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Szablon:Infobox television The Wire to amerykański serial kryminalny, którego akcja rozgrywa się w Baltimore. Wymyślony oraz tworzony pierwotnie przez pisarza i byłego reportera policyjnego Davida Simona serial emitowany był początkowo w Stanach Zjednoczonych w płatnej telewizji kablowej HBO. The Wire swoją premierę miało 2 czerwca 2002 roku, zaś ostatni odcinek nadany został 9 marca 2008 roku. Wyprodukowano łącznie 60 odcinków podzielonych na 5 serii. W Polsce dwa pierwsze serie wyemitowane zostały pod tytułem Prawo ulicy przez HBO oraz TVN

Każda z serii The Wire skupia się na innym problemie związanym z Baltimore. W chronologicznym porządku są to: nielegalny handel narkotykami, funkcjonwanie portu morskiego, polityka samorządowa, system oświaty oraz upadek tradycyjnych mediów. W serialu wystąpili głównie aktorzy, którzy byli mało znani z innych swoich ról. Simon powiedział, że mimo etykiety serialu kryminalnego The Wire jest "w rzeczywistości o amerykańskich miastach i o tym, jak żyjemy ze sobą. O tym, jak instytucje wywierają wpływ na jednostki. Nie ważne, czy ktoś jest policjantem, dokerem, dilerem narkotyków, politykiem, sędzią czy prawnikiem musi godzić się na kompromisy i zmagać się z tym, czego chcą instytucje"[1]

Pomimo, że serialowi udało się zdobyć jedynie skromne recenzje i że nigdy nie otrzymał on żadnej ważnej nagrody, The Wire opisywany jest obecnie przez wielu krytyków jako najlepszy wyprodukowany kiedykolwiek serial telewizyjny i jedno z najważniejszych dzieł powstałych w pierwszej dekadzie XXI wieku. [2][3][4][5][6][7] Serial doceniany jest za stworzenie realistycznego portretu miejskiego życia, ambicje literackie oraz głębokie zainteresowanie kwestiami społecznopolitycznymi.

Spis treści

Production | edytuj kod

Conception | edytuj kod

David Simon, creator of The Wire

Simon has stated that he originally set out to create a police drama loosely based on the experiences of his writing partner Ed Burns, a former homicide detective. Burns, when working on protracted investigations of violent drug dealers using surveillance technology, had often been frustrated by the bureaucracy of the Baltimore police department; Simon saw similarities with his own ordeals as a police reporter for The Baltimore Sun.

Simon chose to set the show in Baltimore because of his intimate familiarity with the city. During his time as a writer and producer for the NBC program Homicide: Life on the Street, based on his book Homicide: A Year on the Killing Streets and also set in Baltimore, Simon had come into conflict with NBC network executives who were displeased by the show's pessimism. Simon wanted to avoid a repeat of these conflicts. He chose to take The Wire to HBO because of their existing working relationship from the 2000 miniseries The Corner. Owing to its reputation for exploring new areas, HBO was initially doubtful about including a police drama in its lineup, but eventually agreed to produce the pilot episode.[8][9] Simon approached the mayor of Baltimore, telling him that he wanted to give a bleak portrayal of certain aspects of the city; he was welcomed to work there again. He hoped that the show would change the opinions of some viewers but said that it was unlikely to have an impact on the issues it portrays.[8]

Casting | edytuj kod

The casting of the show has been praised for avoiding big-name stars and providing character actors who appear natural in their roles.[10] The looks of the cast as a whole have been described as defying TV expectations by presenting a true range of humanity on screen.[11]

The initial cast was assembled through a process of auditions and readings. Lance Reddick received the role of Cedric Daniels after auditioning for several other parts.[12] Michael K. Williams got the part of Omar Little after only a single audition.[13]

Several prominent real-life Baltimore figures, including former Maryland Governor Robert L. Ehrlich Jr.; Rev. Frank M. Reid III; former police chief, convicted felon, and radio personality Ed Norris; Virginia Delegate Rob Bell; Howard County Executive Ken Ulman; and former mayor Kurt Schmoke have appeared in minor roles despite not being professional actors.[14][15] "Little Melvin" Williams, a Baltimore drug lord arrested in the 1980s by an investigation that Ed Burns had been part of, had a recurring role as a deacon beginning in the third season. Jay Landsman, a longtime police officer who inspired the character of the same name,[16] played Lieutenant Dennis Mello.[17] Baltimore police commander Gary D'Addario served as the series technical advisor for the first two seasons[18][19] and has a recurring role as prosecutor Gary DiPasquale.[20] Simon shadowed D'Addario's shift when researching his book Homicide: A Year on the Killing Streets and both D'Addario and Landsman are subjects of the book.[21]

More than a dozen cast members previously appeared on HBO's first hour long drama, Oz. J. D. Williams, Seth Gilliam, Lance Reddick, and Reg E. Cathey were featured in very prominent roles in Oz, while a number of other notable stars of The Wire, including Wood Harris, Frankie Faison, John Doman, Clarke Peters, Domenick Lombardozzi, Michael Hyatt and Method Man appeared in at least one episode of Oz.[22] Cast members Erik Dellums, Peter Gerety, Clark Johnson, Toni Lewis and Callie Thorne also appeared on Homicide: Life on the Street, the earlier and award winning network television series also based on Simon's book; Lewis appeared on Oz as well.[23][24][25][26][27] A number of cast members, as well as crew members, also appeared in the preceding HBO miniseries The Corner including Clarke Peters, Reg E. Cathey, Lance Reddick, Corey Parker Robinson, Robert F. Chew and Delaney Williams.

Crew | edytuj kod

 Zobacz też: List of The Wire writers and directors.

Alongside Simon, the show's creator, head writer, showrunner and executive producer, much of the creative team behind The Wire were alumni of Homicide and Emmy-winning miniseries The Corner. The Corner veteran, Robert F. Colesberry, was executive producer for the first two seasons and directed the season 2 finale before dying from complications from heart surgery in 2004. He is credited by the rest of the creative team as having a large creative role for a producer, and Simon credits him for achieving the show's realistic visual feel.[1] He also had a small recurring role as Detective Ray Cole.[28] Colesberry's wife Karen L. Thorson joined him on the production staff.[18] A third producer on The Corner, Nina Kostroff Noble also stayed with the production staff for The Wire rounding out the initial four-person team.[18] Following Colesberry's death, she became the show's second executive producer alongside Simon.[29]

Stories for the show were often co-written by Ed Burns, a former Baltimore homicide detective and public school teacher who had worked with Simon on other projects including The Corner. Burns also became a producer on The Wire in the show's fourth season.[30] Other writers for The Wire include three acclaimed crime fiction writers from outside of Baltimore: George Pelecanos from Washington, Richard Price from the Bronx and Dennis Lehane from Boston.[31] Reviewers drew comparisons between Price's works (particularly Clockers) and The Wire even before he joined.[32] In addition to writing, Pelecanos served as a producer for the third season.[33] Pelecanos has commented that he was attracted to the project because of the opportunity to work with Simon.[33] Staff writer Rafael Alvarez penned several episodes' scripts, as well as the series guidebook The Wire: Truth Be Told. Alvarez is a colleague of Simon's from The Sun and a Baltimore native with working experience in the port area.[34] Another city native and independent filmmaker, Joy Lusco, also wrote for the show in each of its first three seasons.[35] Baltimore Sun writer and political journalist William F. Zorzi joined the writing staff in the third season and brought a wealth of experience to the show's examination of Baltimore politics.[34]

Playwright and television writer/producer Eric Overmyer joined the crew of The Wire in the show's fourth season as a consulting producer and writer.[30] He had also previously worked on Homicide. Overmyer was brought into the full-time production staff to replace Pelecanos who scaled back his involvement to concentrate on his next book and worked on the fourth season solely as a writer.[36] Emmy-award winner, Homicide and The Corner writer and college friend of Simon David Mills also joined the writing staff in the fourth season.[30]

