Wire 45
I'm afraid to say I agree with ChristyCash that episode 45 was, relative to The Wire's usual high standards, a relatively weak offering. I share some of her concerns about the scene in the teachers' lounge which struck me as unduly schematic and suffering from a "show me, don't tell me" kind of problem.
What I found really problematic, however, was the scene between Rawls and Carcetti which I'll happily admit was, on its own terms, a well-staged and compelling scene. The problem was that Rawls' actions didn't really make sense. Surely Rawls (who's always been portrayed as a smart guy and a canny political operator) understands that Carcetti is already inclined to want to fire Burrell, that Rawls himself is Burrell's logical successor, and that Rawls' whiteness is, under the circumstances, the main political impediment to giving him the job. Under the circumstances, why would Rawls decide that acting like a huge racist in front of Carcetti and Carcetti's black chief political advisor is a good idea? He needs to be trying to do the reverse and convince Team Carcetti that he can somehow minimize African-American political anger at his potential appointment.
That said, the Chris and Snoop scenes in this episode -- killing the dude because he doesn't know Baltimore club music and training new soldiers -- were both totally awesome.
A correspondent wonders if "is Herc supposed to be a stand-in for the US, and Marlo for Osama bin Laden?" The theory here is that Marlo has provoked Herc into overreacting and is going to wind up reaping huge benefits. If Herc winds up leaning hard on Little Kevin, that may, for example, smoke Randy out as a rat and wind up getting him killed.
I actually doubt that there's a really specific national security policy allegory in mind here. I do think, however, that you're seeing a definite generic concordance between inner-city law enforcement and counterinsurgency strategy. The best example of this in 45 was the guy on the bike who the Eastern District cops semi-entrapped. The dude, as you can see, is scarcely a hardened offender. He has a job. He doesn't have any drugs for sale on his person. He doesn't want to deal drugs, all things considered. But he lives in the neighborhood, he knows where the drugs can be found, he has some kind of knowledge of the game. His inclination, however, is to ride his bike to work and have nothing to do with it.
The Eastern DEU guys' heavy-handed strategy, however, is to push the guy until he agrees to conduct a drug deal. Then they arrest him. "One down," remarks the Eastern officer. But of course the guy isn't "down" at all -- he's hardly going to be locked up for a very long time on this piddling charge. Once he gets out of the clink, however, he's going to be without a job. And, now blessed with a criminal record but lacking a bike, he's going to have a much harder time getting a job. Now the incentives have switched and he does want work in the game. A man's got to eat, after all. Not only does he have more economic need for the game, but he's also learned that efforts to stay out of the game don't pay the dividends he was hoping for -- the boys in blue pinch you either way. Ill-considered policies actually create the problem they're supposed to be mitigating.
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The Rawls scene is only problematic if you assume that what Rawls says to Carcetti in private lays the ground for what their public approach to the firing of Burrell would be. But there's no reason for that to be true. Rawls is taking a reasonable step in trying to cement his solidarity with Carcetti, white man to white man; where he goes wrong is in his judgement of Carcetti personally, insofar as Carcetti is bothered by Rawls's racism.
I don't agree that this episode, on balance, was a weak one, but I agree with Matt that the Rawls scene struck a real false note. On the other hand, Burrell's facial reaction as Rawls's betrayal sinks in, a couple of scenes later, was awesome.
Fucking Herc, man. I mean, really.
So am I wrong, or does all the evidence point pretty clearly to the fact that Michael's father (step-father?) molested him when he was younger? This morning's Slate poster seems unsure, but I don't really think they are the sharpest knives in the Wire fanboy drawer, anyway.
Re the foreign policy angle: When I saw Simon speak in NYC a while back, he did say that he had imagined Marlo as the "insurgency" in the "Iraq" of the streets... so whatever that's worth. I'm not sure it really matters or helps us understand the show on the show's terms, but it was something that he said.
That said, the Chris and Snoop scenes in this episode -- killing the dude because he doesn't know Baltimore club music and training new soldiers -- were both totally awesome
Where is Chris supposed to be from? He doesn't have a Baltimore accent at all. In fact, he doesn't really sound "African American". Also, as one of the kids points out, he dresses kinda "bougie". How does a characte like that end up on the streets of West Baltimore?
