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The Wire Final Season

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from: Jeffrey Goldberg
to: David Plotz

Week 4: Is My Intuition Growing Stronger, or Is The Wire Just Getting More Obvious?

Posted Monday, Jan. 28, 2008, at 12:06 PM ET

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

Dear David,

Yes, that glee-club line was great. You remind me of something—it was immediately clear to me that Marlo and Herc were put in the same room, Levy's waiting room (speaking of Levy, where's Abe Foxman when you need him?), for a reason. Don't you think Herc is going to use his proximity to Levy to try to bring down Marlo? Is my superpower of intuition growing even greater, or is The Wire just becoming more obvious? Prop Joe's demise, in retrospect, was foreshadowed a million different ways. His murder was still a powerful and elegiac moment, but we were clearly meant to see it coming.

Interesting point about Burrell, though I'm not sure the analogy sustains itself. Unlike the heroin distributor Prop Joe, Chief Burrell deserved his fate. And Cedric Daniels is not the bureaucratic equivalent of Marlo Stanfield. Still, you make a compelling point about heartlessness. The world of The Wire often reminds me of a keen observation of Rabbi Abraham Joshua Heschel, who once wrote, in lamenting the moral condition of modern man, "Living in fear he thinks that the ambush is the normal dwelling place of all men." Welcome to David Simon's Baltimore.

That said, I thought last night's tour of the homeless demimonde was a bit ripe. And McNulty's shenanigans are becoming more and more unbelievable. It's only a matter of time before the scheming reporter Templeton and the wackadoo McNulty marry their ambitions, don't you think?

Jeff

tv club
entries
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from: Jeffrey Goldberg
to: David Plotz

Week 4: Is My Intuition Growing Stronger, or Is The Wire Just Getting More Obvious?

Posted Monday, Jan. 28, 2008, at 12:06 PM ET
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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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