Directors include Homicide alumnus Clark Johnson,[37] who directed several acclaimed episodes of The Shield,[38] and Tim Van Patten, an Emmy winner who has worked on every season of The Sopranos. The directing has been praised for its uncomplicated and subtle style.[10] Following the death of Colesberry, director Joe Chappelle joined the production staff as a co-executive producer and continued to regularly direct episodes.[39]

Episode structure | edytuj kod

When broadcast on HBO and on some international networks, the episodes are preceded by a recap of events that have a bearing upon the upcoming narrative, using clips from previous episodes. Each episode begins with a cold open that seldom contains a dramatic juncture. The screen then fades or cuts to black while the intro music fades in. The show's opening title sequence then plays; a series of shots, mainly close-ups, concerning the show's subject matter that changes from season to season, separated by fast cutting (a technique rarely used in the show itself). The opening credits are superimposed on the sequence, and consist only of actors' names without identifying which actors play which roles. In addition, actors' faces are rarely seen in the title sequence. At the end of the sequence, a quotation is shown on-screen that is spoken by a character during the episode. The three exceptions were the first season finale which uses the phrase "All in the game", attributed to "Traditional West Baltimore", a phrase used frequently throughout all five seasons including that episode; the fourth season finale which uses words written on boarded up vacant homes attributed to "Baltimore, traditional" and the series finale, which started with a quote from H. L. Mencken that is shown on a wall at The Baltimore Sun in one scene, neither quote being spoken by a character. Progressive story arcs often unfold in different locations at the same time. Episodes rarely end with a cliffhanger, and close with a fade or cut to black with the closing music fading in.

Music | edytuj kod

The Wire primarily uses source cues rather than overlaying songs on the soundtrack, or employing a score. Source cues are pieces of music that emanate from an element within the scene, such as a jukebox or car radio. This practice is rarely but occasionally breached, notably for the end of season montages and occasionally with a brief overlap of the closing theme and the final shot.[40]

The opening theme is "Way Down in the Hole", a gospel- and blues-inspired song originally written by Tom Waits for his 1987 album Franks Wild Years. Each season uses a different recording of it against a different opening sequence, with the theme being performed, in order, by The Blind Boys of Alabama, Waits himself, The Neville Brothers, DoMaJe and Steve Earle. Season four's version of "Way Down in the Hole" was arranged and recorded specifically for the show, and is performed by five Baltimore teenagers: Ivan Ashford, Markel Steele, Cameron Brown, Tariq Al-Sabir, and Avery Bargasse.[41] Earle, who performed the fifth season's version, is also a member of the cast, playing the recovering drug addict Walon.[42] The closing theme is "The Fall", composed by Blake Leyh, who is also the show's music supervisor.

During season finales, a song is played before the closing scene in a montage showing the major characters' lives continuing in the aftermath of the narrative. The first season montage is played over "Step by Step" by Jesse Winchester, the second "I Feel Alright" by Steve Earle, the third "Fast Train" written by Van Morrison and performed by Solomon Burke, the fourth "I Walk on Gilded Splinters" written by Dr. John and performed by Paul Weller, and the fifth uses an extended version of "Way Down In The Hole" by the Blind Boys of Alabama, the same version of the song used as the opening theme for the first season. While the songs reflect the mood of the sequence, their lyrics are usually only loosely tied to the visual shots. In the commentary track to episode 37, "Mission Accomplished", executive producer David Simon said: "I hate it when somebody purposely tries to have the lyrics match the visual. It brutalizes the visual in a way to have the lyrics dead on point. ... Yet at the same time it can't be totally off point. It has to glance at what you're trying to say."[32]

A recurring piece of music used throughout the series is The Pogues' "The Body of an American", which is always played at the detectives' wakes at Kavanaugh's Bar.

Two soundtrack albums, called The Wire: And All the Pieces Matter—Five Years of Music from The Wire and Beyond Hamsterdam, were released on January 8, 2008 on Nonesuch Records.[43] The former features music from all five seasons of the series and the latter includes local Baltimore artists exclusively.[43]

Style | edytuj kod

Realism | edytuj kod

The writers strove to create a realistic vision of an American city based on their own experiences. Simon, originally a journalist for the Baltimore Sun, spent a year researching a homicide police department for his book, Homicide: A Year on the Killing Streets, where he met Burns. Burns served in the Baltimore Police Department for 20 years, and later became a teacher in an inner-city school. The two of them spent a year researching the drug culture and poverty in Baltimore for their book, The Corner: A Year in the Life of an Inner-City Neighborhood. Their combined experiences were used in many of the storylines of The Wire.

Central to the show's aim for realism was the creation of truthful characters. Simon has stated that most of them are composites of real-life Baltimore figures.[44] The show often casts non-professional actors in minor roles, distinguishing itself from other television series by showing the "faces and voices of the real city" it depicts.[45] The writing also uses contemporary slang to enhance the immersive viewing experience.[45]

In distinguishing the police characters from other television detectives, Simon makes the point that even the best police of The Wire are motivated not by a desire to protect and serve, but by the intellectual vanity of believing they are smarter than the criminals they are chasing. However, while many of the police do exhibit altruistic qualities, many officers portrayed on the show are incompetent, brutal, self-aggrandizing, or hamstrung by bureaucracy and politics. The criminals are not always motivated by profit or a desire to harm others; many are trapped in their existence and all have human qualities. Even so, The Wire does not minimize or gloss over the horrific effects of their actions.[1]

The show is realistic in depicting the processes of both police work and criminal activity. Many of the plot points were based on the experiences of Simon and Burns. There have even been reports of real-life criminals watching the show to learn how to counter police investigation techniques.[46][47] The fifth season portrayed a working newsroom at the Baltimore Sun and has been hailed as the most realistic portrayal of the media in film and television.[48]

In December 2006, The Washington Post carried an article in which local African-American students stated that the show had "hit a nerve" with the black community, and that they themselves knew real-life counterparts of many of the characters. The article expressed great sadness at the toll drugs and violence are taking on the black community.[49]

Visual novel | edytuj kod

Many important events occur off-camera and there is no artificial exposition in the form of voice-over or flashbacks, with the sole exception of one flashback at the end of the pilot episode, and even this brief use of the flashback technique is actually replaying a momentary footage clip from earlier in the same episode. Thus, the viewer needs to follow every conversation closely to understand who's who and what's going on. Salon.com has described the show as novelistic in structure, with a greater depth of writing and plotting than other crime shows.[31] Each season of The Wire consists of 10–13 full-hour episodes, which form several multi-layered narratives. Simon chose this structure with an eye towards long story arcs that draw a viewer in and then result in a more satisfying payoff. He uses the metaphor of a visual novel in several interviews,[8][50] describing each episode as a chapter, and has also commented that this allows a fuller exploration of the show's themes in time not spent on plot development.[1]

Social commentary | edytuj kod

Simon described the second season as

"a meditation on the death of work and the betrayal of the American working class ... it is a deliberate argument that unencumbered capitalism is not a substitute for social policy; that on its own, without a social compact, raw capitalism is destined to serve the few at the expense of the many."[44]

He added that season 3 "reflects on the nature of reform and reformers, and whether there is any possibility that political processes, long calcified, can mitigate against the forces currently arrayed against individuals." The third season is also an allegory that draws explicit parallels between the Iraq War and drug prohibition,[44] which in Simon's view has failed in its aims[47] and has become a war against America's underclass.[51] This is portrayed by Major Colvin, imparting to Carver his view that policing has been allowed to become a war and thus will never succeed in its aims.

