The Wire Season 4 DVD news and season 5 discussion
Moderator: drizzle
Apparently McNulty is drinking again 
That alone should result in a couple good episodes right there.
http://www.youtube.com/watch?v=QFQVSvG5x54
Ran across him in some, what I'm sure was a shitty Sandra Bullock movie. He was drinking it that too. I started watching it until I heard him speak, that was a shocker. I'm guessing that's his normal voice?
That alone should result in a couple good episodes right there.http://www.youtube.com/watch?v=QFQVSvG5x54
Ran across him in some, what I'm sure was a shitty Sandra Bullock movie. He was drinking it that too. I started watching it until I heard him speak, that was a shocker. I'm guessing that's his normal voice?
LOLLONDON wrote:the wire is decent at all that, but I don't feel they show how feds really get down an that you know, the police are nasty, the don't show that side of it you know, police brutality, setting niggas up, getting niggas to shot work on the block for them an all that type of shit, fock the police, boy dem is disgusting, fuck em
what the fuck show are you watching? there is more brutality and corruption on the wire than on any other cop show i've ever seen.
you need to see more cop shows then holmesservice wrote:LOLLONDON wrote:the wire is decent at all that, but I don't feel they show how feds really get down an that you know, the police are nasty, the don't show that side of it you know, police brutality, setting niggas up, getting niggas to shot work on the block for them an all that type of shit, fock the police, boy dem is disgusting, fuck em
what the fuck show are you watching? there is more brutality and corruption on the wire than on any other cop show i've ever seen.
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EDIT: COULD POSSIBLY CONTAIN MAJOR SPOILER I THINK
Kill an hour reading this New Yorker article on the Wire:
(posted to win back Icesickle's friendship)
http://www.newyorker.com/reporting/2007 ... table=true
Stealing Life
The crusader behind גThe Wire.ג
by Margaret Talbot
October 22, 2007
On a muggy August afternoon in Baltimore, trash scuttled down Guilford Avenue, the breeze smelling like rain and asphalt. It was the last week of shooting for the fifth and final season of the HBO drama גThe Wire,ג and the crew was filming a scene in front of a boarded-up elementary school. Cast members had been joined by forty or so day playersגmostly kids from the neighborhood. Earlier, the episodeגs director, Clark Johnson, had been giving some of the kids the chance to say גCut!,ג and theyגd bellowed it like drunks at a surprise party. Now, when Johnson yelled גCut,ג the kids swarmed around a video monitor to look at themselves in the last shot, pointing and laughing. גHe just said it was good,ג one kid complained. גWhy we gotta do it again?ג Johnson, who was wearing what he called his גlucky cowboy hat,ג stepped away to talk to one of the professional actors. Another manגa bald white guy, unprepossessing in jeans and a T-shirtגremained by the monitor, and he answered the kids: גHey. Heגs the director. You donגt believe him? He kinda, sorta knows what heגs doinג.ג The bald guy was David Simon, the showגs creator: a former Baltimore Sun reporter who figured that heגd spend his life at a newspaper, a print journalist who has forged an improbable career in television without ever leaving Baltimore. The kids listened politely to Simon and ran back to their places.
Each season of גThe Wireג has focussed, with sociological precision, on a different facet of Baltimore. The previous season featured a story line about the cityגs anarchic schools, told partly through the character of Roland (Prez) Pryzbylewski, a young cop turned schoolteacher. Simon recalled, גOn the first day, the kids were all cutting up and yelling. It was like the first day of school. You know how they kicked the shit out of Pryzbylewski emotionally on the show? The kids were doing the same to the assistant directors. One poor A.D. was, like, גPlease! This is too fuckinג meta.ג By the end of the year, we had a good crew of young actors, but in the beginning it was, as we say in Baltimore, like herding pigeons.ג While Simon was telling this story, Jermaine Crawford, a fourteen-year-old who joined the cast last season, came over to hug him. The scene being filmed would mark the final appearance of Crawford, whose character, Dukie, comes from a family in which all the adults are addicted to drugs or alcohol.