Also, I agree with ogged: Rawls's only mistake is to misread Carcetti's character. Remember, Rawls meets Carcetti through Valcek. Although "white-guy" bonding might have been better done when Carcetti's black aid wasn't present.
Rawls is taking a reasonable step in trying to cement his solidarity with Carcetti, white man to white man; where he goes wrong is in his judgement of Carcetti personally, insofar as Carcetti is bothered by Rawls's racism.
I would buy this if Carcetti and Rawls had been the only people in the room, but pulling that crap in front of the black Carcetti advisor whose name I forget makes very little sense. Rawls has to know that Carcetti's inclination is already to cashier Burrell and that he's a leading candidate as replacement. Even without knowing anything about Carcetti's character it should be clear to Rawls that what he needs to do is make nice with the black people in Carcetti's inner-circle -- the advisor dude, delegate Watkins, etc. -- instead, he did the reverse.
I do not think I am giving anything away, by adding that the previews make it look as if Michael, unable to get justice through the offical govt, goes to Marlo for enforcement (backing up the marlo as militia line of thought).
David Simon, however, is much less interesting in his insight into his show than Ed Burns, and has been stated here many times, the show may succeed due to its strong writing despite its attempts to preach.
The fallacy here is unduly crediting Rawls with being smart. It's my sense that he's the go-to guy for tactics, but rather ham-fisted when it comes to political savvy. That's what Burrell's for.
If you accept that Rawls is actually dumb (as is rather required of a racist), then his explanation to Carcetti makes sense. Dumb racist white guys think every other white guy thinks just like them. I'm a criminal lawyer (and I'm tall and white enough that I am often mistaken for a cop at court, even if I do dress better, if I do say so myself). I'm constantly amazed at the conversations cops have with me, where they think they can spout off their ignorant white racist comments with impunity, like I'm one of them. I think that's what was going on between Rawls and Carcetti.
The part I actually found implausibly dumb here wasn't Rawls' exchange with Carcetti, but the later one with Burrell: Why tip his hand this early in the game, when Burrell is (a) still commissioner and (b) doesn't seem to be conscious of how serious a threat to his position you are. The whole point of stabbing someone in the back, one would think, is to do it while his back is turned.
I guess I don't agree that Rawls was acting like a "huge racist." I'm not going to pretend for a second that I know anything about race-based hiring in the Bodymore police department, but to me he seemed to be remarkably candid, especially considering Carcetti's black (future) chief of staff was sitting in the room. Maybe I missed something, but I guess I'd like to hear why you think Rawls was being so racist. I'll grant you that the fact that he doesn't seem to realize the impediment his skin color poses is unusually naive, considering the character.
Carcetti is pretty complex for an ambitious pol. He meets with Rawls and with Daniel. Both meetings say more about Carcetti. We know about Rawls and Daniels. Daniels is the leader of the police with integrity--McNulty, Lester, Kima, Bunk, and Colvin. The rest report to Rawls. Remember, Rawls killed the major crimes unit this year and Colvin's Hamsterdam plan last year. He is merely a crafty opportunist without scruples. His intelligence alongside Burrell was striking, but he still never rises above opportunist. Daniels may even become his deputy just as Rawls was deputy to Burrell--however, Daniels is going to have to say goodbye to Phelan soon.
How about Chris throwing away the nail gun, More than just the NYC bodies are going to show up all over. That last scene of Chris' keen intelligence suggests once again that he is to Marlo what Stringer was to Avon.
What about Bunk springing Omar? The avenging angel is back on the street to check out Marlo, who he never really knew existed until he was busted.
What about Herc. Clearly the worst, but Marlo and Prop Joe may have something for him if he keeps it up. I agree--Randy and Little Kevin are in trouble if Herc can find them.
Namond is taking to Colvin and visa versa, but he is soon going to have to answer to Bodie and his Mom. He may be the first of the corner kids to go.
A weak episode? Not the one I saw. There are no comparisons in any medium with such complex characters, situations and atmosphere. I just can't believe it is the same over the top Ed Burns from the movies.