Writer Ed Burns, who worked as a public school teacher after retiring from the Baltimore police force shortly before going to work with Simon, has called education the theme of the fourth season. Rather than focusing solely on the school system, the fourth season looks at schools as a porous part of the community that are affected by problems outside of their boundaries. Burns states that education comes from many sources other than schools and that children can be educated by other means, including contact with the drug dealers they work for.[52] Burns and Simon see the theme as an opportunity to explore how individuals end up like the show's criminal characters, and to dramatize the notion that hard work is not always justly rewarded.[53]

Themes | edytuj kod

Institutional dysfunction | edytuj kod

Simon has identified the organizations featured in the show — the Baltimore Police Department, City Hall, the Baltimore public school system, the Barksdale drug trafficking operation, The Baltimore Sun, and the stevedores' union — as comparable institutions. All are dysfunctional in some way, and the characters are typically betrayed by the institutions that they accept in their lives.[1] There is also a sentiment echoed by a detective in Narcotics—"Shit rolls downhill"—which describes how superiors, especially in the higher tiers of the police department in the series, will attempt to use subordinates as scapegoats for any major scandals. Simon described the show as "cynical about institutions"[47] while taking a humanistic approach toward its characters.[47] A central theme developed throughout the show is the struggle between individual desires and subordination to the group's goals. Whether it is Officer Jimmy McNulty using all his cards to pursue a high-profile case despite resistance from his own department, or gang member D'Angelo Barksdale accepting a 20 year prison sentence contrary to his strong desire to turn in his uncle Avon and walk, this type of conflict is pervasive in all aspects of the show.

Surveillance | edytuj kod

Central to the structure and plot of the show is the use of electronic surveillance and wiretap technologies by the police—hence the title The Wire. Salon.com described the title as a metaphor for the viewer's experience: the wiretaps provide the police with access to a secret world, just as the show does for the viewer.[31] Simon has discussed the use of camera shots of surveillance equipment, or shots that appear to be taken from the equipment itself, to emphasize the volume of surveillance in modern life and the characters' need to sift through this information.[1]

Cast and characters | edytuj kod

 Osobny artykuł: List of The Wire characters.

Szablon:Stack The Wire employs a broad ensemble cast, supplemented by many recurring guest stars who populate the institutions featured in the show. The majority of the cast is black, which accurately reflects the demographics of Baltimore. This is a rarity in American television drama. On February 3, 2008, with the airing of its 55th episode, The Wire became the second-longest running dramatic series with a predominantly black cast in the history of American prime-time television. Only Soul Food has aired more episodes.

The show's creators are also willing to kill off major characters, so that viewers cannot assume that a given character will survive simply because of a starring role or popularity among fans. In response to a question on why a certain character had to die, David Simon said,

We are not selling hope, or audience gratification, or cheap victories with this show. The Wire is making an argument about what institutions—bureaucracies, criminal enterprises, the cultures of addiction, raw capitalism even—do to individuals. It is not designed purely as an entertainment. It is, I'm afraid, a somewhat angry show.[54]

Main cast | edytuj kod

The major characters of the first season were divided between those on the side of the law and those involved in drug-related crime. The investigating detail was launched by the actions of Detective Jimmy McNulty (Dominic West), whose insubordinate tendencies and personal problems played counterpoint to his ability as a criminal investigator. The detail was led by Lieutenant Cedric Daniels (Lance Reddick) who faced challenges balancing his career aspirations with his desire to produce a good case. Kima Greggs (Sonja Sohn) was a capable lead detective who faced jealousy from colleagues and worry about the dangers of her job from her domestic partner. Her investigative work was greatly helped by her criminal informant, a drug addict known as Bubbles (Andre Royo). Like Greggs, partners Thomas "Herc" Hauk (Domenick Lombardozzi) and Ellis Carver (Seth Gilliam) were reassigned to the detail from the narcotics unit. The duo's initially violent nature was eventually subdued as they proved useful in grunt work, and sometimes served as comic relief for the audience.[31] Rounding out the temporary unit were detectives Lester Freamon (Clarke Peters) and Roland "Prez" Pryzbylewski (Jim True-Frost). Though not initially important players in the operation, Freamon proved a quietly capable and methodical investigator with a knack for noticing tiny but important details, and Prez turned out to be a natural at following paper trails and his persistence when dealing with seemingly unbreakable codes paid off eventually.

These investigators were overseen by two commanding officers more concerned with politics and their own careers than the case, Major William Rawls (John Doman) and Deputy Commissioner Ervin Burrell (Frankie Faison). Assistant state's attorney Rhonda Pearlman (Deirdre Lovejoy) acted as the legal liaison between the detail and the courthouse and also had a sexual relationship with McNulty. In the homicide division, Bunk Moreland (Wendell Pierce) was a gifted, dry-witted, hard-drinking detective partnered with McNulty under Sergeant Jay Landsman (Delaney Williams), the jovial squad supervisor. Peter Gerety had a recurring role as Judge Phelan, the official who started the case moving.[31]

On the other side of the investigation was Avon Barksdale's drug empire. The driven, ruthless Barksdale (Wood Harris) was aided by business-minded Stringer Bell (Idris Elba). Avon's nephew D'Angelo Barksdale (Larry Gilliard, Jr.) ran some of his uncle's territory, but also possessed a guilty conscience, while loyal Wee-Bey Brice (Hassan Johnson) was responsible for multiple homicides carried out on Avon's orders. Working under D'Angelo were Poot (Tray Chaney), Bodie (J. D. Williams), and Wallace (Michael B. Jordan), all street-level drug dealers.[31] Wallace was an intelligent but naive youth trapped in the drug trade,[31] and Poot a randy young man happy to follow rather than lead. Omar Little (Michael K. Williams), a renowned Baltimore stick-up man robbing drug dealers for a living, was a frequent thorn in the side of the Barksdale clan.

The second season introduced a new group of characters working in the Baltimore port area, including Spiros "Vondas" Vondopoulos (Paul Ben-Victor), Beadie Russell (Amy Ryan), and Frank Sobotka (Chris Bauer). Vondas was the underboss of a global smuggling operation, Russell an inexperienced Port authority officer and single mother thrown in at the deep end of a multiple homicide investigation, and Frank Sobotka a union leader who turned to crime to raise funds to save his union. Also joining the show in season 2 were Nick Sobotka (Pablo Schreiber), Frank's nephew; Ziggy Sobotka (James Ransone), Frank's troubled son; and "The Greek" (Bill Raymond), Vondas's mysterious boss. As the second season ended, the focus shifted away from the ports, leaving the new characters behind.

The third season saw several previously recurring characters assuming larger starring roles, including Detective Leander Sydnor (Corey Parker Robinson), Bodie (J.D. Williams), Omar (Michael K. Williams), Proposition Joe (Robert F. Chew), and Major Howard "Bunny" Colvin (Robert Wisdom). Colvin commanded the Western district where the Barksdale organization operated, and nearing retirement, he came up with a radical new method of dealing with the drug problem. Proposition Joe, the East Side's cautious drug kingpin, became more cooperative with the Barksdale Organization. Sydnor, a rising young star in the police department in season 1, returned to the cast as part of the major crimes unit. Bodie had been seen gradually rising in the Barksdale organization since the first episode; he was born to their trade and showed a fierce aptitude for it. Omar had a vendetta against the Barksdale organization and gave them all of his lethal attention.

New additions in the third season included Tommy Carcetti (Aidan Gillen), an ambitious city councilman; Mayor Clarence Royce (Glynn Turman), the incumbent whom Carcetti planned to unseat; Marlo Stanfield (Jamie Hector), leader of an upstart gang seeking to challenge Avon's dominance; and Dennis "Cutty" Wise (Chad Coleman), a newly released convict uncertain of his future.

In the fourth season, four young actors joined the cast: Jermaine Crawford as Duquan "Dukie" Weems; Maestro Harrell as Randy Wagstaff; Julito McCullum as Namond Brice; and Tristan Wilds as Michael Lee. The characters are friends from a West Baltimore middle school. Another newcomer was Norman Wilson (Reg E. Cathey), Carcetti's deputy campaign manager.

