Not Wire Worthy

I find it hard to believe that George Pelecanos was a writer for THE WIRE, since his book THE NIGHT GARDENER didn't reflect the same level of quality. There is definitely something reminiscent of The Wire in his book. The book, though, seems built on faulty foundation that makes it impossible for it reach its peak height.
THE NIGHT GARDENER offers an interesting premise, with the return of a serial killer that unites three cops from twenty years before. I was excited for this concept, which is usually the type of story less qualified writers embrace. The result was not nearly as satisfying as I thought it would be. (Spoiler Alert) My disappointment didn't stem from the fact the book jacket details are a red herring, but from the fact that in an attempt to be gritty and real the story is a corny and cringe-worthy.
The corniness is exemplified by the epilogue, which offers language you'd expect from CSI or the THE LOVELY BONES film adaptation. The characters are also phony, even as Pelecanos tries to describe layered characters. What he creates is are souffle characters that appear to have depth, but are easily cracked and lack real definition.
THere are moments that seem grounded in reality. At points I could imagine the world of The Wire. What I was struck with, though, is that the actors in The Wire can sell this world better than Pelecanos can in a book.
The whole thing just felt rushed, with the pacing not allowing for any believable sort of development. Everything just sort of falls into place and does so in a predictable manner. The only surprise isn't satisfying and makes the whole book seem like one of the secondary stories in THe Wire. That's fine, for an after thought, but if I'm going to make this kind of commitment I want a primary story.
Pelecanos takes a big swing with this book, but just fouled the pitch off.I really have no desire to try Pelecanos again. Maybe if I watch The Wire again I'll be motivated to give him a second chance.

Top Ten Shows of the Decade

When rating the top ten television shows of the decade I tried to consider not just great seasons, but the how a show performed over its life. For that reason, a show like Scrubs doesn’t make the cut, since there was no consistency in its performance. Arrested Development had only a three year run, but it has almost no equal in terms of funny and therefore makes the cut. Anyway, there is a lot to disagree with here, especially since my defenses will probably suck. So let’s get to it.
10. Always Sunny in Philadelphia (2005-Present)
• This show is not nearly as original as it may seem. Essentially it is a rip off of Seinfeld, with its intertwined plots and morally bankrupt characters. That being said, it’s a very good rip off of the best show from the 90s, which is why it makes the top ten for this decade.

Utilizing the freedom of cable television, ALWAYS SUNNY was able to abandon broad comedy. At the same time, though, the show never shied away from generic gross out humor. Ultimately the show ended up carving out a niche for itself that was both high brow in its commentary, but extremely low brow in its delivery.
ALWAYS SUNNY has, throughout its tenure, remained a show written and starring a group of friends who have been given an outlet for their inane, ridiculous and contemplative thoughts. The imagination of those thoughts is hilarious, original and awe inspiring considering how much is accomplished in such a little scope.
9. Battlestar Galactica (2004-2009)
• This reimagining of the campy sci-fi hit of the past is an experience. In its entirety it represent a body of work that has few peers. If there was a downside it was only that the sum was so much greater than any of its parts, which made some episodes a chore to watch. Ultimately, though, the whole experience was a delight.
This was a show that could honestly claim to be a drama in space, rather than a space show with dramatic elements. But the science-fiction was not absent on this show. Instead it was another player, like a plot device or an actor.
In BATTLESTAR you had a show that could sweep you away with its vision and grandeur. It was so big, existing in a world seemingly too large for television. All of this, and I haven’t even gotten to the sexy Cylons, who represent some of the best villains ever on television. Oh yeah, this is also the hottest show of the decade that didn’t use nudity.
8. (TIE) King of the Hill/Malcolm in the Middle (1997-2009/2000-2006)
• Neither show was original its creation, with each representing a traditional family sitcom. But while other shows relied on gimmicks and breaks from reality, HILL and MALCOLM seemed to go the other way, finding humor in the mundane aspects of life.
But the great scripts carried these shows only so far, with MALCOLM in particular exhibiting some standout acting. The parents, as played by Bryan Cranston and Jane Kaczmarek were simply amazing in their portrayal of a couple deeply in love, who struggled with the day to day exercise of running a family, supporting them financially and retaining their sanity. Both were repeat emmy nominees, and it’s a travesty that they never received more recognition.
The actors on HILL were no slouches either, with Mike Judge and Kathy Najimy embodying two generic parents just through their voices.
Both shows captured life in the tiniest details. The mom jeans. The dumb dad stories. Kids just being kids. If you ever need a break from your family, I’d always recommend a stay with theirs.
7. The Sopranos (1999-2007)
• The Sopranos tenure can be summed up in an early episode that involves Tony taking his daughter on a college visit, during which he kills an old partner in crime. This episode embodies the realism and escapism the show balanced so very well, as it delivered a family drama and a crime family drama.
The world David Chase created is not some foreign object to viewers, since the world is so welcoming and easy to embrace. All of this is possible because of tight writing, great acting and a story that captures our imagination as we willingly go for a little ride that scares us half to death.
The SOPRANOS also deserves credit for showing what television could be. Creative types were limited to the confines of network television, and cable programming didn’t just need to be edgy for edgy sake (OZ). There was a way to use swearing, sex and violence as props, not the whole show. In this regard SOPRANOS was the best.
6. The Daily Show (1996-Present)
• Let’s first address the fact that this show didn’t really mean anything until Jon Stewart came along, and that its coming out party occurred during the 2000 recount. The combination of those two events highlighted a vicious wit in Stewart and put on display a host of correspondents whose skewed take on events was revolutionary.
Anyone who writes this show off as an extended version of Weekend Update, obviously doesn’t watch either program. In this decade the DAILY SHOW has become a daily source of news and commentary for millions of Americans. It was the balance that the show struck between informing and comedy that makes it worthy of our attention. Through its screwball antics and elementary school humor is a social and political commentary that makes the laughs so much more meaningful.
5. The Office (2005-Present)
• Showing up for work has never been as fun as at the midlevel paper company in Scranton. The OFFICE established a new dynamic with its mockumentary style of filmmaking, which has become the trademark of most wannabe witty followers.
What makes the OFFICE great is its strong supporting cast, who are responsible for making a goof show great. By themselves, the core stars (Michael, Pam, Jim and Ryan) could bring the funny, but with Oscar, Kevin, Stanley, Phyllis and a whole host of other players you get the funk and the noise. Essentially the other workers are set dressing for the establishment of a world that we love to watch.