Much of the new season, which will begin airing in January, will take place at a downsizing newspaper called the Baltimore Sun. Johnson, back at the monitor, began teasing Simon for giving so many of his old Sun colleagues small parts on the show. Among the dozens of people who have recurrent parts or cameos are Simonגs former editor, Rebecca Corbett, now an editor at the Times; the former Sun political reporter Bill Zorzi, now a writer for גThe Wireג; Steve Luxenberg, the editor who first hired Simon as a reporter at the Sun; and Simonגs wife, Laura Lippman, a crime novelist who used to be a Sun reporter.
גIt was like a frat house the other day, with all your newspaper pals around here,ג Johnson told Simon. גWhat, you think somebody in Iowaגs gonna be watching and go, גLook, honey, itגs Bill Zorzi!ג?ג Warming to his riff, he added, גYou ever try playing off these people whoגve never acted before? Somebody yells גAction,ג and they stand here like thisגגhe made a blank fish face.
Johnson is an actor as well as a director. He played a detective on גHomicide,ג the NBC cop series based on Simonגs 1991 book by the same name, about murder in Baltimore, and in the new season of גThe Wireג he plays Gus Haynes, a city editor who tries to hold the line against dwindling coverage, buyouts, and pseudo-news. In the season opener, Haynes provides a bitingly funny introduction to newsroom culture. He complains about a photographer who invariably gooses the poignancy of fire scenes by positioning a charred doll somewhere amid the debris. (גI can see that cheatinג motherfucker now, with his fucking harem of dolls, pouring lighter fluid on each one,ג Haynes fumes.) And he patiently explains to a junior reporter one of those house rules which arbiters of newspaper style cling to with fierce persnicketiness: a building can be גevacuated,ג he instructs, but you cannot evacuate people. גTo evacuate a person is to give that person an enema,ג one of the old-timers chimes in. גAt the Baltimore Sun, God still resides in the details.ג
The Sun allowed its name to be used on גThe Wire,ג but stipulated that no current employees could appear in it; the newspaperגs offices have been re-created on the showגs hulking soundstage outside the city. This arrangement suited Simon fineגhe bitterly accepted a buyout offer from the paper in 1995, feeling that it was squandering talent under new management. גThe Wire,ג Simon often says, is a show about how contemporary American societyגand, particularly, גraw, unencumbered capitalismגגdevalues human beings. He told me, גEvery single moment on the planet, from here on out, human beings are worth less. We are in a post-industrial age. We donגt need as many of us as we once did. So, if the first season was about devaluing the cops who knew their beats and the corner boys slinging drugs, then the second was about devaluing the longshoremen and their labor, the third about people who wanted to make changes in the city, and the fourth was about kids who were being prepared, badly, for an economy that no longer really needs them. And the fifth? Itגs about the people who are supposed to be monitoring all this and sounding the alarmגthe journalists. The newsroom I worked in had four hundred and fifty people. Now itגs got three hundred. Management says, גWe have to do more with less.ג Thatגs the bullshit of bean counters who care only about the bottom line. You do less with less.ג
Some of the dialogue from the fifth season is taken word for word from the Sunגs newsroom. Simon recalled, גThere was this writer, Carl, who every day would eat the same thing for lunch: cottage cheese. One day, somebody walked by and saw him staring down into his cottage cheese, poking it with a spoon and saying to himself, גFuck, fuck, fuckity fuck.ג Thatגs in there.ג
Finely tuned as Simonגs ear is for the newsroom, it is perhaps even better calibrated for the street corner and the precinct, having been sharpened by thirteen years of daily crime reporting. Viewers of גThe Wireג must master a whole argot, though it can take a while, because the words are never defined, just as they wouldnגt be by real people tossing them around. To have גsuctionג is to have pull with your higher-ups on the police force or in City Hall; a גredballג is a high-profile case with political consequences; to גre-upג is to get more drugs to sell. Drugs are branded with names taken from the latest news cycle: Pandemic, W.M.D., Greenhouse Gas. גThe gameג is the drug trade, although it emerges during the course of the show as a metaphor for the web of constraints that political and economic institutions impose on the people trapped within them. And, in one memorable neologism, a penis is referred to as a גCharles Dickens.ג