The fifth season saw several actors join the starring cast. Gbenga Akinnagbe returns as the previously recurring Chris Partlow, chief enforcer of the now dominant Stanfield Organization. Neal Huff reprises his role as Mayoral chief of staff Michael Steintorf having previously appeared as a guest star at the end of the fourth season. Two other actors also join the starring cast having previously portrayed their corrupt characters as guest stars – Michael Kostroff as defense attorney Maurice Levy and Isiah Whitlock, Jr. as senator Clay Davis. Crew member Clark Johnson appeared in front of the camera for the first time to play Augustus Haynes, the principled editor of the city desk of The Baltimore Sun. He is joined in the newsroom by two other new stars; Michelle Paress and Tom McCarthy play young reporters Alma Gutierrez and Scott Templeton.

Plot | edytuj kod

 Osobny artykuł: List of The Wire episodes.

Season 1 | edytuj kod

 Osobny artykuł: The Wire (season 1).

The first season introduces two major groups of characters: the Baltimore police department and a drug dealing organization run by the Barksdale family. The season follows the police investigation of the latter over its 13 episodes.

The investigation is triggered when detective Jimmy McNulty meets privately with judge Daniel Phelan following the acquittal of D'Angelo Barksdale for murder after a key witness changes her story. McNulty tells Phelan that the witness has probably been intimidated by members of a drug trafficking empire run by D'Angelo's uncle, Avon Barksdale, having recognized several faces at the trial, notably Avon's second-in-command, Stringer Bell. He also tells Phelan that nobody is investigating Barksdale's criminal activity, which includes a significant portion of the city's drug trade and several unsolved homicides.

Phelan takes issue with McNulty's report and complains to senior Police Department figures, embarrassing them into creating a detail dedicated to investigating Barksdale. However, owing to the department's dysfunction, the investigation is intended as a façade to appease the judge. An interdepartmental struggle between the more motivated officers on the detail and their superiors spans the whole season, with interference by the higher-ups often threatening to ruin the investigation. The detail's commander, Cedric Daniels, acts as mediator between the two opposing groups of police.

Meanwhile, the organized and cautious Barksdale gang is explored through characters at various levels within it. The organization is continually antagonized by a stick-up crew led by Omar Little, and the feud leads to several deaths. Throughout, D'Angelo struggles with his conscience over his life of crime and the people it affects.

The police have little success with street-level arrests or with securing informants beyond Bubbles, a well known West-Side drug-addict. Eventually the investigation takes the direction of electronic surveillance, with wiretaps and pager clones to infiltrate the security measures taken by the Barksdale organization. This leads the investigation to areas the commanding officers had hoped to avoid, including political contributions. When an associate of Avon Barksdale's is arrested by State Police and offers to cooperate, the commanding officers order the detail to undertake a sting operation to wrap up the case. Detective Kima Greggs is seriously hurt in the operation, triggering an overzealous response from the rest of the department. This causes the detail's targets to suspect that they are under investigation.

Wallace is murdered by his childhood friends Bodie and Poot, on orders from Stringer Bell, after leaving his "secure" placement with relatives and returning to Baltimore. D'Angelo Barksdale is eventually arrested with a large quantity of drugs, and learning of Wallace's murder, is ready to turn in his uncle and Stringer. However, D'Angelo's mother convinces him to rescind the deal and take the charges for his family. The detail manages to arrest Avon on a minor charge and gets one of his soldiers, Wee-Bey, to confess to most of the murders, some of which he did not commit. Stringer escapes prosecution and is left running the Barksdale empire. For the officers, the consequences of antagonizing their superiors are severe, with Daniels passed over for promotion and McNulty assigned out of homicide and into the marine unit.

Season 2 | edytuj kod

 Osobny artykuł: The Wire (season 2).

The second season, along with its ongoing examination of the drug problem and its effect on the urban poor, examines the plight of the blue-collar urban working class as exemplified by stevedores in the city port, as some of them get caught up in smuggling drugs and other contraband inside the shipping containers that pass through their port.[44] In a season-long subplot, the Barksdale organization continues its drug trafficking despite Avon's imprisonment, with Stringer Bell assuming greater power.

McNulty harbors a grudge against his former commanders for reassigning him to the marine unit. When thirteen unidentified young women are found dead in a container at the docks, McNulty successfully makes a spiteful effort to place the murders within the jurisdiction of his former commander. Meanwhile, police Major Stan Valchek gets into a feud with Frank Sobotka, a leader of the International Brotherhood of Stevedores, a fictional dockers' union, over competing donations to their old neighborhood church. Valchek demands a detail to investigate Sobotka. Cedric Daniels is interviewed, having been praised by Prez, Major Valcheck's son-in-law, and also because of his work on the Barksdale case. He is eventually selected to lead the detail assigned just to investigate Sobotka; when the investigation is concluded Daniels is assured he will move up to head a special case unit with personnel of his choosing.

Life for the blue-collar men of the port is increasingly hard and work is scarce. As union leader, Sobotka has taken it on himself to reinvigorate the port by lobbying politicians to support much-needed infrastructure improvement initiatives. Lacking the funds needed for this kind of influence, Sobotka has become involved with a smuggling ring. Around him, his son and nephew also turn to crime, as they have few other opportunities to earn money. It becomes clear to the Sobotka detail that the dead girls are related to their investigation, as they were in a container that was supposed to be smuggled through the port. They again use wiretaps to infiltrate the crime ring and slowly work their way up the chain towards The Greek, the mysterious man in charge. But Valchek, upset that their focus has moved beyond Sobotka, gets the FBI involved. The Greek has contacts inside the FBI and starts severing his ties to Baltimore when he learns about the investigation.

After a dispute over stolen goods turns violent, Sobotka's son Ziggy is charged with the murder of one of the Greek's underlings. Sobotka himself is arrested for smuggling; he agrees to work with the detail to help his son, finally seeing his actions as a mistake. However, the Greek learns about this through a mole in the FBI and has Sobotka killed. The investigation ends with the fourteen homicides solved but the perpetrator already dead. Several drug dealers and mid-level smuggling figures tied to the Greek are arrested, but he and his second-in-command escape uncharged and unidentified. The Major is pleased that Sobotka was arrested; the case is seen as a success by the commanding officers, but is viewed as a failure by the detail.

Across town, the Barksdale organization continues its business under Stringer while Avon and D'Angelo Barksdale serve prison time. D'Angelo decides to cut ties to his family after his uncle organizes the deaths of several inmates and blames it on a corrupt guard to shave time from his sentence. Eventually Stringer covertly orders D'Angelo killed, with the murder staged to look like a suicide. Avon is unaware of Stringer's duplicity and mourns the loss of his nephew.

Stringer also struggles, having been cut off by Avon's drug suppliers and left with increasingly poor-quality product. He again goes behind Avon's back, giving up half of Avon's most prized territory to a rival named Proposition Joe in exchange for a share of his supply. Avon, unaware of the arrangement, assumes that Joe and other dealers are moving into his territory simply because the Barksdale organization has too few enforcers. He contracts a feared assassin named Brother Mouzone. Stringer deals with this by tricking his old adversary Omar into believing that Mouzone was responsible for the vicious killing of his partner in their feud in season one. Seeking revenge, Omar shoots Mouzone but, realizing Stringer has lied to him, calls 9-1-1. Mouzone recovers and leaves Baltimore, and Stringer (now with Avon's consent) is able to continue his arrangement with Proposition Joe.

Season 3 | edytuj kod

 Osobny artykuł: The Wire (season 3).

In the third season, the focus returned to the street and the Barksdale organization. The scope, however, was expanded to include the city's political scene. A new subplot was introduced to explore the potential positive effects of de facto "legalizing" the illegal drug trade, and incidentally prostitution, within the limited boundaries of a few uninhabited city blocks — referred to as Hamsterdam. The posited benefits, as in Amsterdam and other European cities, were reduced street crime city-wide and increased outreach of health and social services to at-risk populations. These were continuations of storylines hinted at earlier.

