbroken shots, 4 Months manages to ratchet up the tension well beyond comfortable levels, making even scenes of a casual dinner party at Otilia's boyfriend's house palpable with dread. Like the two women at the center of the story -- and, like many people living through totalitarianism, I'd suspect -- we're constantly on pins and needles, waiting for the other shoe to drop. (But don't get me wrong -- some really horrifying shoes drop in this film.) As a remorseless and nerve-wracking Eastern bloc thriller, 4 Months has few parallels I can think of. So why do I harbor reservations about the film? Well, four years, 0 months, and 3 days ago, I wrote of the considerably overpraised 21 Grams that it "just ambles around in its terminally depressed jag for so long that it loses any sense of perspective, and instead becomes just a vehicle for indulging the arthouse fallacy that misery is a substitute for character." Now, 4 Months is a much, much better film than 21 Grams, but -- however tense and suffused with menace -- the same problem persists.

Coming out of 4 Months, I was reminded of an interview I read with David Simon about the importance of humor in The Wire, which however bleak is also by all accounts a gut-bustingly funny show. (I know, I won't shut up about The Wire, but bear with me here.) This article makes the same point: "Though people don’t talk much about the humor in ‘The Wire,’ it’s there. You drop somebody into an alien environment -- a closed society like the homicide cops or the drug culture—and the key to working your way into that culture is to understand the jokes, which David does. It’s crucial, because, if it weren’t there, the work would be too depressing. It’s crushing subject matter, but not necessarily to the cops—they’re making jokes while they’re looking at dead bodies—and not to the people shooting dope, even. They’re not necessarily walking around saying, ‘Woe is me.’ There’s a grim humor that springs out of that life." Picking up along the same lines, Jacob Weisberg wrote: "While The Wire feels startlingly lifelike, it is not in fact a naturalistic depiction of ghetto life. That kind of realism better describes an earlier miniseries of Simon's, The Corner...The Corner seems to have been a crucial life study for The Wire, a program that attains the dimensions of tragedy without being depressing. The Wire does this by painting with brighter colors on a wider canvas and by leavening its pain with humor...What ultimately makes The Wire uplifting amid the heartbreak it conveys is its embodiment of a spirit that Barack Obama calls 'the audacity of hope.'" (You see how I snuck in an Obama reference with a Wire reference? See, I'm always on message.)

Seriously, though, it's that critique which gets to the heart of my hesitation about fully embracing 4 Months. I don't fault its unflinching refusal to sugar-coat what amounts to a horrible tale in a sad time and place, and it probably speaks worse of me than of Mungiu's film to even hold such a thing against it. Many stories -- maybe even most of them -- don't have happy endings or a laugh track. And, after all, we watch Otilia and Gabita persevere through an extraordinary amount of suffering, so why should they have to crack a joke just to let us off the hook, and make us feel better about their obvious misery? Still, if you can look past the razor-sharp tension that drives 4 Months, it is a relentlessly downbeat -- and even one-note -- affair. 4 Months is an impressive and powerful movie in any event, but I think I'd hold the film in higher esteem if it -- like The Lives of Others -- occasionally broke the gloom and allowed its long-suffering characters an uncertain smile, even while staring into the abyss.

"Several Clinton superdelegates, whose votes could help decide the nomination, also said Monday that they were wavering in the face of Mr. Obama’s momentum after victories in Washington, Nebraska, Louisiana and Maine last weekend. Some of them said that they, like the hundreds of uncommitted superdelegates still at stake, may ultimately 'go with the flow,' in the words of one, and support the candidate who appears to show the most strength in the primaries to come." The NYT reports on the general shakiness in the Clinton campaign at the moment, and reemphasizes the importance of Ohio and Texas on March 4. (Jon Chait disagrees.)"'She has to win both Ohio and Texas comfortably, or she’s out,' said one Democratic superdelegate who has endorsed Mrs. Clinton, and who spoke on condition of anonymity to share a candid assessment. 'The campaign is starting to come to terms with that.' Campaign advisers, also speaking privately in order to speak plainly, confirmed this view."