Because Simon and his primary writing partner, Ed Burnsגa former Baltimore homicide detective who was once one of Simonגs sourcesגare both middle-aged white men, people tend to assume that the dialogue spoken by the drug dealers and ghetto kids is ad-libbed by the black actors on the show. In fact, one of the showגs writers was always present on the set, keeping the actors on script. A single dropped word was noted and corrected. Gbenga Akinnagbe, the actor who plays a drug dealerגs henchman named Chris Partlow, said, גThis is Davidגs domain. He gets the streets of Baltimore better than we do.ג The novelist Dennis Lehane (גMystic Riverג), whom Simon hired to write several scripts, agrees: גWhen you hear the really authentic street poetry in the dialogue, thatגs David, or Ed Burns. Anything thatגs literally 2006 or 2007 African-American ghetto dialogueגthatגs them. They are so much further ahead of the curve on that.ג
The showגs departure from Hollywood formulas may be nowhere more palpable than in its routine use of nonactors to fill the minor roles. No other television drama, it seems safe to say, features an actor whom one of the showגs lead writers helped put in prison with a thirty-four-year sentence. That is Melvin Williams, a Baltimore drug kingpin whom Ed Burns nabbed in a wiretap investigation in 1984; Simon reported on the case for the Sun. Williams plays the part of the Deacon, a community leader both savvy and wise. The former Baltimore mayor Kurt Schmoke, an advocate of drug decriminalization, has a small role as the cityגs health commissioner; the character works with a police commander who creates an experimental zone, which the street kids call Hamsterdam, where drug users wonגt be arrested. The former Republican governor of Maryland Robert Ehrlich shows up as a state trooper on the governorגs detail in a scene where the Democratic mayor of Baltimore comes to Annapolis to ask for a bailout. People whom Simon reported on appear in cameos as city clerks, drug counsellors, corner boys, hired muscle. גThese jokes donגt impair anyone elseגs viewing,ג Simon explained. גBut when Kurt Schmoke advocates for drug decriminalization as the city health commissioner, thereגs an extra kick for the locals. But hereגs the other thing: these are faces you donגt see on television, the faces and voices of the real city.ג
Simon is an authenticity freak. He said, גIגm the kind of person who, when Iגm writing, cares above all about whether the people Iגm writing about will recognize themselves. Iגm not thinking about the general reader. My greatest fear is that the people in the world Iגm writing about will read it and say, גNah, thereגs nothing there.ג ג
Near twilight, Simon headed over to the location for the next scene: a parking lot under the highway that is directly across from the Baltimore Sun building. There the crew had set up a small, pretend encampment for homeless people. Cars rattled along the highway above, like marbles in a chute. The parking lot reeked, authentically, of urine.
Filming on city streets in marginal neighborhoods carries its peculiar risks and rewards. On one occasion, a car involved in a high-speed chase smashed into one of the actorsג cars, and everybody had to dive out of the way. Another time, a man got shot yards away, staggered onto the set trailing blood, and was treated by the showגs medic. Once, a man pressed a package of heroin into the hands of Andre Royo, the actor who plays the sympathetic junkie and police informant Bubbles, saying, גMan, you need a fix more than I do.ג Royo refers to that moment as his גstreet Oscar.ג
That night, the streets were a little quieter, but there was still the circus-comes-to-town bustle of a location shoot. The blue lights of an ambulance and a police car, which were featured in the homeless-people scene, pulsed in the darkness. Simon stood in the middle of it all, and crew members ran up to him with the smallest of questions: Do you like the way theyגve laid out the sleeping bags? What about the way the ambo and the squad car are positioned?
Gone are the days when Simon, who was a writer on גHomicideג but didnגt run the show, couldnגt get Johnson to say something he didnגt think his character would say. Back then, Simon lacked suction. As Johnson waited for the lighting crew to finish setting up, he and Simon reminisced about how Johnson had repeated one גHomicideג speech over and over, purposely dropping a line that Simon had written. Simon recalled the episode: גThat was גScene of the Crime.ג Episode 421. Possibly 422.ג Now Simon is the court of last resort. The actor Tom McCarthy, who plays a reporter, came over to ask a question about the upcoming scene. McCarthy pointed out that his character was supposed to be coming back from a City Council meeting that had run late into the night. Would he really put a quarter in the parking meter at that hour, as the script indicated? גHell, yeah,ג Simon said cheerfully, inviting McCarthy to take a closer look at one of the nearby metersגthey were in effect twenty-four hours a day.