The demolition of the towers that had served as the Barksdale organization's prime territory pushes their dealers back out onto the streets of Baltimore. Stringer Bell continues his reform of the organization by cooperating with other drug lords, sharing with one another territory, product, and profits. Stringer's proposal is met with a curt refusal from Marlo Stanfield, leader of a new, growing crew. Against Stringer's advice, Avon decides to take Marlo's territory by force, and the two gangs become embroiled in a bitter turf war with multiple deaths. Omar Little continues to rob the Barksdale organization wherever possible. Working with his new boyfriend, Dante, and two women, he is once more a serious problem. The violence related to the drug trade makes it an obvious choice of investigation for Cedric Daniels' now-permanent Major Crimes Unit.

Councilman Tommy Carcetti begins to prepare himself for a mayoral race. He manipulates a colleague into running against the mayor to split the black vote, secures a capable campaign manager, and starts making headlines for himself.

As he approaches the end of his career, Major Howard "Bunny" Colvin of Baltimore's Eastern District wants to effect some real change in the troubled neighborhoods for which he has long been responsible. Without the knowledge of central command, Colvin sets up areas where police would monitor, but not punish drug trade. The police crack down severely on violence in these ares, and also on drug trafficking elsewhere in the city. For many weeks, Colvin's experiment works, and crime is reduced in his district. However, Colvin' superiors, the media, and city politicians eventually find out about the arrangement, and the "Hamsterdam" experiment ends. With top brass outraged, Colvin is forced to cease his actions, accept a demotion, and retire from the police department on a lower-grade pension. Tommy Carcetti uses the scandal to make a grandstanding speech at a weekly Baltimore city council meeting.

Dennis "Cutty" Wise, once a drug dealer's enforcer, is released from prison alongside Avon. His struggles to adapt to life as a free man show an attempt at personal reform. Cutty tries to work as a manual laborer and then flirts with his former life, going to work for Avon. Finding he no longer has the heart for murder, he eventually uses funding from Avon to purchase new equipment for his nascent boxing gym.

The Major Crimes Unit learns that Stringer has been buying real estate and developing it to fulfill his dream of being a successful legitimate businessman. Believing that the bloody turf war with Marlo is poised to destroy everything the Barksdale crew had worked for, Stringer gives Major Colvin information on Avon's weapons stash. But Stringer is himself being betrayed by Avon: Brother Mouzone had returned to Baltimore and tracked down Omar to join forces. Mouzone tells Avon that his shooting must be avenged. Avon, remembering how Stringer disregarded his order which resulted in Stringer attempting to have Brother Mouzone killed, possibly still furious over D'Angelo's murder (Stringer having finally confessed the truth), and fearing Mouzone's ability to harm his reputation outside of Baltimore, informs Mouzone of Stringer's upcoming visit to his construction site. There, Mouzone and Omar corner him and shoot him to death.

Colvin tells McNulty about Avon's hideout, and armed with the information gleaned from selling the Barksdale crew pre-wiretapped disposable cell phones, the detail stages a raid, arresting Avon and most of his underlings. Barksdale's criminal empire lies in ruins, and Marlo's young crew simply moves into their territory. The drug trade in West Baltimore continues with little change.

Season 4 | edytuj kod

 Osobny artykuł: The Wire (season 4).

The fourth season expanded its scope again to include an examination of the school system. Other major plots include the mayoral race that continues the political storyline begun in season three, and a closer look at Marlo Stanfield's drug gang, which has grown to control most of western Baltimore's trafficking.

The show introduces Dukie, Randy, Michael, and Namond, four boys from West Baltimore, as they enter the eighth grade. At the same school, Prez has begun a new career as a math teacher. Despite mentorship from the more seasoned faculty, Namond, and later Michael, work as drug runners for Bodie, who has had middling success selling Proposition Joe's product independently.

The cold-blooded Marlo has come to dominate the streets of the west side, using murder and intimidation to make up for his weak-quality drugs and lack of business acumen. His enforcers Chris Partlow and Snoop conceal their numerous victims in abandoned and boarded-up row houses where the bodies will not be readily discovered. The disappearances of so many known criminals come to mystify both the major crimes unit investigating Marlo and the homicide unit assigned to solve the presumed murders. Marlo coerces Bodie into working under him.

McNulty has found peace working as a patrolman and living with Beadie Russell, and refuses promotions from Daniels, now a major commanding the Western District. Detectives Kima Greggs and Lester Freamon, as part of the major crimes unit, investigate Avon Barksdale's political donations and serve several key figures with subpoenas. Their work is shut down by Commissioner Ervin Burrell at Mayor Clarence Royce's request, and after being placed under stricter supervision within their unit, both Greggs and Freamon request and receive transfer to the homicide division.

Meanwhile, the city's mayoral primary race enters its closing weeks. Royce initially has a seemingly insurmountable lead over challengers Tommy Carcetti and Tony Gray, with a big war chest and major endorsements. Royce's lead begins to fray, however, as his own political machinations turn against him and Carcetti starts to highlight the city's crime problem. Carcetti is propelled to victory in the primary election.

Howard "Bunny" Colvin joins a research group attempting to study potential future criminals in the middle school population. Dennis "Cutty" Wise continues to work with boys in his boxing gym, and accepts a job at the school rounding up truants. Bubbles takes a homeless teenager named Sherrod under his wing. He encourages the boy to attend class, which he fails to do.

Prez has a few successes with his students, but some of them start to slip away. Disruptive Namond is removed from class and placed in the research group, where he gradually develops affection and respect for Colvin. Randy, in a moment of desperation, reveals knowledge of a murder to the assistant principal, leading to his being interrogated by police.

Proposition Joe engineers a conflict between Omar Little and Marlo to convince Marlo to join the New Day Co-Op. After Omar robs Marlo, Marlo frames Omar for a murder and attempts to have him murdered in jail, but Omar manages to beat the charge with the help of Bunk. Omar learns Marlo set him up, and gets revenge on him and Proposition Joe by robbing the entire shipment of the Co-Op. Meanwhile, the co-op members, including Marlo, are furious at Joe for allowing the shipment to be stolen. Marlo demands satisfaction, and as a result, Joe sets up a meeting between him and Spiros Vondas, who assuages Marlo's concerns. Having gotten a lead on Joe's connection to the Greeks, Marlo begins investigating them to learn more about their role in bringing narcotics into Baltimore.

Freamon discovers the bodies Chris and Snoop had hidden. Bodie offers McNulty testimony against Marlo and his crew, but is shot dead on his corner by O-Dog, a member of Marlo's crew.[55] Sherrod dies after snorting a poisoned vial of heroin that, unbeknownst to him, Bubbles had prepared for their tormentor. Bubbles turns himself in to the police and tries to hang himself, but he survives and is taken to a detox facility. Michael has now joined the ranks of Marlo's killers and runs one of his corners, with Dukie leaving high school to work there. Randy's house is firebombed by school bullies for his cooperation with the police, leaving his caring foster mother hospitalized and sending him back to a group home. Namond is taken in by Colvin, who recognized the good in him. The major crimes unit from earlier seasons is largely reunited, and they resume their investigation of Marlo Stanfield.

Season 5 | edytuj kod

 Osobny artykuł: The Wire (season 5).

The fifth season focuses on the media and media consumption.[56] The show depicts the newspaper The Baltimore Sun, and in fact elements of the plot are taken from accounts of real-life events (such as the Jayson Blair NY Times scandal) and people at the Sun.[57] The season, according to David Simon, deals with "what stories get told and what don't and why it is that things stay the same."[56] Issues such as the quest for profit, the decrease in the number of reporters, and the end of aspiration for news quality would all be addressed, alongside the theme of homelessness.

Fifteen months after the fourth season concludes, Mayor Carcetti's cuts in the police budget to redress the education deficit force the Marlo Stanfield investigation to shut down. Cedric Daniels secures a detail to focus on the prosecution of Senator Davis for corruption. Detective McNulty returns to the Homicide unit and decides to divert resources back to the police department by faking evidence to make it appear that a serial killer is murdering homeless men.

