The Wire - Season Five

And so another televisual odyssey ends. 60 episodes over five seasons and a programme which has been described as more talked about than watched (this is the problem of a series playing on satellite/cable channel FX) - although the DVD box-sets of The Wire are on the best-seller lists at Amazon. With just 10 episodes in the final series David Simon seems to be trying to 'do more with less', a phrase used several times in the offices of The Baltimore Sun newspaper which features largely. Simon of course worked at that very newspaper for 12 years and so it seems almost obvious that he would chose to focus on the media at some point. What he shows is that interplay between media, politics and policing; the symbiotic relationship these agencies have with each other and how each in turn can be exploited by the other.

McNulty is back. His presence was missed in the last season, so it's good to have him back, but he's in a very worrying place; looking like he could skid off that road again at any time and driven by that passion which can create 'good police' but also perhaps lead him to test the boundaries of what is acceptable (and indeed legal). Carcetti, now installed as mayor, has come face to face with a huge deficit in his budget which leads to massive cutbacks for the police: no overtime and an effective end to the special crimes unit. This leads McNulty to hatch a plan that will give the papers what they want and therefore place pressure on the Mayor to provide funds for police work: a serial killer. Now, I love this programme, but this plot-line had me wrinkling my nose in discomfort. It isn't that I didn't believe it was possible, Simon shows in intricate detail how it can all be manufactured, but I just didn't believe that this would be the course any detective would take, even a true maverick like McNulty. The fact that Freamon, who has always been a moral yardstick of sorts, is part of the whole conspiracy only compounded my worry. It wasn't until the penultimate episode (which is the best of the season, possibly the series) that I began to feel it might work. Such a grand scheme allows Simon to bring so many elements of his story together, it's just crucial that having got so many balls improbably into the air we see them come crashing back down to earth.

That said, there's something about this season that doesn't quite work. It's like a programme which knows that it's coming to an end, tying up its loose ends, bringing things full circle and showing that people and events will continue in the same vein after the credits roll. It's all just slightly self-conscious.

But I don't want to dwell on that. As someone (I think it was Freamon) says, 'It's about the journey, not the destination.' And it's been a hell of a journey. I have written previously about the impact television can have when we, the viewers, make an investment in the characters. Over such a prolonged period of time (60 hours of television) we can see so much of their lives, so much development that, as when we read a novel, there is a connection there which means that even a serial murderer like Chris can arouse our sympathy even whilst beating someone to death. A junkie like Bubbles can have us hoping and praying that he can make it another clean day. A morally ambiguous anti-hero like Omar can have you wanting to put him out of his misery like a wounded pet. That is extraordinary television. To be able to put forward complex sociological arguments, economic theory, and political discourse together with street slang, profanity and poetry whilst leaving the audience concentrated on the characters is quite an achievement. Let's also not forget the other character in the piece: Baltimore. I genuinely feel that if I went there now I would know where, and more pertinently where not to go. Just as The Sopranos gave a real sense of New Jersey The Wire has shown in great detail the differences between the projects, the docks, city hall, 'Hamsterdam', the corners and the variety of people that populate them. The final episode has its heart on its sleeve as it shows what this programme has always been about: the people of Baltimore. Along the way of course it has shown us some important aspects of modern life relevant to all of us.

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The Wire - Season Four

Well, season four has completely blown me away. Building on the achievements of the previous three seasons it adds a new dimension which you might say was previously lacking: genuine emotional involvement. As I've said before the writing and the detail contained within it had made us interested in the characters and to care about them too. But by focusing on the education system, and a group of eighth graders in particular, it forces us to really worry about a group of children growing up in a city which has already shown that for some people the only opportunities available are different ways to ruin your life.

A hotly contested mayoral election is the main event in Baltimore. Tommy Carcetti may be the wrong colour to be mayor but by speaking to the right people and genuinely trying to engage with the voters he puts himself in a real position to challenge that. Aiden Gillen, looking immediately more comfortable in his role this series, shows with lip-smacking relish the contortions necessary to move ahead politically in a town with a black majority. Spin, sleaze and backhanders abound. It's a bit like here in England. For the police meanwhile, with Barksdale back inside, Marlo Stanfield is the target and the question that plagues them is how he has managed to wrest so much control of the corners without stacking up bodies. Stanfield's two enforcers, Chris and Snoop, are genuinely frightening with their cold detachment and in much the same way as Javier Bardem terrorised those he met in 'No Country For Old Men' whilst carrying a pneumatic cattle gun, they stalk anonymously through the vacant houses armed with a nail gun and a tub of lime.

Jimmy McNulty is almost entirely absent from the series (maybe Dominic West was busy doing one of his theatre jobs in the UK) which is a bit of a shame. Even in the scenes he is in he is a changed man, on the wagon and working hard to be a family man. Bunk keeps us going with his inimitable wisdom but the focus of this series really is with the children. Prez and Colvin having both left the police department are working in the school system; Prez as a teacher and Colvin working with a special group of corner kids to find the way to integrate them back into the classroom. It is a rude awakening for both of them and for us as viewers too. Lt. Daniels later says that he 'had a good education now that I think on it'. I found myself very grateful for mine as I watched these children struggle. It isn't just within the school system that we see the importance of mentoring and nurture. On the street the entrepreneurial Bubbles is trying to help a young boy himself, but there's a reason why they call it the school of hard knocks.

