Tag: HBO

Free-Born Men of the U.S.A.

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:

  • “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 sings its praises.

  • THND‘s Andrew Dignan dissects the credit sequences of the first four seasons.

  • “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…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” Creator David Simon discusses the show.

  • “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…’The Wire’ is not Romantic but classical; what matters most in its universe is fulfilling your duty and facing the inexorable with dignity.” Salon‘s Laura Miller makes the Best Show Ever case.

  • ““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.’” Simon previews Season 5.

  • “‘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.” Simon discusses the journalism critique of Season 5.

  • “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.” Simon checks in again at the end of Season 5.

  • “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.” The writers of the show make the case for civil disobedience against the drug war.

  • “All the pieces on ‘The Wire’ matter, which is why the show was so brilliant, and why its small fanbase will mourn its loss after the final episode ends tonight around 10:35…Every character, every moment, is important in some way, and if it doesn’t seem so at first, just take a cue from Lester and be patient until you can see the whole picture.” Alan Sepinwall revisits some of the show’s best scenes, with Youtubes (and spoilers, if you’re not caught up.)

    And you know the only thing better than having enjoyed all 60 hours of the show? Having never seen it at all. If that’s you, pick up Season 1 and start from the beginning — you’re in for a real treat.

    Update: “The main theme is that…it’s a newspaper that is so eviscerated, so worn, so devoid of veterans, so consumed by the wrong things, and so denied the ability to replenish itself that it singularly misses every single story in the season.” The final episode has aired, and David Simon has emerged from behind the curtain for a last round of interviews. “By the way, if you want to not focus on what the fuck’s going on, read the newspapers. Suffer the journalism, and don’t worry: the big picture will elude you nicely.“

    • …Then we fight on that lie.

    “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.

    Racing against the Clock(s).

    “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 Truth in Masquerade.

    “[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.

    Season Six: The White House.

    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.

    The Duke of Braintree.

    HBO’s forthcoming mini-series of David McCullough’s John Adams looks to be in the can, and you can now watch the teaser (with a rather breathless endorsement by the author) at the official site. (It begins airing March 16, presumably after the close of The Wire.) The cast includes Paul Giamatti (John Adams), Laura Linney (Abigail Adams), Danny Huston (Sam Adams), Sarah Polley (Nabby Adams), Rufus Sewell (Hamilton), Tom Wilkinson (Franklin), Stephen Dillane (Jefferson), David Morse (Washington), and Bad Putty Nose (Washington’s Nose).

    The Sun Also Spins.

    “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.)

    McNutty.

    “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.