The Baltimore Sun also faces budget cuts and the newsroom struggles to adequately cover the city, omitting many important stories. Commissioner Burrell continues to falsify crime statistics and is fired by Carcetti, who positions Daniels to replace him.

Proposition Joe teaches Marlo Stanfield how to launder money and evade investigation. Once Joe is no longer useful to him, Stanfield has Joe killed and usurps his position with the Greeks and the New Day Co-Op. Stanfield lures his enemy Omar Little out of retirement by having Omar's mentor Butchie murdered. Michael Lee continues working as a Stanfield enforcer, providing a home for his friend Dukie and younger brother Bug.

Omar returns to Baltimore seeking revenge, targeting Stanfield's organization, stealing and destroying money and drugs and killing Stanfield enforcers in an attempt to force Stanfield into the open. However, he is eventually shot and killed by Kenard, a young Stanfield dealer.

Templeton claims to have been contacted by McNulty's fake serial killer. City Editor Gus Haynes becomes suspicious, but his superiors are enamored of Templeton. The story gains momentum and Carcetti spins the resulting attention on homelessness into a key issue in his imminent campaign for Governor and restores funding to the police department.

Bubbles is recovering from his drug addiction while living in his sister's basement. He is befriended by Sun reporter Mike Fletcher, who eventually writes a profile of Bubbles.

Bunk is disgusted with McNulty's serial killer scheme and tries to have Lester Freamon reason with McNulty. Instead, Freamon helps McNulty perpetuate the lie and uses resources earmarked for the case to fund an illegal wiretap on Stanfield. Bunk resumes working the vacant house murders, leading to a murder warrant against Partlow for killing Michael's stepfather.

Freamon and Leander Sydnor gather enough evidence to arrest Stanfield and most of his top lieutenants, seizing a large quantity of drugs. Stanfield suspects that Michael is an informant, and orders him killed. Michael realizes he is being set up and kills Snoop instead. A wanted man, he leaves Bug with an aunt and begins a career as a stick-up man. With his support system gone, Dukie lives with drug addicts.

McNulty tells Kima Greggs about his fabrications to prevent her wasting time on the case. Greggs tells Daniels, who, along with Rhonda Pearlman, takes this news to Carcetti, who orders a cover-up because of the issue's importance to his campaign.

Davis is acquitted, but Freamon uses the threat of federal prosecution to blackmail him for information. Davis reveals Levy has a mole in the courthouse from whom he illegally purchases copies of sealed indictments. Herc tells Levy that the Stanfield case was probably based on an illegal wiretap, something which would jeopardize the entire case. After Levy reveals this to Pearlman, she uses Levy's espionage to blackmail him into agreeing to a plea bargain for his defendants. Levy ensures Stanfield's release on the condition that he permanently retires, while his subordinates will have to accept long sentences. Stanfield sells the connection to The Greeks back to the Co-Op and plans to become a businessman, although he appears unable or unwilling to stay off the corner.

As the cover-up begins, a copy-cat killing occurs, but McNulty quickly identifies and arrests the culprit. Pearlman tells McNulty and Freamon that they can no longer be allowed to do investigative work and warns of criminal charges if the scandal becomes public. They opt to retire. Haynes attempts to expose Templeton but the managing editors ignore the fabrications and demote anyone critical of their star reporter. Carcetti pressures Daniels to falsify crime statistics to aid his campaign. Daniels refuses and then quietly resigns rather than have his FBI file leaked.

In a final montage, McNulty gazes over the city; Freamon enjoys retirement; Templeton wins a Pulitzer; Carcetti becomes Governor; Haynes is sidelined to the copy desk and replaced by Fletcher; Campbell appoints Valchek as commissioner; Carcetti appoints Rawls as Superintendent of the Maryland State Police; Dukie continues to use heroin; Michael becomes a stickup boy; Pearlman becomes a judge and Daniels a defense attorney; Bubbles is allowed upstairs where he enjoys a family dinner; Chris serves his life sentence alongside Wee-Bey; the drug trade continues; and the people of Baltimore go on with their lives.

Prequel shorts | edytuj kod

The Season 5 DVD contains three short prequels depicting short moments in the history of characters in The Wire. The three prequels depict the first meeting between McNulty and Bunk; Proposition Joe as a slick business kid; and young Omar.

Reception | edytuj kod

Critical response | edytuj kod

The first season received positive reviews from critics,[58][59] some even calling it superior to HBO's better-known "flagship" drama series such as The Sopranos and Six Feet Under.[60][61][62] One reviewer pointed to the retread of some themes from HBO and David Simon's earlier works, but still found it valuable viewing and particularly resonant because it parallels the war on terror through the chronicling of the war on drugs.[63] Another review postulated that the series might suffer because of its reliance on profanity and slowly drawn-out plot, but was largely positive about the show's characters and intrigue.[37]

Despite the critical acclaim, The Wire received poor Nielsen ratings, which Simon attributed to the complexity of the plot; a poor time slot; heavy use of esoteric slang, particularly among the gangster characters; and a predominantly black cast.[64] Critics felt the show was testing the attention span of its audience and felt that it was mistimed in the wake of the launch of the successful crime drama The Shield on FX.[63] However, anticipation for a release of the first season on DVD was high at Entertainment Weekly.[65]

The Guardian described the second season as even more powerful than the first and praised it for deconstructing the show's central foundations with a willingness to explore new areas.[38] One reviewer with the Boston Phoenix was of the opinion that the subculture of the docks was not as absorbing as that of the housing projects. However, the review went on to praise the writers for creating a realistic world and populating it with an array of interesting characters.[66]

The critical response to the third season remained positive. Entertainment Weekly named The Wire the best show of 2004, describing it as "the smartest, deepest and most resonant drama on TV." They credited the complexity of the show for its poor ratings.[67] The Baltimore City Paper was so concerned that the show might be cancelled that it published a list of ten reasons to keep it on the air, including strong characterization, Omar Little, an unabashedly honest representation of real world problems. It also worried that the loss of the show would have a negative impact on Baltimore's economy.[68]

At the close of the third season, The Wire was still struggling to maintain its ratings and the show faced possible cancellation.[69] Creator David Simon blamed the show's low ratings in part on its competition against Desperate Housewives and worried that expectations for HBO dramas had changed following the success of The Sopranos.[70]

As the fourth season was about to begin, almost two years after the previous season's end, Tim Goodman of the San Francisco Chronicle wrote that The Wire "has tackled the drug war in this country as it simultaneously explores race, poverty and 'the death of the American working class,' the failure of political systems to help the people they serve, and the tyranny of lost hope. Few series in the history of television have explored the plight of inner-city African Americans and none—not one—has done it as well."[71] The New York Times called the fourth season of The Wire "its best season yet."[72] Doug Elfman of the Chicago Sun-Times was more reserved in his praise, calling it the "most ambitious" show on television, but faulting it for its complexity and the slow development of the plotline.[73] The Los Angeles Times took the rare step of devoting an editorial to the show, stating that "even in what is generally acknowledged to be something of a golden era for thoughtful and entertaining dramas—both on cable channels and on network TV—The Wire stands out."[74] TIME magazine especially praised the fourth season, stating that "no other TV show has ever loved a city so well, damned it so passionately, or sung it so searingly."[75] The website Metacritic, which gathers reviews from news sources and translates them into a percentage score, assigned The Wire's fourth season a weighted average score of 98%, the highest for any television show since Metacritic began tracking them in 2005.[3]

Several reviewers have called it the best show on television, including TIME,[75] Entertainment Weekly,[67] the Chicago Tribune,[76] Slate,[56] the San Francisco Chronicle,[77] the Philadelphia Daily News[78] and the British newspaper The Guardian,[38] which ran a week-by-week blog following every episode,[79] also collected in a book, The Wire Re-up.[80] Charlie Brooker, a columnist for The Guardian, has been particularly enthusiastic in his praise of the show, both in his "Screen Burn" column and in his BBC Four television series Screenwipe, calling it possibly the greatest show of the last 20 years.[81][82] In 2009, TIME listed it as the best television series of the 2000s (decade).[83]

'The Wire Files', an online collection of articles published in darkmatter Journal critically analyzes The Wire's racialized politics and aesthetics of representation.[84] Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "The deft writing—which used the cop-genre format to give shape to creator David Simon's scathing social critiques—was matched by one of the deepest benches of acting talent in TV history."[85]

President of the United States Barack Obama has said that The Wire is his favorite television series.[86] 2010 Nobel Prize in Literature Laureate, Mario Vargas Llosa, wrote a very positive critical review of the series in the Spanish journal El País.[87] Internationally, the mayor of Reykjavík, Jón Gnarr, has gone so far as to say that he would not enter a coalition government with anyone who has not watched the series.[88]

Awards | edytuj kod

 Osobny artykuł: List of awards and nominations received by The Wire.

