If you haven’t already found this, I take it you will be happy to find it now (online only, excerpted in the print edition). Pair this with the next post from Speaking of Faith which includes a segment on The Wire — OG/MysticalCreative
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In print. On-screen. It didn’t matter. No one was more eloquent (or honest) about the inner life of American cities than the men behind The Wire
By Alex Pappademas; Photograph by Mark Seliger
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A cop show that eschewed “justice always prevails” reassurance. A convoluted all-the-pieces-matter narrative that defied passive consumption and punished latecomers. A “novel for television” with scripts written by world-class novelists like Richard Price, Dennis Lehane, and George Pelecanos. A profoundly angry work of pop sociology that looked through the keyhole of the Baltimore crack game at the institutionalized dysfunction of America at the cold dawn of the twenty-first century. In the course of its five-season run on HBO, which ended this spring, The Wire was all these things. And while it never got ratings commensurate with its rapturous reviews, it was also exceptionally entertaining TV—funny, profane, and (if you hung in long enough to fall in love) compulsively watchable. And since every passing news cycle makes The Wire’s assessment of our great, frayed nation seem less cynical and more prescient, we’ll permit creator David Simon a we-told-you-so moment. “The Wire explains New Orleans,” Simon says. “It explains Iraq. It explains the disconnect between facts on the ground and policy. The Wire didn’t reference the mortgage crisis and the drama on Wall Street, because we didn’t know about it yet, but it was about those things, and about this particular time.”
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