What Happened to Our Show?
For four seasons The Wire reinvented the crime drama. Now the viewer's the victim.
Cover Story
The Wire is famously acclaimed for refusing to make trite distinctions between good and bad. Drug dealers are shrewd businessmen; children aren’t merely innocents; cops are the problem as much as the solution. But series creator David Simon has always made it clear who he wants you to root for: You just have to listen for the R&B music.
If Proposition Joe, who runs the East Baltimore drug trade, is getting serious about cutting a deal, Harold Melvin & the Blue Notes or something similarly soulful is usually playing in the background of his repair shop. Heading out for his morning jog, former drug-trade soldier Cutty slaps on a pair of headphones, cranks up Curtis Mayfield’s “Move on Up,” and tunes out a universe of electioneering bullshit on primary day. When we learn how Mayor Tommy Carcetti’s right-hand man, Norman Wilson, really feels about his boss, he’s sitting at a bar where Al Green’s “Love and Happiness” is playing. In the world of The Wire, the last remaining moral tethers in a deeply dysfunctional city aren’t police, prisons, or schools—they’re Philadelphia International, Curtom, and Hi.... Continued
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