All well and good, but really: Let's not put the cart before the horse here. We have the Chesapeake primaries tomorrow, and while the polls clearly favor Sen. Obama, they favored him before New Hampshire as well. Let's see how those critical primaries shake out first before presuming the Clinton campaign is in full rout. As we should all know by now, there's nothing more politically dangerous than a Clinton with his or her back to the wall. (And, being as oblique as possible for Wire fans behind the curve, Norman Wilson's recent advice to Tommy Carcetti about Clay Davis also comes to mind.)

"If you have a problem with this, I understand completely." The Wire 56, "The Dickensian Aspect," is now on On Demand.

"[T]he closest comparison I can find for this season is Stanley Kubrick's 'Dr. Strangelove' -- if, that is, Kubrick cared even one-tenth as much about humanity as Simon and partner Ed Burns so obviously do." So said Alan Sepinwall in his Season 5 preview, and it's definitely playing out that way. The masterful and gut-bustingly funny Wire 55 is now available On Demand. And, now that we can talk about it -- don't scroll over the link if you're at all behind -- a remembrance of last week's fallen.

Undecided voters: If the moving speech below can't entice you to vote for Sen. Barack Obama for president, maybe this'll help: His favorite TV show is The Wire(!) "Michael Kostroff, an actor who was in town to volunteer for Obama and had a chance to meet him, told the Sun that Obama’s favorite TV show is his own: HBO’s 'The Wire,' which chronicles Baltimore’s violent drug culture and the police who quixotically try to stop it. Obama told the Sun his favorite character is Omar, a stick-up artist who steals from drug dealers and then gives the loot to poor people in the neighborhood. 'That’s not an endorsement. He’s not my favorite person, but he’s a fascinating character.'"

Update: Episode 54 is now On Demand.

"For Simon, this dispute basically comes down to the complexity of urban problems. As he sees it, the 'Philly model,' imported to the Sun by Carroll and Marimow [re: Klebanow and Whiting], ignored the decades of economic, racial, political, and social disconnects underlying that complexity. When it spurred reform, it was reform that could not match the intransigence of the underlying patterns. The reporting itself was formidable, Simon says, but to him, homelessness, addiction, and violence aren’t the central problems. 'Those are all the symptoms of the problem,' he says. 'You can carve off a symptom and talk about how bad drugs are, and you can blame the police department for fucking up the drug war, but that’s kind of like coming up to a house hit by a hurricane and making a lot of voluminous notes about the fact that some roof tiles are off.'"

As The Wire 53 premieres on On Demand, some links on the journalistic controversies driving show creator David Simon's animus this season. The CJR offered a long and interesting overview of the Simon v. Marimow/Carroll feud, and its partial roots in differing conceptions of urban journalism. An old 2000 City Paper piece suggests who Simon may have in mind in cub reporter Scott Templeton. And Simon himself recently discussed his old newsroom for Esquire, and got involved with Mark Bowden and Matt Yglesias over at The Atlantic. (Most links here via THND.)

"He preys on the weakest among us." Episode 52 of The Wire premiered last night for we On Demanders, and hoo boy. Jimmy McNulty's done some outrageous stuff in the past, but this is beyond the pale. I'm curious to see how Wire fans react to the big moment here -- If the show hadn't spent so much time grounding itself in realism, I'm not sure it could pull off this turn towards the baroque. Still, I trust Simon and Burns.

"It’s really dark and explosive. Everyone’s off the hook; no one trusts anyone. Everyone questions the way things are operating on the street level, in the police department, in the newsroom. Like McNulty, he’s way off the hook this year. He’s doing things that are totally outrageous, questioning authority, and trying to find the truth. He goes way off the deep end this year." On the eve of Season 5 (for the nOn-Demand folk), NY Mag's Joe Colly talks with Michael K. Williams, a.k.a. Omar Little of The Wire. Update: The last scene of Season 5 leaks! (Sort of.)

A New Year is dawning. A New Day is not. I spent the first hour of 2008 watching the first episode of The Wire Season 5 -- which is now live if you have HBO On Demand -- and it was time very well spent. Between instantly fascinating new characters in the Baltimore Sun newsroom and some even more byzantine connections made between the old regulars (Note Partlow's errand to the Criminal Court, and wait 'til you see who Herc's working for), the best show on television is back in a big way. (That being said, it might take me awhile to get used to Mel's husband Doug from Flight of the Conchords as the Sun's managing editor.) Update; More discussion of Ep. 51 here at Alan Sepinwall's blog, who's also compiling a list of The Wire's greatest moments (That might take awhile.)

