Ellis Carver …. Domenick Lombardozzi Det. Thomas 'Herc' Hauk as Det. Thomas 'Herc' Hauk …. Clarke Peters Det. Lester Freamon as Det. Lester Freamon. Jim True-Frost Det. Roland 'Prez' Pryzbylewski as Det. Roland 'Prez' Pryzbylewski …. Burrell as Acting Commissioner Ervin H. Burrell …. Corey Parker Robinson Det.
Leander Sydnor as Det. Leander Sydnor. Delaney Williams Sgt. Jay Landsman as Sgt. Jay Landsman. David Simon. More like this.
Watch options. Storyline Edit. Seen not only through the eyes of a few policemen and drug gang members but also the people who influence and inhabit their world - politicians, the media, drug addicts and everyday citizens. A new case begins Did you know Edit.
Trivia While filming, Andre Royo was once approached by a Baltimore resident, who handed him a package of heroin and said he looked like he needed a fix. Royo calls this his "street Oscar. Goofs Throughout the last two seasons, Carcetti repeatedly refers to a possible gubernatorial challenge in , after serving two years as Baltimore mayor.
But Maryland holds gubernatorial elections in off years - , , etc. The new governor would have been elected the same year that Carcetti was elected mayor - - and up for re-election in four years, not two. Quotes Freamon : A life, Jimmy, you know what that is? Crazy credits In every episode, after the opening credits a quote appears on the screen that will be spoken by a character in that episode.
User reviews Review. Top review. Doesn't get better than this. I heard that during it's initial run that The Wire's creator David Simon had to convince executives to not cancel the show. Take a moment to digest that. The two wars are on drugs and terrorism. Baltimore police attempt to take their case against the Barksdale drug crew to federal authorities at the end of that first season but why do they fail? The FBI insists that political corruption must be the priority if they step in, thanks to new War on Terror orders.
The second season echoed the conflict, as the FBI only joined the dockworkers investigation, full of sex trafficking and drugs and violence, to pick at the corruption of Frank Sobotka's stevedore union. The Wire's dysfunction is all part of the changing politics and technology of the early 21 st century.
Yes, the War on Terror warped American law enforcement policies, apparent in the first two seasons. Frank Sobotka, union leader of the docks, spends the second season in fear and, consequently, loses his moral compass because his profession is dying and becoming automated, a not-uncommon shift as our machines grow all the more powerful.
Simon shows how the same struggle hits the media later on, prone to sensation amid buyouts and changing business models. In The Wire's third season, the Baltimore police engage in a statistics-driven performance review known fictionally as Comstat and in real life known as Citistat in Baltimore "Compstat" in New York City.
The brutal review process was touted as a revolution in strategic policing and responsible, perhaps, for a significant drop in crime over the last decade and a half. But Comstat, as The Wire well showed, also created unhealthy strains and subtly encouraged officers to twist the numbers. Why did Major Bunny Colvin feel pressure to create the drug sanctuary Hamsterdam? Comstat's circus combined with senseless approaches to drugs motivated Colvin to go rogue.
Similar historical pressures push teachers in season 4 as President George Bush's No Child Left Behind education plan casts a real-life shadow. When a new city teacher, formerly of the Baltimore police, hears how his school will teach test questions, the young man immediately recognizes the dilemma: "Juking the stats Making robberies into larcenies.
Simon encouraged his writers and actors to conduct field research. We went to the hospital, and one guy had been shot 13 times. The cops were standing around drinking coffee. It was another day at the office for these guys, but our eyes were popping out of our heads. It put them on a stage where they could be seen. It dared to slow down and stretch out, demanding unusual patience and attention from viewers.
To get it, you had to watch and listen, and there was a risk that people might not have bothered, but they did. Each season introduced characters while expanding or contracting the roles of existing ones without warning. You can catch a bullet filling up your car with gas. It was quite a ride. He wanted to show the connecting thread — the wire — that ran between seemingly different organisations and the people who worked in them. Whether he was exploring police departments, drug cartels, labour unions, the school system, newspapers or city hall, Simon was interested in how the machine worked, or failed to work.
If he could explain Baltimore, then he could explain the US. For viewers who embraced the first season as a gritty crime drama with a predominantly black cast, however, the pivot in season two to the travails of white dockworkers was a jolt, even as it pulled in new viewers. What happened to our drugs? This is about the city of Baltimore.
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