The Wire

The Wire Season 5 concludes the award-winning TV series with a bang. The bodies are piling up in Homicide, but funds for police work have been diverted to the schools. Meanwhile business is booming on the streets as the war between East and West Baltimore’s drug kings reaches a new intensity. McNulty is drinking again. Bubs is clean again. Omar is back with a vengeance and Carcetti is struggling to make a difference as Mayor. After taking us through the streets, the docks, the corridors of power and the schools, The Wire brings us to the Baltimore media, where the successes and tragedies of all of our favourite characters become ammunition in the battle for circulation figures.

After one episode of The Wire you'll be hooked. After three, you'll be astonished by the precision of its storytelling. After viewing all 13 episodes of the HBO series' remarkable first season, you'll be cheering a bona-fide American masterpiece. Series creator David Simon was a veteran crime reporter from The Baltimore Sun who cowrote the book that inspired TV's Homicide, and cowriter Ed Burns was a Baltimore cop, lending impeccable street-cred to an inner-city Baltimore saga (and companion piece to The Corner) that Simon aptly describes as "a visual novel" and "a treatise on institutions and individuals" as opposed to a conventional good-vs.-evil police procedural. Owing a creative debt to the novels of Richard Price (especially Clockers), the series opens as maverick Detective Jimmy McNulty (Dominic West, in a star-making role) is tapping into a vast network of drugs and death around southwest Baltimore's deteriorating housing projects. With a mandate to get results ASAP, a haphazard team is assembled to join McNulty's increasingly complex investigation, built upon countless hours of electronic surveillance.
The show's split-perspective plotting is so richly layered, so breathtakingly authentic and based on finely drawn characters brought to life by a perfect ensemble cast, that it defies concise description. Simon, Burns, and their cowriters control every intricate aspect of the unfolding epic; directors are top-drawer (including Clark Johnson, helmer of The Shield's finest episodes), but they are servants to the story, resulting in a TV series like no other: unpredictable, complicated, and demanding the viewer's rapt attention, The Wire is "an angry show" (in Simon's words) that refuses to comfort with easy answers to deep-rooted societal problems. Moral gray zones proliferate in a universe where ruthless killers have a logical code, and where the cops are just as ambiguous as their targets. That ambiguity extends to the ending as well; season 1 leaves several issues unresolved, leaving you begging for the even more impressive developments that await in season 2.

It hardly seems possible, but The Wire's second season is even better than the first. The "visual novel" concept of this masterful HBO series is taken even further in a rich, labyrinthine plot revolving around the longshoremen of Baltimore's struggling cargo docks, where corruption, smuggling, and murder draw the attention of detective McNulty (Dominic West). What follows is a series of events which at first seem unrelated (including 13 bodies found in a cargo container), and then the ongoing effort to topple the drug empire of "Stringer" Bell (Idris Elba) and the imprisoned Avon Barksdale (Wood Harris), whose business is suffering from short supply, high demand, and disruption of distribution. The dutiful diligence of a Marine Police Patrol Officer and the moral outrage of the longshoremen's union leader are also factored into the suspicious goings-on at the loading docks, and what unfolds in these 12 episodes is an American crime epic easily on par with the Godfather saga. Yes, it's that good.

With volatile issues of Baltimore city political reform as its narrative focus, the third season of The Wire superbly maintains the series' astonishingly consistent status as the greatest "novel for television" ever created. While the Baltimore police department's wire-tapping investigations continue to monitor the intricate and now legitimately fronted drug ring of Russell "Stringer" Bell (Idris Elba, smooth as ever), detective Jimmy McNulty (Dominic West) continues his loutish ways, navigating through a series of shallow sexual conquests while doing some of the best cop-work of his career. Stringer's ex-convict partner Avon Barksdale (Wood Harris) is back in the picture and bent on eliminating a drug-dealing competitor named Marlo (Jamie Hector), and Baltimore P.D. Major Howard "Bunny" Colvin (Robert Wisdom) tries his own defiantly independent brand of street justice by essentially legalizing drugs in "Hamsterdam," where isolated sections of the city are established as open drug-dealing zones, utterly without the knowledge or approval of Colvin's superiors. As city councilman Tommy Carcetti (Aiden Gillen) plots his own ruthlessly ambitious strategy for the mayor's seat, Baltimore officials, McNulty's wire unit, and the entire Baltimore P.D. stand poised for the inevitable fallout from street-level and executive-level manipulations of power.

Even if you missed the first three seasons (the character guides and thorough episode recaps on HBO's website are recommended), and with only one season left, it's not too late to get in under The Wire. In fact, season 4 is an accessible introduction for those who know The Wire only by its street cred as arguably the very best show on television. For them especially, this season will be, as befitting its theme, a real education. Without resorting to melodramatics that other ratings-challenged series employ to gain that frustratingly elusive audience, The Wire shakes things up this season in a way that is true to the series and its characters. A major character, Dominic West's McNulty, plays a minor role as a contented street cop and family man, while a former supporting player, Jim True-Frost's Roland Pryzbylewski, goes to the head of the class as a new eighth grade teacher at beleaguered Edward Tilghman Middle School. It may take a couple of episodes to orient yourself to the Baltimore backrooms, squad rooms, classrooms, and street corners where The Wire's intense dramas play out, and new viewers may miss something in character nuance, but they will easily grasp the big picture. A politically motivated shake-up sends Major Crimes detectives Freamon (Clarke Peters) and Greggs (Sonja Sohn) to Homicide. The gloves come off in the mayoral race between black incumbent Clarence Royce (Glynn Turman) and idealistic white challenger Tommy Carcetti (Aidan Gillen). Gang leader Marlo (Jamie Hector) quietly and deliberately becomes the city's new drug kingpin, managing to subvert all surveillance efforts. Meanwhile, while "Prez" tries to reach his students, four highly at-risk kids will be drawn into the drug trade.