As I've said, it really is all about the children, and the four main actors (pictured above) are a credit to the series. Each have their own problems and seem to be following a trajectory. As a viewer I found myself desperately trying to change the course of that trajectory by thought alone, like a horror movie fan screaming 'don't go back into the house'. I really cared, and that is due largely to the performances. It isn't that these children are innocent and deserve our protection; it's precisely because they aren't innocent and yet still deserve our help and protection that shows the maturity of this series. I've barely scratched the surface here, you'll just have to watch it and educate yourself.

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The Wire - Season Three

Look at the picture above and you will notice something. Avon and Stringer, together in the same car, but looking in different directions. That tells you all you need to know about these two 'brothers' in season three of The Wire. Whilst Stringer is greasing palms to make the most of the properties they control Avon is glad to be back in the game, keeping control of the corners, and regaining his place on the street. Season three brings us back to the problem of drugs in Baltimore and one man's plan to combat the problem. Major Colvin jokes at one stage that to meet the crime reduction targets he has been set he is going to legalise drugs. But his throwaway comment isn't too far from the truth. By creating zones where a blind eye will be turned on drug dealing and use, he hopes to clean up the corners, concentrate the problem in specific areas and make it easier to target those wrongdoers when the time is right. What it allows the series to explore is the wide web that drugs cast in society, how it affects those directly involved in their production, selling, use and abuse; everyone from the kids used as lookouts to the lone elderly woman who finds herself the only resident in one of these 'free zones'.

Daniels and his now permanent detail have a much harder task to gain any useful information from a wire as the drug crews have become far more cautious about how they use phones, and with their communication in general. This means that we get to enjoy the complications of the police work again, just as in the first series, but with added layers. In fact layers are being added in all aspects of the programme allowing the series to show what TV can do better than any other medium. Given the extended time of several hour-long episodes we are seeing characters rendered in the kind of detail which is usually the reserve of the novelist. It isn't simply time that allows this, but the amazingly high standard of writing and performance. Characters aren't given vast speeches to show personality, just the right words; and the actors deliver them perfectly. Relationships within the police team and the implications of the work on their personal lives (and vice versa) create wonderful tensions. These are mirrored on the other side of the legal divide with the drug crews.

On top of all of that we have the character of the city itself. Baltimore is depicted in great detail; the various districts feel very different to one another, requiring differing approaches from the police. The interplay between politics, policing, media and residents is given great prominence in this series. Everyone is checking their back, as an air of intrigue and suspicion worthy of Shakespeare hangs over proceedings. The introduction of Aiden Gillen (another actor from this side of the water) as Tommy Corcetti, a young and ambitious council man, is significant. I just hope he relaxes into his role. His reptilian stare is right but he looks a little nervous at the moment, like he's really concentrating on getting the accent right. He's a fantastic actor though so I'm not too concerned. The skullduggery is also obvious amongst, and indeed within, the drug crews too of course and it is that increasing body count which keeps the heat on the police and the wind in the sails of this superlative series. Bring on season four.

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The Wire - Season Two

Despite bringing in a case (of sorts) at the end of last season there is a fair bit of fallout for Baltimore's boys in blue at the beginning of season two. Lieutenant Daniels has been banished to the basement archives and McNulty is a fish out of water working with the harbour police. In fact the first few episodes show brilliantly how ill at ease he is. His barrel chest looks likely to topple him over the side of the boat and there's a repeating joke about his inability to tie any kind of knot. The action shifts for the most part away from the projects run by Avon Barksdale (who now languishes in jail with his nephew D'Angelo) and his crew and to the docks where stevedores and longshoremen ply their trade. In the modern age there is plenty of money to be made from those anonymous looking shipping containers but when one of them is found to contain the bodies of 14 eastern European women a new case begins.

Some slightly transparent plotting allows Daniels out of his underground exile with carte blanche to assemble his old detail (and the promise that if they bring in a case the team will become permanent - very handy for subsequent series) but once things get going it's just nice to have them all back together again. Only McNulty is left adrift and we see his private life following that familiar collision course from the first season. His drunken conversations with 'Bunk' are a particular highlight (and should come with subtitles of their own). We also get to meet Mrs McNulty for the first time as he tries to patch together his relationship.

At the centre of the case is the Sobotka family: Frank is a union official, knee-deep in corruption, his nephew Nick, short on hours at the docks, is doing what it takes to make money whilst also trying to keep Frank's son Ziggy from messing it all up. This series lacks some of the interest of the first. The dock workers can be difficult to care about at times because they are often shown to be just plain stupid. Higher up the ladder is 'The Greek' who with his constantly clicking worry beads is the enigmatic boss. The police work too doesn't get its hooks into you in the same way. Perhaps because of what they've learnt from the first case it all feels far more procedural rather than as if they're feeling their way through. But this is still a compelling series as we watch the personal lives of the team develop, that conflict between home and work putting strains on relationships.

