Since I’m doing a watch through of The Wire for the first time, here are a few stray observations I’ve got going on:
- TV shows are set up on the foundation of change. Something changes in the narrative or lives of the characters, and that’s the catalyst for the show. Usually there’s a newcomer, or an event that allows the characters to describe backstory and clue the audience in on the jargon, history, and need-to-knows. But “The Wire,” despite the shift in the detail of the officers running the busts, the audience is largely left to figure out for themselves what the police and dealers are aiming to do. It’s an interesting choice, not unusual for HBO, but it rings truer to life on “The Wire” — bringing home the unfortunate commonplace of this routine in Baltimore –unlike “Game of Thrones.”
- In that vein of things, the shaky, handheld cam they often use gives the show a general firsthand feel. It grounds the viewer in the mentality of the characters. For now I’m not sure what exactly they’re trying to say with it, but they are definitely pushing a familiarity of the characters on me.
- Kima. Badass, lady-cop, woman of color, queer character; yes more of her please. I see a lot of greatness in her, though she’s also an example of the “strong women” characters who are strong because they have “masculine” characteristics. That said she’s wonderful.
- This show is a cornucopia of “Ohhhh it’s that guy!”
Zosha Millman 