The Wire was nominated for, and won a wide variety of awards, including nominations for the Primetime Emmy Award for Outstanding Writing in a Drama Series for "Middle Ground" and "–30–", nominations for the NAACP Image Award for Outstanding Drama Series in each of its five seasons; and nominations for the Television Critics Association Awards (TCA), and Writers Guild of America Awards (WGA).

Most of the awards the series won were in seasons 4 and 5. These included TCA's Heritage Award for season 5 and WGA's Award for Best Dramatic Series for season 4, plus Crime Thriller, Eddie, Edgar, Directors Guild of America, and Irish Film and Television awards. The series also won ASCAP, Peabody and Artios awards for season 2.

The series won the Broadcasting & Cable critics poll for Best Drama (season 4) and won TimeSzablon:'s critics choice for top television show for seasons 1 and 3.

Academia | edytuj kod

In the years following the end of the series' run, several colleges and universities such as Johns Hopkins, Brown University, and Harvard Law School have offered classes on The Wire in disciplines ranging from law to sociology to film studies. Phillips Academy, a boarding high school in Massachusetts, offers a similar course as well.[89][90] University of Texas at San Antonio offers a course where the series is taught as a work of literary fiction.[91] In an article published in The Washington Post, Anmol Chaddha and William Julius Wilson explain why Harvard chose The Wire as curriculum material for their course on urban inequality: "Though scholars know that deindustrialization, crime and prison, and the education system are deeply intertwined, they must often give focused attention to just one subject in relative isolation, at the expense of others. With the freedom of artistic expression, The Wire can be more creative. It can weave together the range of forces that shape the lives of the urban poor."[92] University of York's Head of Sociology, Roger Burrows, said in The Independent that the show "makes a fantastic contribution to their understanding of contemporary urbanism", and is "a contrast to dry, dull, hugely expensive studies that people carry out on the same issues".[93]

Broadcasters | edytuj kod

 Zobacz też: List of The Wire episodes.

HBO aired the five seasons of the show in 2002, 2003, 2004, 2006, and 2008, respectively. New episodes were shown once a week, occasionally skipping one or two weeks in favor of other programming. Starting with the fourth season, subscribers to the HBO On Demand service were able to see each episode of the season six days earlier.[94] American basic cable network BET also aired the show. BET adds commercial breaks, blurs some nudity, and mutes some profanity. Much of the waterfront storyline from the second season is edited out from the BET broadcasts.[95]

In the United Kingdom, the show has been broadcast on [[FX (ukr.)|FX]], and recently aired on terrestrial television on BBC Two.[96] Although controversially it was broadcast at 23:20[97] and had no BBC iPlayer catchup available.[98] In a world first, British newspaper The Guardian made the first episode of the first season available to stream on its website for a brief period.[99] In Ireland, all episodes were aired on public service channel TG4 approximately 6 months after the original air dates on HBO. Season 1 was aired on 3e in late 2008 but there are no plans to show any further seasons. In Australia, the Australian Broadcasting Corporation purchased the rights to show the entire series on its digital station, ABC2. It commenced screening on September 1, 2009. In France it airs under the title Sur écoute ("wiretapped") previously on the pay channel Jimmy and later France Ô. The Polish channel TVN shows the series under the name Prawo ulicy ("law of the street").

The Swedish public service network SVT has shown the first four seasons of the series. In Norway, NRK aired the first season of the show in the autumn of 2007. In Israel, the show aired on the Xtra Hot channel, and on Yes Action under the name HaSmuya (הסמויה – The Covert Unit). The show airs in Canada on The Movie Network and Movie Central. In Finland the series is shown on Subtv and MTV3 channels under the name Langalla ("On the wire"). The show has been broadcast in Hungary on Duna TV since March 2007 under the name Drót ("Wire"). Since September 2008 the series is broadcast in Germany (Foxchannel, Pay-TV) under its original name, but dubbed into German. The show is also broadcast in Asia on Cinemax since May 2009. In the Netherlands and Belgium the show has started its first run on June 1, 2009 on the NBC Universal cable channel 13th Street. In the Middle East, MBC Action airs the show routinely. After being available only on DVD, the Croatian premiere of the series happened in September 2011 on HRT.[100]

DVD releases | edytuj kod

The DVD sets have been favorably received, though some critics have faulted them for a lack of special features.[10][11][119][120]

