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The Wire Final Season

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from: David Plotz
to: Jeffrey Goldberg

Week 9: Is Namond's the Only Redemption We'll Get?

Posted Tuesday, March 4, 2008, at 12:56 PM ET

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

Dear Jeff,

I thought you already wrote that book: Wasn't Prisoners the story of Omar Goldberg, a gay, black stickup artist obsessed with Israel's security? (Can you imagine Omar in Israel? That would be a great short film.) Speaking of Love and Consequences, excuse me while I pat myself on the back: The minute I read the Kakutani review in the New York Times last week, I sent an e-mail to my Slate colleagues with the subject line "I bet this book is not true."

Back to The Wire: If you had bothered to read my dialogue entries, you would have noticed that I wrote a long, agonized paragraph two weeks ago about the Moreland snitching paradox. But I guess you were too busy hobnobbing in the steam room with Richard Holbrooke, or bathing in organic yak milk with Harry Reid, or whatever it is you do over at the Atlantic.

You're right about Namond, of course, though I can't help feeling that's a pretty thin reed to cling to. After five seasons of the show, we're allowed one escapee (or maybe two, counting Bubbles). A couple of readers reminded me that Marlo has also spent much of this season having trouble leaving Baltimore. He had that wonderful fish-out-of-water moment at his Caribbean bank, and he has repeatedly made plans to go to Atlantic City, N.J., with Chris but never manages to take the trip.

I actually miss Namond's mom, Delonda, who was one of the great maternal monsters in screen history. She made Joan Crawford look like the mother of the year. I have a friend who worked with Sandi McCree, who plays Delonda, and says she's a lovely woman in real life. I guess that's why they call it "acting."

David

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from: David Plotz
to: Jeffrey Goldberg

Week 9: Is Namond's the Only Redemption We'll Get?

Posted Tuesday, March 4, 2008, at 12:56 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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