I heard about these a few days ago and thought they were Youtube fan flicks. But, no, they're the real deal: Along with the Season 4 DVD comes a handful of exclusive Wire prequels at Amazon.com, including looks at young Omar and Prop Joe in action and Bunk and McNulty's first bender. Season 5: January 6, or Dec. 31 if you're On Demand-inclined. (Teasing press-release summaries here.)

"I slur when I'm tired, that's all." HBO launches new character-specific promos for Season 5 of The Wire, which include brief scenes of Jimmy McNulty, Omar Little, Tommy Carcetti, Marlo Stansfield, and Reginald "Bubbles" Cousins. Avoid like the plague if you're not yet caught up. (Season 4 comes out on DVD tomorrow.)

"All told, the United States has spent an estimated $500 billion to fight drugs - with very little to show for it. Cocaine is now as cheap as it was when Escobar died and more heavily used. Methamphetamine, barely a presence in 1993, is now used by 1.5 million Americans and may be more addictive than crack. We have nearly 500,000 people behind bars for drug crimes - a twelvefold increase since 1980 - with no discernible effect on the drug traffic. Virtually the only success the government can claim is the decline in the number of Americans who smoke marijuana - and even on that count, it is not clear that federal prevention programs are responsible. In the course of fighting this war, we have allowed our military to become pawns in a civil war in Colombia and our drug agents to be used by the cartels for their own ends. Those we are paying to wage the drug war have been accused of ­human-rights abuses in Peru, Bolivia and Colombia. In Mexico, we are now ­repeating many of the same mistakes we have made in the Andes."

To their credit, those left-wing hippie radicals at National Review said as much way back in 1996, and HBO's The Wire has dramatized the dismal consequences of the conflict for several years now. Now, coming to the same dour conclusion in 2007, Rolling Stone's Ben Wallace-Wells explains how America lost the War on Drugs, and argues that continuing to perpetuate it in its current fashion -- with its "law and order" emphases of crushing supply, international interdiction, and mandatory minimum sentencing -- is tantamount to flushing money and lives down the toilet. "Even by conservative estimates, the War on Drugs now costs the United States $50 billion each year and has overcrowded prisons to the breaking point - all with little discernible impact on the drug trade...The real radicals of the War on Drugs are not the legalization advocates, earnestly preaching from the fringes, but the bureaucrats -- the cops and judges and federal agents who are forced into a growing acceptance that rendering a popular commodity illegal, and punishing those who sell it and use it, has simply overwhelmed the capacity of government." (Found via Jack Shafer's endorsement at Slate.)

"BALTIMORE, Md. -- Crime is up. The drug trade [still] rules the corners. The next election consumes every politician. And McNulty is drinking again." A new day is [not] dawning: The Wire, Season 5, January 2008.

Wading into the same dark, turbid, and clannish Boston waters as Mystic River (also by author and Wire contributor Dennis Lehane) Ben Affleck's Gone Baby Gone is another wicked-smaht tale of horrible crimes and neighborhood secrets in and around the Hub, and marks a promising debut for Affleck as a director (and another step for brother Casey, after The Assassination of Jesse James by the Coward Robert Ford, towards leading-man status.) The last act unfolds a mite too slowly, I thought, but for the most part Gone Baby Gone -- for its ruminations on the meaning (and inescapability) of place as much as its attention to Beantown detail -- is an intelligent and gripping crime story that's worth catching. Affleck, Lehane, and co. are confident enough here to ask tough questions without definitive answers, and it's those uneasy ambiguities in Gone Baby Gone, as much as the local color, that ultimately sticks with you.