But The Office never fell victim to the trappings of network television, which explains why its ratings are never great, but also how they avoided will they/won’t they clichés and constantly deliver fresh storylines. Now in its 6th year, The OFFICE has never jumped the shark, even while constantly reinventing itself, and that’s a testament to the quality of the writing.
4. The West Wing (1999-2006)
• I try to ignore the last three seasons of THE WEST WING, as they were done without Aaron Sorkin, the show’s creator and head writer. His absence resulted in a West Wing-lite, which looked familiar and sounded familiar, but wasn’t the same show. In many respects that created a less enjoyable experience, although it does reflect the changing nature of any white house. Granted, that was never the goal, yet it does allow me to forgive the last three season (They weren’t that bad. Especially the Presidential race arc).

When the WEST WING debuted it really had no peers in terms of the size and scope of its aim. It was a very expensive show, and that money paid dividends as far as the reality they created. For most people, myself included, this show created our perceptions about politics and D.C. That was only possible because of the artful direction of the show, but also because of the writing.
Oh the writing, which was vintage Aaron Sorkin. The pitter patter that had been building since Sports Night and THE AMERICAN PRESIDENT finally hit its perfect beat in this show, with the lofty exchange of ideals and jokes flowing like a river that I anxiously awaited to wash over me.
None of that would have been possible without adequate mouthpieces, which THE WEST WING had in spades (that’s an expression, right?). Helmed by Martin Sheen, but firing big guns all the way down to Donna the secretary or some random guest star (Oliver Platt), the WEST WING was an exhibition for actors to highlight their craft. While those who couldn’t talk and walk need not apply, for everyone else it offered meaty roles with juicy lines.
Now as we enjoy our dramas in packages of 12, 16 or 20 episodes, THE WEST WING provided a full roster of episodes. This is a demand on network shows that normally results in peaks and valleys during the season, but it wasn’t the case here.
3. Lost (2004-2010)
• I’m done talking about Lost. You either get it or you don’t. If not, then what you’re missing is a thriller. You’re missing love stories, action, comedy and mysteries. Yeah, it’s complicated, but do you like your food chewed for you too? Do you? What, you’re a baby bird so you do? Ok. That’s fine.
If you’ve skipped this psychological experiment that doubles as an episode joy ride, then don’t worry, because it will be amazing once it’s all together on DVD.
2. Arrested Development (2003-2006)
• There’s really nothing I can say that will articulate how good ARRESTED DEVELOPMENT was. It was a show that was so layered with funny that I routinely had to watch it a second or third time to appreciate all the jokes. The running jokes went beyond a season and lasted for an entire series. The plot twists were nothing short of an M. Night Shymalan movie. The acting represented an ensemble cast that will never be matched in terms of quality (never. Not even close).
This show lasted three years, and chronicled the adventures of the Bluth family. This group of misfits couldn’t help but get in their own way, and each week was a delight as they just tried to survive. At its heart was a father and son drama, which was sabotaged by the surrounding elements.
1. The Wire (2002-2008)
• Did you watch The Wire? I didn’t think so. Apparently no one did, except white latte sipping yuppies who like to see how the other half lives. Besides from the lattes I essentially fit that mold, except for the fact that I don’t care how the other half lives. For me, the interest in THE WIRE stems from its superb acting, amazing stories and realistic dialogue that doesn’t sound as phony as actors on other cop shows look.
Let’s get the big stuff out of the way regarding THE WIRE, specifically the social and political commentary it offers. The underlying theme is that the world we live in is broke. It doesn’t offer a way out, but merely serves as a wakeup call. Ok, that was for the NY TIMES crowd that was slumming it or arrived at my blog accidentally.
The good stuff is the episode by episode action. Drive primarily by Det. James McNulty, THE WIRE was a continuous battle of wits between the cops and their evil enemies (drug crews, politicians, dockworkers). In that struggle were laughs, tears and gut wrenching moments that made you stop. Not stop and think, but just stop. Anything that can stop you in your tracks like that has to be good.