גYouגre right,ג McCarthy said. גYouגre right.ג With a mixture of admiration and irritation, he added, גGee, itגs great to have you on the set!ג
גThe Wireג d
Kill an hour reading this New Yorker article on the Wire:
(posted to win back Icesickle's friendship)
http://www.newyorker.com/reporting/2007 ... table=true
Stealing Life
The crusader behind גThe Wire.ג
by Margaret Talbot
October 22, 2007
On a muggy August afternoon in Baltimore, trash scuttled down Guilford Avenue, the breeze smelling like rain and asphalt. It was the last week of shooting for the fifth and final season of the HBO drama גThe Wire,ג and the crew was filming a scene in front of a boarded-up elementary school. Cast members had been joined by forty or so day playersגmostly kids from the neighborhood. Earlier, the episodeגs director, Clark Johnson, had been giving some of the kids the chance to say גCut!,ג and theyגd bellowed it like drunks at a surprise party. Now, when Johnson yelled גCut,ג the kids swarmed around a video monitor to look at themselves in the last shot, pointing and laughing. גHe just said it was good,ג one kid complained. גWhy we gotta do it again?ג Johnson, who was wearing what he called his גlucky cowboy hat,ג stepped away to talk to one of the professional actors. Another manגa bald white guy, unprepossessing in jeans and a T-shirtגremained by the monitor, and he answered the kids: גHey. Heגs the director. You donגt believe him? He kinda, sorta knows what heגs doinג.ג The bald guy was David Simon, the showגs creator: a former Baltimore Sun reporter who figured that heגd spend his life at a newspaper, a print journalist who has forged an improbable career in television without ever leaving Baltimore. The kids listened politely to Simon and ran back to their places.
Each season of גThe Wireג has focussed, with sociological precision, on a different facet of Baltimore. The previous season featured a story line about the cityגs anarchic schools, told partly through the character of Roland (Prez) Pryzbylewski, a young cop turned schoolteacher. Simon recalled, גOn the first day, the kids were all cutting up and yelling. It was like the first day of school. You know how they kicked the shit out of Pryzbylewski emotionally on the show? The kids were doing the same to the assistant directors. One poor A.D. was, like, גPlease! This is too fuckinג meta.ג By the end of the year, we had a good crew of young actors, but in the beginning it was, as we say in Baltimore, like herding pigeons.ג While Simon was telling this story, Jermaine Crawford, a fourteen-year-old who joined the cast last season, came over to hug him. The scene being filmed would mark the final appearance of Crawford, whose character, Dukie, comes from a family in which all the adults are addicted to drugs or alcohol.
Much of the new season, which will begin airing in January, will take place at a downsizing newspaper called the Baltimore Sun. Johnson, back at the monitor, began teasing Simon for giving so many of his old Sun colleagues small parts on the show. Among the dozens of people who have recurrent parts or cameos are Simonגs former editor, Rebecca Corbett, now an editor at the Times; the former Sun political reporter Bill Zorzi, now a writer for גThe Wireג; Steve Luxenberg, the editor who first hired Simon as a reporter at the Sun; and Simonגs wife, Laura Lippman, a crime novelist who used to be a Sun reporter.
גIt was like a frat house the other day, with all your newspaper pals around here,ג Johnson told Simon. גWhat, you think somebody in Iowaגs gonna be watching and go, גLook, honey, itגs Bill Zorzi!ג?ג Warming to his riff, he added, גYou ever try playing off these people whoגve never acted before? Somebody yells גAction,ג and they stand here like thisגגhe made a blank fish face.
