The Wire: Season 5 (HD)

On 4 February 2009 I reviewed the fifth season of The Wire. I recently completed rewatching the season thanks to the recent HD re-release, courtesy of HBO, and here's the original review with some updated thoughts.

 
The fifth and final season of The Wire is given the task of wrapping up all the loose ends from previous seasons and also to give space to a new storyline element, that of the media. With the police, criminals, politicians, working class and teachers already covered, moving into the newspapers is the logical next port of call, especially since many of the show's writers cut their teeth as journalists at one time or another.

Thanks to the efforts of the ever-redoubtable defence attorney Maurice Levy, Marlo Stanfield and his crew have avoided jail time, despite being linked to 22 bodies discovered in vacant housing in Baltimore. New mayor Tommy Carcetti wants the murders solved, so the Major Crimes Unit has been reconstituted with most of the old team back in play: Kima, Freamon, McNulty and Sydnor. Meanwhile, Herc has been forced to leave the police and is now working for Levy as a private investigator, and Omar is enjoying a holiday life down in the Caribbean, having apparently left behind the game for good. Unfortunately, Carcetti has inherited a massive education budget deficit from his predecessor and is forced to divert substantial financial resources away from the police to the schools. The Major Crimes Unit is disbanded, and even the street cops find their vehicle maintenance funding being pulled. With the police off his back, Marlo's consolidation of control over the city's drug trade suddenly ramps up to a new and dangerous level and he vows to settle his score with Omar.

With bodies dropping but no funds available to investigate them, McNulty comes up with a scheme to get attention and resources back to the police force but, needless to say, it backfires spectacularly. At the same time, the Baltimore Sun is facing cutbacks but an ambitious young reporter, Scott Templeton, finds unorthodox means of finding new stories that please the bosses but annoy his editor.

The final season of The Wire has a lot of ground to cover, as the police force's attempts to take down Marlo hit a brick wall and a new case rapidly rises to prominence, whilst a whole new facet of the city is explored through the newspaper. Simultaneously, many subplots running from the previous season continue to be explored, such as the continuing trials of the former schoolchildren from Prez's class (although only Dukie and Michael have a lot of screen time this season, Namond and Randy being reduced to cameos) and Marlo's attempt to dispose of the last barrier between him and total control of the city's drug trade. As a result a lot of other storylines fall behind. Carver and Herc appear a lot less than before (although when they do appear, they have some important things to contribute to the show's ending), Prez only has a brief cameo and the school storyline is pretty much abandoned. Cutty also only has a brief appearance, although given that his rehabilitation arc through Seasons 3 and 4 is pretty much complete that is more understandable.

The name of the game this year is resolution. McNulty and Freamon are out for Marlo's blood and plan to bring down his organisation and put him in jail at any cost, and the extraordinary (and increasingly illegal) lengths they go to achieve that are breathtaking. Having played the system for four seasons prior without much to show for it, the two police officers are at breaking point, which isn't surprising. We also see Carcetti, the wonder boy who wanted clean stats and a new dawn for his city, being driven down by the system into the same morass of murky compromises and grey morality that blighted his predecessor. The newspaper storyline is nicely handled, and encapsulates the idea of people trying to do the right thing and getting beaten back for it whilst those who ride and exploit the system can succeed. It's a very cynical view of the world, although one that seems to be depressingly backed up by reality.

But inbetween the cracks there are rays of light. Michael has been put through the wringer in the show's last two seasons and done some very bad things, but towards the end he comes to the realisation that he is in the game but not a gang player, which leads to a very logical end point for him, whilst Bubbles' traumas over the years finally lead him down the path of redemption. It would have been easy for the writers to have had Bubbles rehabilitate at the end of Season 1, but making his journey much longer and more painful before the possibility of a happy ending presents itself results in a more satisfying resolution.

The series ends by showing us the hard-won victories the forces of law and order have achieved, but elsewhere many of the villains are still at large with blood on their hands. Some of the 'good guys' are left broken, or homeless, or without their jobs, or as drug addicts. But some people get what's coming to them, and the series ends with a long, lingering shot of Baltimore, a crime-addled, bankrupt city where the people are just struggling to survive day by day. It was this city, which stands in for pretty much any city in America, that was the real star of the show. David Simon and his writers, directors and actors are to be commended by giving us the definitive portrait of the American city in the 21st Century, and that portrait is not a positive or a happy one. But it has a ring of truth and authenticity to it that no other cop or lawyer show has ever achieved.

Season 5 of the The Wire (*****) is a fitting end-point to the series, and a fine capstone to one of the greatest TV shows of all time. Storylines and mysteries stretching back to Season 1 are resolved satisfyingly, but no easy answers are given and the ending is anything but neat. The season is available on DVD in the UK and USA, and as part of the complete series box set (UK, USA).