The dialogue of THE WIRE seems real. I think that’s a big compliment, considering the most cop shows are littered with clichés or sound like they should be spoken by someone else, who probably isn’t a cop.
I need to stop the floodgates now before I start a flood. I’ll leave you with the fact that THE WIRE has been the best forum for black actors ever.

So that’s my list. What do you think? Agree? Disagree? Leave something, even if it’s to tell me I suck. Because while I’m sure my mom would disagree on that front, I will admit the argument has some merit. Let’s talk.

Dear Emmy Diary...

Here is a collection of some my more coherent (yup, the best of the best) thoughts from my viewing of the Emmy's. Enjoy...
• 1940s opening!
• Neil Patrick Harris is a good host. A couple quick notes; Singing yes. Standup no. Transitions awesome! Essentially he has served as more of a funny tour guide.
• Broken into genres?I like a good theme, but I also like it spread out. I guess the pros and cons negate each other.
• Definitely could have used more 30 Rock in my comedy overview
• “Am I the only one who wants to see Tina Fey and John Hamm together???”
• First award of the night is a surprise, at least to me.
• Ok, we get it, 30 Rock is good. It usually wins. It’s nominated a lot tonight. All these jokes make light of how good the writing really is.
• Julia Louis Dreyfus is possibly the hottest over 40 woman ever. No room for debate.
• First travesty of the night, Jon Cryer winning best supporting actor in a comedy. (Another surprise). “Is he dying of something” –Barb. I literally think everyone else deserved that award more than him.
• “Oh Christina Applegate … Tits McGee!” –Barb
• Sarah Silverman just stole the award show so far with her moustache. She made things even better her facial expressions and hand gestures. She’s so much funnier than her show.
• Nice dress Blake. Nice toga Leighton. Oh yeah, and nice boobs Blake. Really nice boobs.
• Am I the only one who is confused that Rob Lowe is still relevant?
• Everyone at EW picked Jim Parsons (Big Bang Theory) to win. I still haven’t seen that show, but apparently I need to start watching. I had previously picked Steve Carell, but after seeing Alec Baldwin’s clip I knew he was going to win.
• I think the Emmys are my favorite award show. It’s quick and I care about every award.
• I think it’s time they start giving acting awards for Reality shows. It’s not like anyone thinks these aren’t characters. They also should do best quote for this year, “whore pit vipers (Joan Rivers).”
• Probably could do without the whole dance number. For starters it was boring, but more importantly I’m confused as to why it’s relevant. Dancing with the stars? Maybe, except I don’t know any of these people. So You Think You Can Dance? Well yeah, they’re professional dancers. Or maybe it’s just a statement about all the dancing on television. Still, so what?
• I love Padma and Tom! Are they one person? It seems like it. Tomma? Padom?
• Tracy Morgan can’t read… He really is Tracy Jordan. His joke about 30 Rock being a reality show strikes a little too close to home for my tastes.
• I want to start smoking cigarettes right now so my voice will sound like a male version of Shohreh Aghdashloo.
• Kate Walsh is not wearing a good dress. The front is frumpy, flesh is escaping in certain places on the side and it fails to highlight her stunning frame.
• Tune in Friday to CBS for people who talk to dead people! I think that’s how CBS sets their lineup, since their viewers will soon be dead. They’re old, get it?
• It is a travesty that “Generation Kill” didn’t win for outstanding writing. David Simon and Ed Burns must not even mind getting screwed by the Emmy voters anymore. They probably like it by now.
• That is one hot lady accountant! The only thing that could possibly preempt her is Dr. Horrible! Nathan Fillion is hilarious! Except on ABC…
• And the award for longest and worst acceptance speech goes to Jessica Lange! I never thought I’d say this, but I kind of wish Drew Barrymore had won. She’s awful, but a little easier on the eyes at least.
• “That guy is smaller than me, and he’s beating up people.” –Dad, in response to Keifer Sutherland presenting and failing to live up to his larger than life Jack Bauer personality.
• Another chance for “Generation Kill!” I’m doubtful though. “Little Dorit,” which I’ve never heard of seems like the likely choice. And yup, I was right. So mad. Well not mad. Depressed.
• The Variety category is usually pretty fun. I especially like that Jay Leno is never a nominee.
• Never watching Big Bang Theory. I just don’t like these actors. Thought I’d like Jim Parsons, but eh. I don’t need him in my life. I already watch too much television.