Barksdale's crew continue to fascinate and it is Stringer Bell, played brilliantly by British actor Idris Elba, who exerts all the power whilst Avon does his time inside. His hands are on everything, and I mean everything, and I wonder how that might develop in season three. Could there be some possible conflict in the future? The thief Omar is the other really strong character, still stalking the streets looking to revenge the murder of his 'boy'. Underneath his chilling exterior there is that passion of a man wronged and he is given some of the more memorable utterances. The script continues to be wonderfully baffling at times and maybe suffers in places from much more obvious political point making but whilst it may not have been as impressive a series it still remains far more engaging, serious and worth watching than anything comparable from this side of the water.

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The Wire - Season One

After watching The Sopranos in its entirety in one fell swoop last year I was left exhilarated and bereft, worried that I may not be able to enjoy anything on television ever again as it could only fail to live up to the genius of David Chase's 'family' drama.

There has been a lot of positive stuff written about David Simon's series, particularly in The Guardian recently which means that as I began watching there was a heavy burden on its shoulders. Set in Baltimore, a city familiar to those who watched the brilliant Homicide: Life On The Street, this is a complex drama following drug dealers and the police who are watching them. It is uncompromising stuff and the first few episodes left me a little confused, often reaching for the rewind button to go back over conversations. The writers don't feel the need to explain everything they write, crediting the audience with some intelligence (which makes a nice change) but also having total confidence in their material. This is a slow burn series and as the characters are introduced and developed the plot progresses.

As the series tag-line says: Listen Carefully. The slang used by those on the street is sometimes like listening to a different language, tuning your ear in takes time, but this is an experience mirrored by the police themselves who as they listen in on 'the wire' have to decode the phrases used that detail the movement of drugs and the committing of violence in order to place themselves a step ahead. The language used by the police themselves is complex. The legalese, the police slang or simply the detail of genuine speech between friends and colleagues is left for us to sort through but the experience of keeping pace and sometimes having that breakthrough moment where knowledge dawns on you meant that I felt I was following the investigation of the case in real time rather than having the privilege of foresight which is often gifted to the audience.

This is truly an ensemble piece, as evinced by the alphabetical cast list in the opening credits, but one name comes before that and if the program has a leading character it is Dominic West's detective Jimmy McNulty. A hard drinking cop with a failed marriage and questionable parenting skills is a risky leading man but the series is all about moral ambiguity. We are encouraged not to see the cops as good and the dealers as bad. In fact for large parts of the first series we see the dealers abiding by their rules and code whilst the cops bend theirs and behave appallingly towards each other. McNulty is hated by his boss (especially as it was his out-of-turn conversation with a judge which forced him to assemble the team for this case originally), his wife, his lover and some of his colleagues. He even hates himself. But the case he builds against Avon Barksdale and his crew becomes a personal crusade of redemption which brings him right to the edge. The kind of man who uses his own children to help him tail a suspect (and loses them in a market in the process) is not what his colleagues might term 'good police' but we follow him and feel ourselves rewarded with those flashes of integrity which keep him pushing the case along when the powers that surround him threaten to collapse it.

It is a mark of the scale of the program that it encompasses not just the bureaucracy of police work, or the politics in the office, but the politics above and beyond it. The chain of command is one thing but the greasy pole of promotion means that those with ambition have to keep things well oiled. It is difficult to maintain integrity when everyone seemingly has to make compromises in order to move up. Even the investigation itself as it follows 'the money' will uncover corruption at the highest levels. With the recent scandals involving political donations in the UK it is worth pointing out that the American political system actively encourages ignorance of the source of political donations.

At the other end of the scale we see not just the dealers but the users themselves; the men and women who amongst the warren of 'low risers' and 'towers' that make up social housing have never been the given a chance. One character, Bubbles, is brought vividly to life by Andre Royo. The marked and scarred skin on his face, the missing tooth, the twitches and facial tics that mark him as a man in the grip of addiction are subtly devastating. His attempts to go clean and straight are heartbreaking as with a small look of concern or worry we see how much it means to him and so, eventually, to us. Most of the other addicts are shown to be animals, doing whatever is necessary to survive, literally crawling all over each other at one point when free vials of heroin are tossed into the air.

This is a human drama, a family drama, literally with Avon Barksdale and his nephew D'Angelo (whose acquittal in the first episode sparks the investigation), but also symbolically amongst his wider organisation and of course the police. Because the series takes its time in establishing the characters without relying on the shorthand of recognisable traits the characters feel fully rounded. We don't have to understand them or even like them to be interested in what they do and why they do it. And crucially it is our involvement in their stories, rather than the plot itself which will bring us back for another series. I can't wait to get going on series two and if you haven't already I seriously recommend you get going on number one. It takes at least six or seven episodes to get its teeth into you but by then you'll be hooked, an addict like the rest of us.

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