We’re immense fans of HBO’s “The Wire,” but decided against our detailed Sopranos-like coverage of the final season because, frankly, other people seemed to be doing a better job of it (Vulture being number 1; especially in the early stages of the season) and we didn’t have that much time to properly devote to it without half-assing it (City Editor Gus Haynes might say this excuse is some, “shameful shit”).
But as “The Wire” draws to a close this Sunday, we can’t help, but take notice of the belated bits of media coverage that’s being doled out these last few days in anticipation and do a tiny recap of this final fifth media-heavy season. Oh, and if you’ve never watched this show? Do yourself a favor and don’t read this post (or any post about the show and then go watch it already).
We sadly saw Omar Little – the ghetto Robbin’ of the hood – fall at the hands of a sociopathic street youngin’ without redemption or sentimental fanfare – all in the game, yo (but not before gaining far-fetched super powers?); we’ve seen Detective Jimmy McNulty‘s wild hubris cause an entire city and police department to be led on a cost-prohibitive (and implausible) wild goose chase for a serial killer that doesn’t exist and watched in horror as Scott Templeton – the Jayson Blair of the Baltimore Sun – besmirched the good name of journalism with his wanton fabrication and bogus reporting (dovetailing nicely with the reckless and rampaging McNulty campaign), among many other narrative arcs.
Perhaps mostly importantly though, we’ve read and watched creator David Simon go from near deification status in the minds of the media and critics, to – if not quite vilification status – then disappointment and resentment at what’s been considered by many the sub-par quality of this final season (and its a valid criticism, it hasn’t been an infallible run). Some thought all the newsroom-based season was too inside baseball, others just thought it was going off the rails.
“I expected it,” Simon said on the media backlash to the Associated Press. “The average school superintendent or police commissioner or mayor or union leader, they don’t blog and they don’t publish. When you write about the media, you must expect the critique to be critiqued.”
It’s ironic. The “Dickensian aspect” of it all – the season’s theme – has become a metaphor for the specious examination of the big picture at the expense of the true story and critics might argue this is exactly what has dogged Season 5 (the reference also being a meta-narrative dig at all the ‘Wire’ reviews that lazily glommed together to repeatedly describe the show as “Dickensian” over the years). Simon sees it differently; he’s long been accused of being arrogant and angry himself and this part of the AP story won’t muffle that impression.
Simon thinks the media has fittingly missed the real story: “This newspaper depicted goes through the entire year missing every story. What’s not on the screen is my critique.’ “
Meaning, every story on the show this season was basically missed by the newspaper media in the show (Mayor Carcetti’s gubernatorial plan, one of the biggest drug dealers in the city (Prop Joe) being killed, the Marlo task force being taken apart, etc. etc.)
The AP says ‘Wire’ heads might have been somewhat frustrated and disenchanted with this final season but claims devotees will likely find the final episode “exceptionally rewarding. There are also a few touches of symmetry with the pilot episode, which Clark Johnson [Gus Haynes] directed.” It’s interesting to note that according to the AP, this season has averaged about 3.5 million viewers, which sounds high, but according to U.S.A. Today, ratings once peaked at 4 million and this season has been dismal with rating plummeting below the 1 million mark (the paper suggests that The Wire wore out its welcome with even its core base). The Baltimore Sun reported (without vengeful glee) much the same dire stats.
One revelation the media enlightened us on in these last few days of coverage? Randy is indeed Cheese Wagstaff’s (Method Man) son (many assumed they were cousins).
Another thing the HBO website just taught us? The fabulist reporter Scott Templeton? The actor that plays him, Tom McCarthy, directed one of our favorite 2003 films, the quirky indie-drama “The Station Agent.”
Full disclosure: We have Episode 60, the final Wire episode (artfully entitled “30,” the newspaper term for a story’s inevitable conclusion), but we’re not going to watch it… yet (much to the chagrin of those foiled this past Monday). Also, note: the information about the final song used at the end, leaked and was pulled down (“The Wire” ends each season with a musical moment montage and many are heavily anticipating what the song will be). We read what it was (goddamn it!), but we’re not going to share, but it’s out there if you want to track it down. Hint: David Simon himself asked that the information be pulled down (and much to his chagrin, Google never forgets).
We must admit, when it’s all over we’re going to be sad to see the show end, flaws and all. And melancholier still that even as this fictional world likely goes on, no fictional cornerboys will scatter in fear now that the disquieting alarm, “Omar, yo! Omar!” no longer needs to echo across the streets.