Updated Thoughts

The fifth season of The Wire is widely regarded as the weakest. On my original viewing I wasn't too sure, feeling it tied with the second season. However, on this HD rewatch it became clear that the second season was far superior on a rewatch, with my initial scepticism of it coming more from the jarring shift of tone and storyline from the first season. If the second season improves on a rewatch, the fifth season certainly declines a little.

Which is not to say that it is bad, but for the first time in the series it feels like David Simon doesn't really have a lot to say. The decline of print media and well-paid, driven reporters is bad for journalism? Hardly a major revelation. The bosses become the bosses due to a bland willing to compromise and sell out their ideals in the process? The previous four seasons said the same thing and in a much better way. The fifth season doesn't bring much that's new to the table and the newspaper storyline, particularly the bizarre activities of Scott Templeton (who on this rewatch now appears to be mentally ill rather than simultaneously ambitious and lazy, which I think was the original intent), is not really well thought-out. Not to mention that the police storyline, where McNulty crosses the line to secure more funding for the police department, is implausible to the point of being farcical. For a show so steeped in criminal and social realism, these aspects of the fifth season feel unconvincing and even contrived.

Fortunately the show is about much more than that. The war on the street between Marlo Stanfield and Omar is absolutely gripping, driven by fantastic performances and an escalating level of violence and rising stakes that is compelling. Carcetti's decline in moral authority and ability as he loses his earlier idealism and capitalises on disastrous crime and and school issues to try to get into the governor's mansion is also phenomenal, Aiden Gillen bringing all of the snake-oil charm, political nous and wafer-thin charisma that he doesn't to the role of Littlefinger in Game of Thrones (seriously, what is up with that?). Other elements are much reduced this year, with characters like Prez and Cutty being reduced to cameos, but others return to prominence, such as the return of the Greek and his gang from the second season.

When The Wire hits the right notes, even in this more problematic final season, it more than earns its title of the Best TV Show Evaaaah. At its best, the writing and casting and direction are sublime. At its worst, the show loses focus and becomes just another crime show, but still a well-made one. Fortunately, the cast and crew do manage to turn around the moderate decline in quality in the last two episodes of the series and bring things together for an absolutely outstanding finale that really encapsulates what the show is about.

The Wire complete series blu-ray set is available now in the UK and USA and, for anyone who enjoys good drama and good television, is an absolute must-purchase.

Wertzone Classics: The Wire - Season 4 (HD)

On 28 December 2008 I reviewed the fourth season of The Wire. I recently completed rewatching the season thanks to the recent HD re-release, courtesy of HBO, and here's the original review with some updated thoughts.

The fourth and penultimate season of The Wire sees the show moving into new territory. At the end of Season 3 the Barksdale organisation was finally destroyed for good, McNulty found himself some happiness and Daniels got a promotion. The goals set out in Season 1 had been achieved. So, where next for the Major Crimes Unit and the players of the game?
 
Season 4 follows several storylines in tandem. The MCU is now chasing down Marlo Stanfield, whose organisation has picked up from where Barksdale left off and now rules over most of the western district of Baltimore. However, their rise to power has apparently been accomplished with virtually no deaths, bemusing Lester Freamon. With the wiretaps also coming up empty, Freamon's attempts to follow the money trail attract the ire of his superiors and pretty soon the MCU is all but shut down and Freamon and Kima end up working in Homicide instead. Elsewhere, McNulty is enjoying the (relatively) easy life as a beat cop, Daniels is heading up his own force and Carver is maturing as an officer, with only Herc apparently resisting any change, at least until he catches the Mayor's eye (in a rather interesting manner) and finds his star rising as a result. But overall the police side of things, at least to start off with, seems pretty quiet.

On the streets Marlo's rise to power has been achieved with the help of his two enforcers, the terrifyingly cold-blooded and ruthless Chris and Snoop, who have come up with a brilliant scheme to hide the resulting bodies from the police. Proposition Joe, who has inherited most of the surviving Barksdale crew, is continuing his efforts to entice Marlo into the cooperative to little avail, so he hatches a scheme to get Marlo on his side by setting up a war between him and the indefatigable Omar. Unfortunately, this leads to a pretty bloody and complicated state of affairs for all concerned.

Elsewhere, Tommy Carcetti is running for the position of mayor, but the race is a difficult three-way contest between him, the incumbent Royce and fellow councilman Tony Gray. Unfortunately, no sooner is the winner in office then they are delivered two massive problems: how to handle the proven incompetence of police commissioner Burrell when they cannot fire him for political reasons, and the discovery that they have a jaw-dropping $54 million budget deficit due to overspending in the schools.