• The reading of the nominees for writing in a variety show is always funny. This year’s nomination segment is no exception. The dig at Leno by Letterman was exceptionally funny. Wait a second, Jon Lutz, as in Lutz from 30 Rock is a writer on SNL?!?!? 30 Rock really is a reality show!
• Jimmy Fallon previously won an Emmy? Yikes. Why are celebrities laughing at him!??!?! I wonder if he already knows he’ll never get nominated as host of Late Nite?
• I hope to god Stephen Colbert, Mother Lover or Flight of the Concords wins for best song in a variety program. My brain tells me Hugh Jackman will win. Look, he did. Lame. At least they let a good looking version of Peter Jackson accept the award. But still…
• I think we’re running behind. Jessica Lange ruins everything!!!
• Ricky Gervais is hilarious. If you haven’t seen him on Extras you need to go out and rent it today. He’s a little harsh, but I like it. So awkward some times, but I like it.
• So the Daily Show won best Variety show. That makes sense, since they got to cover the election and thrived during it. Can’t wait to see Colbert’s reaction on his show.
• During commercials I’ve been cleaning up my Queue list on HULU. For the first time in my life I’m actually behind on my television watching, and that’s sad because it’s not like I’m doing anything. I don’t really have a job… I still need to get caught up on Glee, last season’s Parks and Recreations, Thursday’s SNL, Psych, the season premiere of Fringe and a handful of Tonight Show clips. That doesn’t include the episodes of Mad Men, Always Sunny in Philadelphia and Top Chef that I’ve got waiting for me on the cable DVR. I’ll watch House when it returns too. Oh yeah, and on HBO I watch Entourage (ughh, loyalty), with plans to watch Bored to Death and Curb. I watch The Office live. Lost when it returns. Reluctantly I turn in for 24. Oh yeah, and TRUE BLOOD!!! I’d recommend all these shows. Not sure if I’d recommend Community, yet. It was ok, but not great.
• Totally forgot about Battlestar Galactica! Great show. Fantastic show. Better than almost every other Drama they showed clips of. It will undoubtedly get screwed by the academy.
• Lost totally underwent a renaissance this year and it won’t get the recognition it deserves. I think that really says something about the quality of television this year. What’s weird though, is that shows like Boston Legal still get nominated. Not next year since it’s canceled.
• Michael Emerson from Lost won for Best Supporting Actor!!! Crazy. Didn’t see this coming, but I’m quite happy. His character Ben is one of the greatest characters on television ever. Ever. EVER.
• I don’t see LL Cool J or Chris O’Donnell showing up on the Emmy’s ever again. Unless they each get new pilots after NCIS: Los Angeles.
• Pretty angry that Cherry Jones won an Emmy for her work on 24. Am I the only one who doesn’t take this show seriously? It’s ridiculous, but takes itself way too seriously. The show is a joke. She was a joke on it. HAHAHHAHAA. I feel sick.
• Who is singing? Why is she singing? What’s going on? Ohhhhh… Dead people. This will be sad. Always interesting to see who gets the big ovations. Not always who you think. These are always so well done. Maybe not long enough if anything. Thought the song would be corny, but it ended up working really well. Not just for last dances at Proms anymore.
• Did they put the two vampires together on purpose? I hope so. Too bad Moyer didn’t get the memo about not dressing in costume.
• Wow. Mad Men won best writing. They only had an 80% chance. Didn’t see that coming. LOST got screwed! Much love to Mad men though.
• Oh my! In Mariska’s little clip for Best Actress I saw Jason from True Blood. That was exciting. Can’t wait until he gets nominated for his work on this season. Probably under the comedy genre though. So excited for True Blood to make the transition.
• “We go where there’s great writing.”-Glen Close. What an appropriate statement. Television is definitely the place to be right now. Movies are boring right now. Television is edgy. A lot of it still stinks, but the best of the best on television is better than the best of the best in cinema. Plus, there is more of the best of the best on television.
• Why did they show a clip from the Mentalist when mentioning Best Actor in a Drama??? That’s done to be ironic, right? Right???!?!?!?
• Wow! Back to back wins for Bryan Cranston for his role on Breaking Bad. Haven’t seen the second season yet, but the first was great. Not sure if he deserved to win again. Wish Sawyer from Lost had been nominated in this role. He didn’t deserve to win, but should have been nominated.
• Is AMC the new HBO? If they get more content I say yes.
• I think The Office deserves to win for Best Comedy. They had a really good year that was as good as season two. The show has remained fresh, funny and constantly gut wrenching. The Holly angle was good, Michael’s paper company was great and the episode after the Superbowl was simply amazing!!! After all that, though, I think 30 Rock is going to win. Oh yeah, and I can’t believe Family Guy was nominated. Simply a travesty. Just ridiculous. Not funny. Not relevant. Certainly not more worthy than the Simpsons during seasons 2-12.
• I would like to see TGS win an award. Really turn 30 Rock into a reality show. It could definitely win an Emmy in the variety category. I’m thinking Best Song by Jenna and Tracy (that’s Jane and Tracy respectively).
• Even Sigourney reiterates my thoughts about the golden era of television! I’d totally agree if it wasn’t for the nominations of HOUSE and Dexter.
• LOVE, Absolutely love, seeing Fred Armisen with the Mad Men crew. He’s engaged to Elisabeth Moss, who plays Peggy on the show. For a while I mistakenly believed he was engaged to January Jones, who plays the gorgeous Betty.
• The show ran only three minutes long. Not bad. Not a bad show. Relatively happy with the awards. Really happy considering how bummed I usually am and the fact I don’t have to go through the heartbreak of The Wire not winning anything (since it’s not on the air anymore).
• Ok. Time for bed.