Johnson is an actor as well as a director. He played a detective on גHomicide,ג the NBC cop series based on Simonגs 1991 book by the same name, about murder in Baltimore, and in the new season of גThe Wireג he plays Gus Haynes, a city editor who tries to hold the line against dwindling coverage, buyouts, and pseudo-news. In the season opener, Haynes provides a bitingly funny introduction to newsroom culture. He complains about a photographer who invariably gooses the poignancy of fire scenes by positioning a charred doll somewhere amid the debris. (גI can see that cheatinג motherfucker now, with his fucking harem of dolls, pouring lighter fluid on each one,ג Haynes fumes.) And he patiently explains to a junior reporter one of those house rules which arbiters of newspaper style cling to with fierce persnicketiness: a building can be גevacuated,ג he instructs, but you cannot evacuate people. גTo evacuate a person is to give that person an enema,ג one of the old-timers chimes in. גAt the Baltimore Sun, God still resides in the details.ג
The Sun allowed its name to be used on גThe Wire,ג but stipulated that no current employees could appear in it; the newspaperגs offices have been re-created on the showגs hulking soundstage outside the city. This arrangement suited Simon fineגhe bitterly accepted a buyout offer from the paper in 1995, feeling that it was squandering talent under new management. גThe Wire,ג Simon often says, is a show about how contemporary American societyגand, particularly, גraw, unencumbered capitalismגגdevalues human beings. He told me, גEvery single moment on the planet, from here on out, human beings are worth less. We are in a post-industrial age. We donגt need as many of us as we once did. So, if the first season was about devaluing the cops who knew their beats and the corner boys slinging drugs, then the second was about devaluing the longshoremen and their labor, the third about people who wanted to make changes in the city, and the fourth was about kids who were being prepared, badly, for an economy that no longer really needs them. And the fifth? Itגs about the people who are supposed to be monitoring all this and sounding the alarmגthe journalists. The newsroom I worked in had four hundred and fifty people. Now itגs got three hundred. Management says, גWe have to do more with less.ג Thatגs the bullshit of bean counters who care only about the bottom line. You do less with less.ג
Some of the dialogue from the fifth season is taken word for word from the Sunגs newsroom. Simon recalled, גThere was this writer, Carl, who every day would eat the same thing for lunch: cottage cheese. One day, somebody walked by and saw him staring down into his cottage cheese, poking it with a spoon and saying to himself, גFuck, fuck, fuckity fuck.ג Thatגs in there.ג
Finely tuned as Simonגs ear is for the newsroom, it is perhaps even better calibrated for the street corner and the precinct, having been sharpened by thirteen years of daily crime reporting. Viewers of גThe Wireג must master a whole argot, though it can take a while, because the words are never defined, just as they wouldnגt be by real people tossing them around. To have גsuctionג is to have pull with your higher-ups on the police force or in City Hall; a גredballג is a high-profile case with political consequences; to גre-upג is to get more drugs to sell. Drugs are branded with names taken from the latest news cycle: Pandemic, W.M.D., Greenhouse Gas. גThe gameג is the drug trade, although it emerges during the course of the show as a metaphor for the web of constraints that political and economic institutions impose on the people trapped within them. And, in one memorable neologism, a penis is referred to as a גCharles Dickens.ג
Because Simon and his primary writing partner, Ed Burnsגa former Baltimore homicide detective who was once one of Simonגs sourcesגare both middle-aged white men, people tend to assume that the dialogue spoken by the drug dealers and ghetto kids is ad-libbed by the black actors on the show. In fact, one of the showגs writers was always present on the set, keeping the actors on script. A single dropped word was noted and corrected. Gbenga Akinnagbe, the actor who plays a drug dealerגs henchman named Chris Partlow, said, גThis is Davidגs domain. He gets the streets of Baltimore better than we do.ג The novelist Dennis Lehane (גMystic Riverג), whom Simon hired to write several scripts, agrees: גWhen you hear the really authentic street poetry in the dialogue, thatגs David, or Ed Burns. Anything thatגs literally 2006 or 2007 African-American ghetto dialogueגthatגs them. They are so much further ahead of the curve on that.ג
The showגs departure from Hollywood formulas may be nowhere more palpable than in its routine use of nonactors to fill the minor roles. No other television drama, it seems safe to say, features an actor whom one of the showגs lead writers helped put in prison with a thirty-four-year sentence. That is Melvin Williams, a Baltimore drug kingpin whom Ed Burns nabbed in a wiretap investigation in 1984; Simon reported on the case for the Sun. Williams plays the part of the Deacon, a community leader both savvy and wise. The former Baltimore mayor Kurt Schmoke, an advocate of drug decriminalization, has a small role as the cityגs health commissioner; the character works with a police commander who creates an experimental zone, which the street kids call Hamsterdam, where drug users wonגt be arrested. The former Republican governor of Maryland Robert Ehrlich shows up as a state trooper on the governorגs detail in a scene where the Democratic mayor of Baltimore comes to Annapolis to ask for a bailout. People whom Simon reported on appear in cameos as city clerks, drug counsellors, corner boys, hired muscle. גThese jokes donגt impair anyone elseגs viewing,ג Simon explained. גBut when Kurt Schmoke advocates for drug decriminalization as the city health commissioner, thereגs an extra kick for the locals. But hereגs the other thing: these are faces you donגt see on television, the faces and voices of the real city.ג
Simon is an authenticity freak. He said, גIגm the kind of person who, when Iגm writing, cares above all about whether the people Iגm writing about will recognize themselves. Iגm not thinking about the general reader. My greatest fear is that the people in the world Iגm writing about will read it and say, גNah, thereגs nothing there.ג ג
Near twilight, Simon headed over to the location for the next scene: a parking lot under the highway that is directly across from the Baltimore Sun building. There the crew had set up a small, pretend encampment for homeless people. Cars rattled along the highway above, like marbles in a chute. The parking lot reeked, authentically, of urine.
