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The Wire Final Season

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from: David Plotz
to: Jeffrey Goldberg

Week 1: Do We Really Want a President Who Would Skip The Wire Premiere?

Posted Monday, Jan. 7, 2008, at 4:17 PM ET

Jeffrey Goldberg and David Plotz were online on March 6 to chat about The Wire. Read the transcript.

Dear Jeff,

Speaking of Obama, did you know that The Wire is one of his favorite shows? But—and here's the kind of scoop that makes Slate the must-read that it is—according to my colleague Chris Beam, Obama actually missed last night's premiere. I know Obama's busy, but The Wire is The Wire! Doesn't the Manchester, N.H., Radisson have HBO?

As for your excellent observation that The Wire is bleakest when it shows the nonviability of Baltimore, I've been puzzling over that question for a long time. When I was in college, during the depths of the crack epidemic, it was widely believed that the American city was doomed. Sure, centerless megasuburbs like Phoenix would survive, but the sunny-side-up city, with a rich delicious center, was written off. In the 20 years since, though, center cities have bounced back: most notably New York, but lots of other ones, too—Boston, Chicago, even our own fair city of Washington, D.C., have filled back in with downtowns livelier than they were 30 years ago. So, why is the renaissance not universal? Why are some cities worse than ever? For a sheltered white yuppie like me, Baltimore remains a terrifying, I Am Legend-nightmare, where any wrong turn can take you down a street that's at once empty and terrifying.

So, what is it, ultimately, that distinguishes the New Yorks from the Baltimores? Is it race? Or poverty? Or the vagaries of the global economy? (New York has rebounded because Wall Street and the entertainment industry have had 15 fantastic years.) Or governing and policing strategies? Is it truly inevitable that Baltimore must fail?

David

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from: David Plotz
to: Jeffrey Goldberg

Week 1: Do We Really Want a President Who Would Skip The Wire Premiere?

Posted Monday, Jan. 7, 2008, at 4:17 PM ET

DISCUSS

E-MAIL

Emily Bazelon is a Slate senior editor. Andy Bowers is the editor of Slate V. Jeffrey Goldberg is a national correspondent for the Atlantic and the author of Prisoners: A Story of Friendship and Terror. Melinda Henneberger is a Slate contributor and the author of If They Only Listened to Us: What Women Voters Want Politicians To Hear. David Plotz is Slate's deputy editor. He is the author of The Genius Factory: The Curious History of the Nobel Prize Sperm Bank. You can e-mail him at . John Swansburg is a Slate associate editor. June Thomas is Slate's foreign editor. You can e-mail her at .

Entry 1: Photograph of Tristan Wilds by Paul Schiraldi © HBO. Entry 8: Photograph of Clark Johnson, Brandon Young, Michelle Paress, and Tom McCarthy by Paul Schiraldi © HBO. Entry 21: Photograph of Felicia "Snoop" Pearson, Jamie Hector, Method Man, and Robert F. Chew by Paul Schiraldi © HBO 2008. Entry 27: Photograph of Lance Reddick by Paul Schiraldi © 2008 HBO. Entry 42: Still of Wendell Pierce by Paul Schiraldi © 2008 HBO. Entry 52: Still of Tristan Wilds by Paul Schiraldi © 2008 HBO. Entry 57: Photograph of Sonja Sohn, Wendell Pierce, and Dominic West by Nicole Rivelli © 2008 HBO. Entry 61: Still of Lance Reddick by Paul Schiraldi © HBO 2008.

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Remarks from the Fray:

I hope Goldberg and Plotz move on to discussing the idea that the press is complicit in allowing the inner-city (especially black inner-city) to decay by not paying attention to the problems that caused its sharp decline. Maybe newsroom characters feel cliched, but shouldn't we discuss how they enter into the "War on Drugs"?

--tsell89

(To reply, click here.)

So far as we've seen most of the newspapermen are indeed stock characters, but that's nothing to worry about. Except for a few leads each season, very few characters have conflicting motives. Think Clay Davis, Mayor Royce, Herc, Horse, Burrell, Rawles, Weebay, Chris Partlow, Snoop, the school administrators, even Marlo.

The strength of the show isn't in the complexity of the characters; it's in the multi-layered coherent vision, the way these somewhat two-dimensional characters all affect one another. Granted, that's a formula for pedagogy, but what saves the show (and not only saves it but really does make it the best show ever) is the one thing that fools everyone into thinking that Snoop, with her paucity of lines and sole motivation of kill-everyone-Marlo-tells-me-to, is a great character -- namely, style.

All the characters have great style, great lines. It's what makes the show fun as well as edifying. And from what I can tell, the newspapermen are going to have as much style as anyone. "Stay hungry. Good things come... when they come." C'mon.

--jamessal

(To reply, click here.)

I don't doubt that the busyness of the first episode had a lot to do with the retards at HBO deciding to cut the Wire from 13 episodes to 10 for its final season but I know Simon will make it work in spite of his bosses stupidity.

As far as Jeffrey's weak defense of the Sopranos, give it up man. The show lost its way after 3 seasons, so the claim that the Sopranos was on longer is not much of an excuse. Of course it is probably true that the Sopranos was a victim of its own massive popularity, while the Wire has been able to stay on course precisely because nobody was watching. Maybe if David Simon had gotten all the money and all the ball licking from critics that David Chase received he would have turned into a hack writer as well.

--sir biff

(To reply, click here.)

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