Must See Strike TV!

Unless you’re a reality television junky the prospects of scripted entertainment not returning to television until next fall has you freaked out. Besides reading books or throwing down serious cash at the movie theatre, where will we find our entertainment? Sure, you could browse the internet to find amusing videos like this youtube clip, but with my suggestions you won’t have to spend hours watching bad clips for that one big payoff.

Maybe I’ll be just reiterating stuff you’ve heard before and ignored, but look at the strike as a chance to expand your horizons. Everything I recommend won’t be gold, but hopefully you’ll find a nugget or two that will help weather the storm.

The first thing you need to do in order to make it through this television drought is to hit your movie rental stores. You’re going to need to stock up for this dry season, so be prepared to shell out two to three dollars per DVD.

The first show I’d recommend is Extras. The entire series just became available on DVD, and it’s definitely worth renting. I went through all the twelve half hour episodes that make up the series in about four days, and capped it off with the ninety minute extra special series finale on the fifth day. The show chronicles the career of acting extra Andy Millman (Ricky Gervais), as he goes from a nobody to a sitcom star. The other main characters are Millman’s agent, Darren Lamb (Stephen Merchant), who is absolutely hilarious, and Millman’s best friend and fellow extra, Maggie Jacobs (Ashley Jensen), who keeps the show grounded The show is riddled with cameos that are absolutely hilarious, such as when Daniel Radcliffe announces that he’s, “done it, intercourse wise.” If you’ve ever seen any version of The Office and hated it, than Extras probably isn’t for you. If, on the other hand, you’re a devoted follower of The Office, than Extras is the perfect fit to fill the void.