As another day dawns in Dorchester (one of what could be almost any of the white working-class neighborhoods surrounding Boston), Amanda McCready, age 4, is still missing, 72 hours after disappearing from her mother's unlocked second-floor apartment, and where she is now we can only guess. By this point, the press are having a field day with the abduction story, the police are starting to have doubts about the girl's survival, and Amanda's Aunt Bea (Amy Madigan) and Uncle Lionel (Titus Welliver, of Deadwood) are looking to bring flesh blood to the search, namely private investigators Patrick Kenzie (Affleck) and Angie Gennaro (Michelle Monaghan). Kenzie and Gennaro have doubts about taking the case -- neither particularly wants to turn up a dead girl -- but, as lifelong locals, they know they can find people and go places the badges can't. In the manner of films immemorial, the police officer in charge of the case (Morgan Freeman) doesn't take too kindly to these P.I. interlopers on his heels, but assigns them two ornery cop liaisons (Ed Harris and John Ashton) regardless. And, once Kenzie and Gennaro have re-interviewed Amanda's troubled, hard-partying mom, Helene McCready (The Wire's Amy Ryan, giving a Best Supporting Actress-worthy performance) and checked out some of her sketchier haunts, they -- sure enough -- turn up some new leads in the hunt. But the trail's growing colder by the minute, and as both P.I.'s know, few child abduction stories ever result in a happy ending -- why would Amanda's be any different?

Dennis Lehane, Amy Ryan, Michael Williams (a.k.a. Omar) appears briefly here as a cop...if I keep making connections here to The Wire, it only speaks in Gone Baby Gone's favor. As with that show and Bal'more, this movie relishes its urban environment -- this is a Boston story through and through, and that strong sense of place brings the film to life more than anything else. Also like The Wire, Affleck's film doesn't refrain from acknowledging that the world is often not a storybook place. (The second act of the movie is particularly dark, and while I thought Affleck perhaps overrelied on aerial establishing shots of Boston and images of "regular" people at times throughout, his delicate handling of this potentially explosive section of the film in particular suggests his potential as a director.)

True, much of what is excellent about Gone Baby Gone must be attributed to Lehane's book. But, there have been a lot of lousy movies made about excellent books over the years, and if nothing else, Affleck (and his co-screenwriter Aaron Stockhard) have brought Lehane's story to the screen without sacrificing any moral complexity or narrative momentum. As I said, I think the film lags slightly in the third act (and I do have some issues with Monaghan's character arc by the end, which I can't really discuss without giving the film away), but the quietly haunting coda at the end redeemed a lot of those issues for me. The occasional shocks and disruptions notwithstanding, it seems, people are what they are, and life goes on as ever in the old neighborhood.

"This final season of the show, Simon told me, will be about 'perception versus reality' -- in particular, what kind of reality newspapers can capture and what they can’t. Newspapers across the country are shrinking, laying off beat reporters who understood their turf. More important, Simon believes, newspapers are fundamentally not equipped to convey certain kinds of complex truths. Instead, they focus on scandals -- stories that have a clean moral. 'It’s like, Find the eight-hundred-dollar toilet seat, find the contractor who’s double-billing,' Simon said at one point. 'That’s their bread and butter. Systemic societal failure that has multiple problems -- newspapers are not designed to understand it."

A huge find by way of Chris at Do You Feel Loved?: Margaret Talbot offers a long-form New Yorker profile on David Simon and The Wire. (If you haven't yet seen Season 4, I recommend bookmarking this for now -- it gives away many of S4's major beats.) There's also a good deal of spoilerish information on what to expect from Season 5, what David Simon wants to do next, and who's singing this season's version of "Way Down in the Hole." (I'll give that one away...Bubbles' sponsor, Steve Earle -- listen here.) "Simon makes it clear that the show’s ambitions were grand. '"The Wire" is dissent,' he says. 'It is perhaps the only storytelling on television that overtly suggests that our political and economic and social constructs are no longer viable, that our leadership has failed us relentlessly, and that no, we are not going to be all right.'"

"In a way, it doesn't make sense to talk of 'The Wire' as the best American television show because it's not very American. The characters in American popular culture are rarely shown to be subject to forces completely beyond their control. American culture is fundamentally Romantic, individualistic and Christian; when it's not exhorting you to 'follow your dream' it's reassuring us that in the eleventh hour, we will be saved. American culture is a perpetual pep talk, trafficking in tales of personal redemption and the ultimate triumph of good over evil. We don't do doom. 'The Wire' is not Romantic but classical; what matters most in its universe is fulfilling your duty and facing the inexorable with dignity." From the bookmarks, Salon's Laura Miller extols the classical virtues of The Wire. What she said.