I don't know if I think it was such a weak episode--I agree that the teacher's lounge scene was a little heavy-handed, but I don't think Rawls' appeal to white solidarity was so unbelievable--but it did have some of the funniest bits of the season so far: the aforementioned Snoop and Chris scenes, Carcetti in the Homicide Division, Bunk and McNulty, Proposition Joe checking up on Herc, and of course Herc trying to...um...protect his confidential informant ("Fuzzy Dunlop" may be the funniest punchline of the season).
the same over the top Ed Burns from the movies
Which movies?
And for the record, CristyCash's criticism of the episode seems very strange to me, particularly this.
Who said they were the voices of social critique? I thought they were corner kids, thinking, talking and acting like corner kids. The show is occasionally preachy, but one of its great strengths is its fealty to the story, rather than any social agenda.
I'm with Ogged, CristyCash's criticisms were just weird. They almost seemed like the sort of things that Jonah Goldberg would complain about, if he was a Wire fan.
Re: Rawls
Assuming he knows Burrell is out the door, Rawls can't be really happy about his own position. Given the givens, they either have to go outside of the department or leapfrog him if he doesn't get the top chair. Either way, he's FUBAR. (Say an actual po-lice, as they say, gets the top spot. How long do you think Bill Rawls lasts?) SO yeah, it's something of a hail-mary, but what else does he have?
I enjoyed this episode, although I do agree that the "Chris" character is a complete miscast. He stands out like a sore thumb amongst the other drug dealers. He seems like the type of guy you would see playing ultimate frisbee at Brown rather than killing drug dealers.
"Fuzzy Dunlop". Isn't the name from Season One when Carver abd Herc hid a listening device inside a tennis ball while they were staking out the pay phones near the Towers. That bit of spyware also was lost when a kid absent-mindedly kicked it down a sewer.
Dave: that's right, except it was Season Two. They bought the device with Carver's credit card, IIRC, intending to return it. I don't think it was near the towers--I think it was when the two of them were after White Mike--but I'm not positive about that.
The punchline in 45 was set up in episode 44, when Herc told Carver "this is worse than Fuzzy Dunlop."
I think it was when the two of them were after White Mike--but I'm not positive about that.
Nope they were listening in a "Frog" and Nick Sobotka
Charlie writes: "This morning's Slate poster seems unsure, but I don't really think they are the sharpest knives in the Wire fanboy drawer, anyway."
THANK YOU! Is it just me, or has that feature been about the worst analysis of the show in the world? And what it lacks in insight it more than makes up for with annoying self promotion. Though I'm too lazy to go back and find specific examples, I get the distinct feeling those two had very limited knowledge of the first three seasons. Which is compounded by the fact that it seems like they are barely watching the season they are writing about.
For example, today one of them writes: "But with Michael, I hope his father will play an increasing role in the story. So far, he strikes me as a man with a terrible past who seems sincere about trying to do right by his sons." Umm, that might make sense. If you have not noticed how throughout the entire season Michael has all but worn a sandwich board stating "I was abused by an adult male" and then sprinted home in a panic when he found out Bug was alone with the father.
To show that they both are capable of misinterpreting the show they write about for a national publication, the other guy (not his real name) wrote in the post before "In walks his father who, after 12 years away..." despite the fact that there is a scene with Michaels mother where it is revealed that he is home early because of parole and did not spend 12 months.
This may sound like nitpicking, but there is stuff like that every time you read it. And it is made doubly annoying by the fact that such a large part of their column involves exchanges like:
Guy #1: This reminds me of my film X , where I profiled drug addicts that lived in a dumpster and ate cat food.
Guy #2: Wow, that's an incredible story. You're an incredible person. That sort of reminds me of my book, where I profiled drug addicts that were too high to climb into dumpsters and ate cats.
Guy #1: Wow, that's incredible. You're incredible. We're incredible. Speaking of incredible, can you believe the syntax of that guy Snoop? He's really hard to understand.
When I read it now, it is only for the entertainment value. A shame too, cause I liked the psychiatrist and organized crime reporter breakdowns for the sopranos and had high hopes....
p.s. Probably goes without saying, but I'm aware Snoop is a female.
I could be wrong, but I don't think that's even Michael's father--it's Michael's little brother's father, but I think he's Michael's stepfather.