Filming on city streets in marginal neighborhoods carries its peculiar risks and rewards. On one occasion, a car involved in a high-speed chase smashed into one of the actorsג cars, and everybody had to dive out of the way. Another time, a man got shot yards away, staggered onto the set trailing blood, and was treated by the showגs medic. Once, a man pressed a package of heroin into the hands of Andre Royo, the actor who plays the sympathetic junkie and police informant Bubbles, saying, גMan, you need a fix more than I do.ג Royo refers to that moment as his גstreet Oscar.ג
That night, the streets were a little quieter, but there was still the circus-comes-to-town bustle of a location shoot. The blue lights of an ambulance and a police car, which were featured in the homeless-people scene, pulsed in the darkness. Simon stood in the middle of it all, and crew members ran up to him with the smallest of questions: Do you like the way theyגve laid out the sleeping bags? What about the way the ambo and the squad car are positioned?
Gone are the days when Simon, who was a writer on גHomicideג but didnגt run the show, couldnגt get Johnson to say something he didnגt think his character would say. Back then, Simon lacked suction. As Johnson waited for the lighting crew to finish setting up, he and Simon reminisced about how Johnson had repeated one גHomicideג speech over and over, purposely dropping a line that Simon had written. Simon recalled the episode: גThat was גScene of the Crime.ג Episode 421. Possibly 422.ג Now Simon is the court of last resort. The actor Tom McCarthy, who plays a reporter, came over to ask a question about the upcoming scene. McCarthy pointed out that his character was supposed to be coming back from a City Council meeting that had run late into the night. Would he really put a quarter in the parking meter at that hour, as the script indicated? גHell, yeah,ג Simon said cheerfully, inviting McCarthy to take a closer look at one of the nearby metersגthey were in effect twenty-four hours a day.
גYouגre right,ג McCarthy said. גYouגre right.ג With a mixture of admiration and irritation, he added, גGee, itגs great to have you on the set!ג
גThe Wireג d
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Tariq's Dilemma
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bringinoutbangerz
- The Homer
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I guess I thought the whole "Kid who plays dukie hugs Simon because it is his final scene on the show" meant that he will be killed, neglecting the fact that this is the final season of the wire and shoots aren't chronologically done, etc.DudleyDawson wrote:no.BRAZ wrote:is there a major spoiler in the article?
just that its going to be about the media; the press.
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Tariq's Dilemma
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The fact that some of the actors on the show are people who Burns put in jail, and Simon wrote about, gives me hope that there are cops and journalists out there that get it. They understand their role in serving the public. They didn't just throw them in prison and leave, they stuck around, they were there as these people turned their lives around. It gives so much more meaning to an already incredible show. Hands down my favorite show on television.
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Philaflava
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Killa Cong
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I slept at first, but I think season two is the best.
I'm sure that if you have patience they will put at least season three up on demand after they have two up for a while. Gearing up for the season four dvd release.
Overall, this is probably my favorite show of all time.
January isn't soon enough.
I'm sure that if you have patience they will put at least season three up on demand after they have two up for a while. Gearing up for the season four dvd release.
Overall, this is probably my favorite show of all time.
January isn't soon enough.
