Week 4: Copy Desks: Indispensable in Real Life, Not Thrilling on TV
From: Jeffrey Goldberg
To: David PlotzPosted Monday, Jan. 28, 2008, at 4:59 PM ETJeffrey Goldberg and David Plotz were online on March 6 to chat about The Wire. Read the transcript.
Yes, thank God for Wire watchers. They've called us out a couple of times.
So far, only two reporters who've been chastised for profanity? Sort of proves our point. Maybe we should get this up on Romenesko and see what comes in over the transom there.
On Herc, you're forgetting that Marlo got him fired, by stealing the surveillance camera. I'm not suggesting that Herc would be motivated by selfless idealism to trap Marlo; revenge is enough to get him going. Speaking of The Untouchables, did you notice the obvious nod in Capone's direction during the final meeting between Chief Burrell and Cedric Daniels? The chief picked up his golf club and started smacking his palm with it, just to the east of Daniels' head. I don't mind this at all, nor do I mind the obvious Godfather echo in the killing of Prop Joe. What I mind is the Schoolhouse Rock homage every time we visit the Sun newsroom. Copy desks are indispensable in real life, but they are not exactly thrilling on HBO. I have a premonition that this is only going to get worse as the season goes on.
So, have you ever been dissed by the Washington Post?
Jeff
Week 4: Copy Desks: Indispensable in Real Life, Not Thrilling on TV
From: Jeffrey Goldberg
To: David PlotzPosted Monday, Jan. 28, 2008, at 4:59 PM ETEmily Bazelon is a Slate senior editor and an editor of DoubleX. 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 editor. He is the author of Good Book: The Bizarre, Hilarious, Disturbing, Marvelous, and Inspiring Things I Learned When I Read Every Single Word of the Bible. You can e-mail him at .
John Swansburg is Slate's culture editor. You can e-mail him at and follow him at www.twitter.com/swansburg.
June Thomas is Slate's foreign editor. You can e-mail her at or follow her on Twitter. 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.
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.)
(1/7)
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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.)
(1/7)