Nope they were listening in a "Frog" and Nick Sobotka
Okay, that makes sense. I knew it wasn't the towers, though.
I just can't believe it is the same over the top Ed Burns from the movies.
Aieee, no no no. Different Ed Burns. The vastly overrated prettyboy actor is not the former Baltimore homicide detective turned schoolteacher turned screenwriter. See IMDB for details.
I can't believe that Burrell is going to go quietly, and I'm looking forward to seeing whether or not he has any cards up his sleeve.
I thought it was about average overall as an ep, but the exchange between Bunk and the other murder police over Omar was priceless--"We ain't talking about the guy who had 62 uses for the peanut."
I remember when Yglesias said something about how shocked he was when Stringer got killed, something to the effect that Stringer was easier for yuppies to empathize with than Avon or some such.
Matt, I love the Wire and I'm grateful to you for hosting this discussion. But, man, I think that what makes this show so compelling is that its dynamics have almost nothing to do with viewer expectations, unlike nearly everything else on tv. What Rawls said sounds plausibly like something a cop might say to divert blame which reasonably falls on himself. He's the asshole who gratuitously busted Bunny back a few pay grades before retiring him (and how that led into Bunny's current employed strikes me as a rather deft bit of plotting).
I do agree that sometimes the show does tell too much and show too little but I also think that's unavoidable given the show's very large canvas and comparatively paltry single hour of time. The show's great virtue is that it is driven by its own logic and requires viewers to take it entirely on its own terms. We may have personal reactions to this or that but they simply don't matter. In a world where everything else either is or feels like it's been focus-grouped to a fare-thee-well The Wire is wonderfully bracing.
Shorter Christon, and in the words of Marlowe: "You want it be one way. But it's the other way."
Carcetti (to Norman, upon leaving Rawls' office) "He's no more of a racist than I am."
How has that line been ignored throughout this whole thread? Rawls was trying to make the point (in a more ham handed way- befitting Rawls general lack of tact- than Carcetti had during the primary) that playing it by the (racial) numbers is what creates problems but can't solve them. If Rawls wants to make a play, it's about his only play. He's not appealing so much to racial solidarity (for an example of that see the old man on the street on election day) as common cause. Of course, it's BS from Rawls- he's a numbers guy, not a big picture enforcement guy all the way.
As for Rawls telling Burrell he's making a play: Rather than being a hidden threat, reveal yourself and make Burrell scramble. If there's one thing we've seen from Burrell over the years it's a tendency to overreact when his hand is forced. Rather than let him sit back and plot, make him act... and in the process overreact. Thus sinking his own ship.
I do agree that sometimes the show does tell too much and show too little but I also think that's unavoidable given the show's very large canvas and comparatively paltry single hour of time. The show's great virtue is that it is driven by its own logic and requires viewers to take it entirely on its own terms. We may have personal reactions to this or that but they simply don't matter. In a world where everything else either is or feels like it's been focus-grouped to a fare-thee-well The Wire is wonderfully bracing
As for Rawls telling Burrell he's making a play: Rather than being a hidden threat, reveal yourself and make Burrell scramble. If there's one thing we've seen from Burrell over the years it's a tendency to overreact when his hand is forced. Rather than let him sit back and plot, make him act... and in the process overreact. Thus sinking his own ship
THANK YOU! Is it just me, or has that feature been about the worst analysis of the show in the world? And what it lacks in insight it more than makes up for with annoying self promotion. Though I'm too lazy to go back and find specific examples, I get the distinct feeling those two had very limited knowledge of the first three seasons. Which is compounded by the fact that it seems like they are barely watching the season they are writing about
For example, today one of them writes: "But with Michael, I hope his father will play an increasing role in the story. So far, he strikes me as a man with a terrible past who seems sincere about trying to do right by his sons." Umm, that might make sense. If you have not noticed how throughout the entire season Michael has all but worn a sandwich board stating "I was abused by an adult male" and then sprinted home in a panic when he found out Bug was alone with the father.
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telling Burrell he's making a play: Rather than being a hidden threat, reveal yourself and make Burrell scramble. If there's one thing we've seen from Burrell over the years it's a tendency to overreact when
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