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The Wire Final Season

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from: Jeffrey Goldberg
to: David Plotz

Week 8: Is The Wire Back or What? 

Posted Monday, Feb. 25, 2008, at 10:42 AM ET

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

Dear David,

Omar Little, RIP.

But it should have been Templeton.

Man, is The Wire back or what? Yes, I actually liked last night's episode. There, I said it. Are you happy?

Omar's death at the hands of an 11-year-old was pitch-perfect. A gay, shotgun-brandishing Robin Hood has no home in a city whose streets throw off boys like Kenard, the miniature killer with the dirty mouth. Kenard is the natural heir to Marlo. He's not yet dead to feeling—witness his fear and shock in the presence of Omar's dropped body—but he's the sort of prodigy that The Wire has been warning America about for five mostly excellent seasons. The killing of Omar by a prepubescent street imp rang entirely true, a testament to the reality of the world David Simon has created.

This was an almost entirely great episode. Clay Davis was delightfully venal; Snoop spit like a champion; Lester showed flashes of his old brilliant self—and of his deep sense of right and wrong; even McNulty stirred feelings of pity in me. Bunk, of course, was Bunk—I wish we could convince someone to give him his own show. And that visit to Quantico was comic genius. (For more on the subject of the self-serving flimflammery of FBI profilers, read this recent Malcolm Gladwell piece.)

The too-many visits to the newsroom were absurd, of course, but I've lowered my expectations to Dead Sea levels, so I half-enjoyed them, particularly the spectacle of Gus telling off the managing editor. Not because it was great drama but because I like to watch people tell off managing editors. As we discussed last week, though, if Gus were an actual editor rather than a cardboard fantasy of an editor, he would have called the Pentagon before running the story on the homeless vet, not after.

One question for you: Did you get the feeling, as I did, that Chris is going to kill Marlo? After all, Marlo did not, in fact, come down to the street to meet Omar's challenge. If Chris sees Marlo for the punk he apparently is, well, it's goodbye, Marlo.

Jeff

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from: Jeffrey Goldberg
to: David Plotz

Week 8: Is The Wire Back or What? 

Posted Monday, Feb. 25, 2008, at 10:42 AM 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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