If you need something to fill the void left by Heroes, and want something to compliment Lost, than its time to try Battlestar Galactica. Don’t let the fact that Battlestar is a Sci-Fi channel original scare you away or lead you to underestimate the show. This show is a legitimate drama, and is entertaining with numerous twists and turns, while not becoming overly complicated like Lost. But it’s not just the writing, because Battlestar has a respectable cast, which is headlined by Edward James Olmos and Mary McDonnell. Your viewing experience starts with a three hour Battlestar movie that kicks off the series, and from there the first 33 episodes are available on DVD.

. If you’re a fan of Law and Order: SVU or Without a Trace, than now is the time to start renting The Wire. The show is depressingly real, but it’s also really entertaining. The first four seasons are available on DVD, with the fifth and final season currently airing, but start from the beginning to achieve optimal enjoyment.

If you don’t want to tryout DVDs than your options are limited, but there is still hope. Psych and Monk both returned to USA on the 11^th, and new episodes air every Friday. Psych is a cute comedy about a fake psychic detective, and Monk is an equally cute comedy about a detective with OCD. Breaking Bad debuts the 20^th on AMC, and has been met with promising reviews. Breaking stars veteran television actor Bryan Cranston (Malcolm in the Middle), as a terminally ill chemistry teacher that decides to try his hand in the crystal-meth game. Lost returns at the end of the month, with eight episodes scheduled for release. A few other shows like 30 Rock and My Name is Earl have released new episodes in 2008, but don’t expect many more and just enjoy what the networks have to offer.

There are countless other shows available on DVD that I could recommend, but I’ll just rattle of a quick list with my rationales...

· All three seasons of the emmy winning comedy Arrested Development. Arrested is one of the five funniest shows I’ve ever seen, with writing and acting unmatched by anything on television today.

· The first three seasons of Gilmore Girls. With Rory still living at home the show still had pop, and had yet to become a caricature of itself.

· The first three seasons of Scrubs. The current version of Scrubs is not funny, and an embarrassment to those first three years that were hilarious and moving.

· The first four seasons of West Wing. The show without Sorkin was boring, but with Sorkin it was tight, funny, and made me cry from time to time.

· Sesaons three through ten of The Simpsons. Sure, new episodes are still available, but they pale in comparison to these eight seasons that are really strong.

"The Wire" is electric in its final season

The Wire, much like Detective James McNulty (Dominic West), is up to its old tricks again. The Wire has constantly reinvented itself, focusing on new drug crews, city politics, dock workers, failing city schools, and now in its fifth and final season a deteriorating city newspaper.

The story picks up about a year after a mayoral election and the promise of a new day, along with the uncovering of twenty-two bodies in various houses on the west side of Baltimore. The mayor has since failed to fulfill his promise, instead having to use the city’s rainy day fund to cover a fifty million dollar gap in the school system’s budget, which has the left the police force in disarray and the twenty-two homicides unsolved. But this is all just more of the same for creator David Simon’s Baltimore, which can’t catch a break.

The latest failed institution, the media, suffers from the same problems that plague every other institution in Baltimore on the show. They’re fundamentally flawed, and thus doomed from the onset. Just like the police force, the school system, and even the drug dealers, the newspaper is corrupt and addresses core problems with stop gap measures that hold the dam for a moment, but lack foresight and understanding of the real issue at hand. The police force fudges its numbers for better arrest results, the schools teach to standardized tests, the drug dealers don’t see beyond their corners, and the newspaper writes stories that are all flash and no substance in order to win awards and increase circulation. In the previous four seasons any one that has challenged the status quo has either been destroyed or given in, and city editor Gus (Clark Johnson) appears to be this year’s martyr.

Every episode of The Wire is ripe with social commentary, but it’s also entertaining. The dialogue has a nice pitter patter, which never tries to be funny or show how smart it is, but seems to succeed in both areas every time. The show is littered with compelling and likable characters that make the show enjoyable, and in many cases relatable. These are not Jerry Bruckheimer characters, or one dimensional Law & Order faces that you see for years without ever real knowing.

The Wire is probably the greatest ensemble show ever, and its only downfall is that there are so many well developed characters that don’t get enough screen time. In some episodes a favorite character may only get a few lines, or no face time at all, and that doesn’t even include the secondary characters that disappear for multiple episodes.

David Simon has developed such an intricate tapestry, and it’s amazing to watch as he pulls one string and see how the whole picture changes. Yet, even while faces change and time passes, nothing really changes in Baltimore. When it’s all said and done the cops are still making street arrests, the drug crew ranks are being constantly replenished, and The Wire is still one of the best dramas ever on television.