"At 4:40 a.m., the assistant director called out, 'It's a wrap, it's a wrap. We're done. Forever.'" As birddogged by Listen Missy, David Simon & co. have wrapped shooting on the final season of The Wire (and NY Magazine parses the news for hints of what's to come.) Do I need to say it again? If you don't watch The Wire, you really, really, really should...from the beginning. I don't know a single person who has watched the show and not become resolutely evangelical about it. Season 5 doesn't air until January, so that's plenty of Netflix time (1, 2, 3, 4) between now and then: "From the beginning when the show debuted in 2002, [Simon] saw it as a visual novel, with each season a distinct chapter exploring an aspect of inner-city life: The first season examined the drug trade; the second focused on Baltimore's longshoremen; the third grappled with politics and the notion of reform; the fourth dug into education and the lives of the city's children. This season, which begins airing Jan. 6, explores the media, featuring a morally challenged reporter played by Tom McCarthy, who wrote and directed the indie film 'The Station Agent.'"

HBO's The Wire, lauded around these parts many times over, will be shown from the beginning on BET starting tomorrow night at 9pm. Personally, I'd recommend renting (or buying) the DVDs, so as to avoid commercials and see the episodes uncut (and to allow for the indulgence of binge-watching, which may well become the norm in your household by the end of Season 1.) But, if for some reason you can't be bothered, BET's the place to be tomorrow night.

"Thematically, it's about the very simple idea that, in this Postmodern world of ours, human beings -- all of us -- are worth less. We're worth less every day, despite the fact that some of us are achieving more and more. It's the triumph of capitalism...The show is written in a 21st-century city-state that is incredibly bureaucratic, and in which a legal pursuit of an unenforceable prohibition has created great absurdity."

Slate publishes a fascinating extended interview with Wire creator David Simon, which touches on, among other things, why there won't be a Season 6 focusing on Latino immigrants, and what we can expect from Season 5. "Yes, the last season. The last theme is basically asking the question, why aren't we paying attention? If we got everything right in the last four seasons in depicting this city-state, how is it that these problems -- which have been attendant problems regardless of who is in power -- how is it that they endure? That brings into mind one last institution, which is the media. What are we paying attention to?" I can't say it enough -- if you're not paying attention to The Wire, you owe it to yourself to rent Season 1 and start playing catch-up next to immediately. It really is far and away the best show on television, perhaps ever. Certainly, it's the savviest take on American politics ever put to the small screen.

No, not in that Incredibles way. The House Next Door, an excellent film/television blog I routinely check after every new episode of The Wire, Battlestar Galactica, and Doctor Who, has sparked a fun conversation about choice movie monologues (somewhat akin to the list here.)

"It's an exceptional show, and I'm not even sure 'exceptional' is a strong enough word." I've had considerable issues with Bill "Sports Guy" Simmons in the past, but, now that he's become a fellow Wire enthusiast (see the last few paragraphs), I'm inclined to feel more charitable towards him. "After plowing through the first 37 episodes of 'The Wire' in three weeks this summer, I agree with others who argue that it's the most important television show of all-time, surpassing even 'The Sopranos' because of its ambition and social relevance."

Over at The House Next Door, always an excellent destination for quality film and television commentary, Andrew Dignan eloquently dissects the various credit sequences for The Wire, and even show creator David Simon comes by to say a word.

"The Wire, which has just begun its fourth season on HBO, is surely the best TV show ever broadcast in America...no other program has ever done anything remotely like what this one does, namely to portray the social, political, and economic life of an American city with the scope, observational precision, and moral vision of great literature." Slate's Jacob Weisberg joins the swelling ranks of Wire aficionados. (Season 4 is currently pulling a lowly 98 over at Metafilter.) "This year, The Wire's political science is as brilliant as its sociology. It leaves The West Wing, and everything else television has tried to do on this subject, in the dust." And, in very happy news that partially atones for Deadwood's early demise (although that [expletive deleted] still rankles), HBO re-ups for The Wire Season 5, which will focus on the mass media. I'll drink a spot of Jamesons to that.

"What The Wire says, repeatedly, is that The System -- government, business, law enforcement, everything that runs this country -- is broken and that the guardians of The System are too committed to defending the status quo to even try fixing it. It's not a case of corrupt or evil people choosing to ruin things for the rest of us; it's people of all moral calibers making decisions within the established context of their own institutions (the police force, City Hall, drug corners) without regard to how they affect the world at large." The Newark Star-Ledger's Alan Sepinwall previews Season 4 of The Wire. (Via