Week 8: Could Chris Fill Marlo's Shoes?
From: Jeffrey Goldberg
To: David PlotzPosted Monday, Feb. 25, 2008, at 2:02 PM ETJeffrey Goldberg and David Plotz were online on March 6 to chat about The Wire. Read the transcript.
Dear David,
The second-most implausible character in last night's episode, after walk-on-water-Gus (as you have already noted, he restores sight to the blind, but did you also know that, in his spare time, he invents superefficient biofuels while battling al-Qaida with thought rays?), is Carcetti's wife. I didn't see what you saw: No wife I know, including my own wife, and yours as well, would sit even semidisagreeably by her just-come-home-from-a-long-day-at-the-office husband's side as he surfs cable for images of himself, of all things. And, by the way, Carcetti's fall doesn't seem like such a fall to me; he's always been one of David Simon's most interesting and complicated characters—I don't think you could plausibly argue that he's shed all of his idealism this season in pursuit of the governor's mansion. Witness his press conference performance on the homeless. I think he's actually quite a sympathetic figure. Every successful politician in America kowtows to men like Clay Davis; they couldn't be successful without them. OK, maybe not Clay Davis, exactly, but every Saint Obama has his Rezko. Isn't this what David Simon is telling us? That everybody's dirty?
I have to ask you to reconsider my Chris-kills-Marlo hypothetical. It came to me in a flash when Marlo, obviously relieved that Omar is dead, smiles (which is bad enough) and then promises Chris a trip to Atlantic City, N.J. Chris' look just then was homicidal. Chris is obviously humiliated by the circumstances of Omar's death; a small boy did what he and his whole crew could not. Chris' anger (and, based on the evidence, he has something of a problem with anger) could redirect itself against Marlo, who, this episode proved, is not quite as tough as Chris and Snoop. After all, where was Marlo during the Omar-as-Batman shootout? Nowhere to be found. Omar may get his posthumous revenge on Marlo; keep in mind that Omar dirtied Marlo's name up and down the city before expiring. I agree with you that Marlo is obviously an adept businessman, but there's nothing to suggest that Chris couldn't fill his shoes; he is, to invert your phrase a bit, an entrepreneur of homicide. He just has to learn Greek.
One more question, suggested to us by our maximum leader: What was the point of seeing Omar laid out in the morgue, victimized one final time, in this instance by a city bureaucrat? If it was to prove the point that the city doesn't work, well, I think the point has been made. Or was it just to allow the audience to mourn? Or get a fleeting glimpse of Omar's groin?
Jeff
Week 8: Could Chris Fill Marlo's Shoes?
From: Jeffrey Goldberg
To: David PlotzPosted Monday, Feb. 25, 2008, at 2:02 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)