References | edytuj kod

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  60. Błąd w składni szablonu {{Cytuj stronę}}. Brak podanego adresu cytowanej strony (parametr url=|).brakuje 'url'
  61. Aaron Barnhart: 'The Wire' aims higher: TV's finest hour is back. Kansas City Star, 2006.
  62. Leslie Ryan: Tapping The Wire; HBO Police Drama Tops Television Week's Semiannual Critics Poll List. Television Week, 2003.
  63. a b Robert David Sullivan: Slow Hand. Boston Phoenix, 2002.
  64. David Simon: Ask The Wire: David Simon. HBO, 2004.
  65. DVD Request of the Week. Entertainment Weekly, July 11, 2003.
  66. Jon Garelick: "A man must have a code"—listening in on The Wire.. Boston Phoenix, 2004.
  67. a b Gillian Flynn: The Best of 2004. Entertainment Weekly, December 23, 2004.
  68. Brent McCabe, Van Smith: Down To The Wire: Top 10 Reasons Not To Cancel The Wire.. Baltimore City Paper, 2005.
  69. Dana Stevens: Moyers Says "Ciao" to Now, but HBO had better not retire The Wire.. Slate magazine, 2004.
  70. Marisa Guthrie: The Wire fears HBO may snip it. New York Daily News, 2004. [dostęp September 1, 2010].[martwy link]
  71. Tim Goodman: Yes, HBO's 'Wire' is challenging. It's also a masterpiece.. San Francisco Chronicle, September 6, 2006. [dostęp August 25, 2010].
  72. Virginia Heffernan: Higher Learning in the Drug Trade for Four Baltimore Students. The New York Times, September 9, 2006. [dostęp April 9, 2010].
  73. Doug Elfman: Critic Reviews for The Wire Season 4 at Metacritic. Chicago Sun-Times, 2006.
  74. Los Angeles Times: High 'Wire' Act. Los Angeles Times, September 2, 2006.
  75. a b James Poniewozik: 10 Best TV Shows. TIME, December 17, 2006.
  76. Steve Johnson: Why HBO's 'The Wire' is the best show on TV. Chicago Tribune, June 1, 2003.
  77. Tim Goodman: HBO scores again with a stellar second season of 'The Wire'. San Francisco Chronicle, May 30, 2003.
  78. It's time to get 'Wire'-d – after all, it's the best show on TV. Philadelphia Daily News. [dostęp September 10, 2010].{{Cytuj stronę}} Nieznane pola: "archiveurl" oraz "archivedate". gołe linki: "archiveurl"
  79. The Wire re-up. W: The Guardian [on-line]. August 18, 2009. [dostęp April 1, 2009].{{Cytuj stronę}} Nieznane pola: "location".
  80. The Wire re-up. [dostęp December 5, 2009].
  81. Charlie Brooker: The Wire. The Guardian, July 21, 2007. [dostęp September 10, 2010].{{Cytuj stronę}} Nieznane pola: "location".
  82. Unknown . "The best show... of the last twenty years is another HBO show—not as well known—called The Wire. The Wire is quite simply a stunning piece of work... it actually physically pains me to use this phrase, because anyone who uses it sounds like an absolute tosser, but it is, truly, multilayered; it is just fucking brilliant." —Charlie Brooker
  83. The Wire – Best Movies, TV, Books and Theater of the Decade. W: TIME [on-line]. December 29, 2009. [dostęp February 26, 2011].
  84. The Wire Files – darkmatter Journal. May 29, 2009. [dostęp June 4, 2009].
  85. Geier, Thom; Jensen, Jeff; Jordan, Tina; Lyons, Margaret; Markovitz, Adam; Nashawaty, Chris; Pastorek, Whitney; Rice, Lynette; Rottenberg, Josh; Schwartz, Missy; Slezak, Michael; Snierson, Dan; Stack, Tim; Stroup, Kate; Tucker, Ken; Vary, Adam B.; Vozick-Levinson, Simon; Ward, Kate (December 11, 2009), "THE 100 Greatest MOVIES, TV SHOWS, ALBUMS, BOOKS, CHARACTERS, SCENES, EPISODES, SONGS, DRESSES, MUSIC VIDEOS, AND TRENDS THAT ENTERTAINED US OVER THE PAST 10 YEARS". Entertainment Weekly. (1079/1080):74-84
  86. Barack Obama on his favorite TV show. W: Chicago Tribune [on-line]. January 14, 2008. [dostęp September 5, 2010].
  87. Los dioses indiferentes. W: El País [on-line]. October 23, 2011. [dostęp November 1, 2011].
  88. Haukur S. Magnusson: He Really Did It!. W: The Reykjavik Grapevine Features [on-line]. April 6, 2010. [dostęp March 14, 2012].
  89. Getting Down to 'The Wire'. W: Phillips Academy [on-line]. [dostęp February 2, 2011].
  90. Walker, Childs: Hopkins students discover Baltimore through 'The Wire'. W: The Baltimore Sun [on-line]. November 26, 2010. [dostęp November 26, 2010].
  91. Spring 2012 Courses: 4000-Level. The University of Texas at San Antonio. [dostęp February 3, 2012].
  92. Anmol Chaddha: Why we're teaching 'The Wire' at Harvard. W: The Washington Post [on-line]. September 12, 2010. [dostęp September 21, 2010].
  93. Rosa Silverman: Sociology degree students to study 'The Wire'. The Independent, May 16, 2010. [dostęp November 28, 2010].{{Cytuj stronę}} Nieznane pola: "location".
  94. The Wire, Def Comedy Jam Set For On-Demand Premieres. World Screen News, 2006. [dostęp September 10, 2010].{{Cytuj stronę}} Nieznane pola: "archiveurl" oraz "archivedate". gołe linki: "archiveurl"
  95. BET's editing butchers 'The Wire' story line. The Daily Bruin, 2007.
  96. BBC Two to show US TV's The Wire. BBC News, March 12, 2009. [dostęp March 12, 2009].
  97. BBC – BBC Two Programmes – The Wire – Episodes from 2009. BBC, April 23, 2009. [dostęp April 23, 2009].
  98. Why no Wire?. BBC, April 23, 2009. [dostęp April 23, 2009].
  99. Stephen Brook: Guardian website to stream The Wire. The Guardian, July 20, 2007. [dostęp July 20, 2007].{{Cytuj stronę}} Nieznane pola: "location".
  100. "HRT: Žica (in Croatian)". HRT. Retrieved October 13, 2011.
  101. The Wire: The Complete First Season (2002). W: Amazon.com [on-line]. [dostęp September 11, 2010].
  102. The Wire: Complete HBO Season 1. W: Amazon.co.uk [on-line]. [dostęp September 11, 2010].
  103. Wire, The – The Complete 1st Season (5 Disc Box Set). W: EzyDVD.com.au [on-line]. [dostęp September 11, 2010].
  104. The Wire: The Complete Second Season (2003). W: Amazon.com [on-line]. [dostęp September 11, 2010].
  105. The Wire: Complete HBO Season 2. W: Amazon.co.uk [on-line]. [dostęp September 11, 2010].
  106. Wire, The – The Complete 2nd Season (5 Disc Box Set). W: EzyDVD.com.au [on-line]. [dostęp September 11, 2010].
  107. The Wire: The Complete Third Season (2004). W: Amazon.com [on-line]. [dostęp September 11, 2010].
  108. The Wire: Complete HBO Season 3. W: Amazon.co.uk [on-line]. [dostęp September 11, 2010].
  109. Wire, The – The Complete 3rd Season (5 Disc Set). W: EzyDVD.com.au [on-line]. [dostęp September 11, 2010].
  110. The Wire: The Complete Fourth Season (2005). W: Amazon.com [on-line]. [dostęp September 11, 2010].
  111. The Wire: Complete HBO Season 4. W: Amazon.co.uk [on-line]. [dostęp September 11, 2010].
  112. Wire, The – The Complete 4th Season (5 Disc Set). W: EzyDVD.com.au [on-line]. [dostęp September 11, 2010].
  113. The Wire: The Complete Fifth Season (2008). W: Amazon.com [on-line]. [dostęp September 11, 2010].
  114. The Wire: Complete HBO Season 5. W: Amazon.co.uk [on-line]. [dostęp September 11, 2010].
  115. Wire, The – The Complete 5th Season (4 Disc Set). W: EzyDVD.com.au [on-line]. [dostęp September 11, 2010].
  116. The Wire: The Complete Series (2008). W: Amazon.com [on-line]. [dostęp September 11, 2010].
  117. The Wire: Complete HBO Season 1–5. W: Amazon.co.uk [on-line]. [dostęp September 11, 2010].
  118. Wire, The – The Complete Series (24 Disc Box Set). W: EzyDVD.com.au [on-line]. [dostęp September 11, 2010].
  119. Jason Clark: The Wire: The Complete Third Season. Entertainment Weekly, August 1, 2006.
  120. James Poniewozik: 5 stellar series to catch up with on DVD. TIME, August 14, 2006.

Further reading | edytuj kod

  • Tiffany Potter (ed.), C. W. Marshall (ed.): The Wire: Urban Decay and American Television. Continuum international Publishing Group 2009, ​ISBN 978-0-8264-3804-1
  • Rafael Alvarez: The Wire: Truth Be Told. Simon & Schuster 2004, ​ISBN 0-7434-9732-5
  • Brian G. Rose: The Wire. In: Gary Richard Edgerton (ed.), Jeffrey P. Jones (ed.): The Essential HBO Reader. University of Kentucky Press 2008, ​ISBN 978-0-8131-2452-0​, pp. 82–91 (online copy w wyszukiwarce Książki Google)
  • Peter Dreier, John Atlas: The Wire – Bush-Era Fable about America's Urban Poor?. City & Community Volume 8, Issue 3, pp. 329–340, September 2009 (online copy)
  • Helena Sheehan, Sheamus Sweeney: The wire and the World: Narrative and Metanarrative. Jump Cut, 51 (Spring 2009), ISSN 0146-5546 (online copy)

External links | edytuj kod

Szablon:TheWire Szablon:HBONetwork Series


Category:2000s American television series Category:2002 American television series debuts Category:2008 American television series endings Category:African-American culture Category:American drama television series Category:Black television drama series Category:Culture of Baltimore, Maryland Category:American crime television series Category:English-language television series Category:Fictional portrayals of the Baltimore Police Department Category:HBO network shows Category:Peabody Award winning television programs Category:Political television series Category:American LGBT-related television programs Category:Serial drama television series Category:Television shows set in Baltimore, Maryland Category:Works of David Simon

Przypisy | edytuj kod

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