At the same time, Prez, the former MCU member fired from the force in Season 3 after accidentally killing another officer, has started a new life as a maths teacher. His class is noisy, uncooperative, disrespectful and sometimes shockingly violent (one student slashes another's face open with a razor in his first week). However, the primary narrative for Season 4 focuses on four of the students in Prez's class - Randy, Dukie, Namond and Michael. These are all new characters, although with some ties to existing ones: Namond is the son of former Barksdale enforcer Wee-Bey and Michael is a member of Cutty's gym.

The scaling back of the other characters in favour of following these four youngsters around may seem like an odd move, but it pays off brilliantly. Having tackled the police, criminals, politicians, and dockworkers, Season 4 is about teachers, students and the role of education in shaping the lives of the young. Early in the season a divide is identified between those kids who could make something for themselves and the corner kids who don't want to do anything other than stand on the streets and sell drugs to make money, and where the four main characters fall on that divide and how they swap sides and change over the course of the season is fascinating to watch. At first glance Michael seems to be the most positive and promising of the four, but his interest in sports and growing cooperation in class hides a bitter and painful home life that soon leads him into Marlo's circle, whilst happy-go-lucky Randy makes a series of mistakes that prove costly. In fact it's Namond, who is selling drugs from the start and being schooled for a life of crime by his father from behind bars, who undergoes the most interesting and seismic shifts in character, all depicted through the brilliant-as-usual writing and some fine performances from the young actors involved.

Andre Royo as Bubs also has to be singled out for mention, as Bubs hits rock-bottom in this season and Royo's depiction of a man whose already crappy life disintegrates completely is absolutely stunning. At the same time, Dominic West's low availability for the season means that McNulty doesn't appear very much, meaning more screen time for Freamon (Clarke Peters) and Bunk (Wendell Pierce), which is a very welcome move. McNulty does return to prominence in the last two episodes, which set up the direction of the final season pretty well.

The Wire: Season 4 (*****) is as superbly-written, brilliantly funny, expertly-acted and stomach-churningly tragic as ever, except possibly even moreso than the first three seasons. If there is a negative point, it's that Season 4 is the most epic and sprawling season to date, and it takes a while for all the disparate storylines to start pulling together. But when they do, the result is the most powerful and gripping final run of episodes yet. Season 4 of The Wire is available on DVD in the UK and USA and also as part of the complete series box set (UK, USA).

Updated Thoughts

Rewatching the fourth season of The Wire, the question arises: is this merely the greatest season of the show (although it's a close battle with Season 1) or actually the greatest season of any TV show ever made? On a first run it's easy to say no, that the season takes too long to come together in any meaningful way and there are way too few victories. On a rewatch you realise that's the point.

The season is deliberately disjointed: the Major Crimes Unit is deliberately and systematically run into the ground, there's a heavy political storyline with Carcetti running for mayor that feels shut off from what's going on in the street and there's stuff going on in the school that feels disconnected from everything else. Compared to the determined focus and easy-to-determine through-line of the three previous seasons, Season 4 sprawls in all directions.

But the sprawl is an illusion. As Lester Freamon told us in Season 1, "All the pieces matter" and this remains true in the fourth year. Eventually all the little, apparently throwaway moments align with the core storyline of Marlo Stanfield's murderous rise to dominance over the Baltimore underworld impacting on the police, the political system and, most heartbreakingly, in the schools where the young children's best hope for a good life is undermined by an unfeeling system obsessed with statistics over humanity and by street hustlers looking for kids to use as couriers and look-outs. If the season has an emotional core, it's provided by Roland Pryzbylewski, played with tremendous restraint and heart by Jim True-Frost. Prez was the former police officer who shot up a tower block back in Season 1 and idiotically blinded a child for no real reason, but by this season has grown into a more fully-rounded figure. His new role as a teacher in a tough, inner-city school confronts him with astonishing horrors - kids who are clearly emotionally traumatised, abused or mentally disturbed but whom the system refuses to help - but instead of zoning out or quitting like so many others, he tackles the situation head-on and eventually manages to help some (but not all) of his students.

The season is really the story of four of those students - Michael, Dukie, Namond and Randy - and each of their story arcs is told with humanity and skill. The actors are outstanding and the conclusion of each of their story arcs is note-perfect. Only one arguably ends up happy. The ending confronted by Randy is utterly heartbreaking, and the audience sides fully with Detective Carver, formerly a police officer who said he never cared too much and only enjoyed breaking heads, as he finally loses control at the absolute inhumanity and bureaucratic incompetence of the system he works for.

There are so many other moments of emotional perfection, perfect performances, cutting political observation or humour (and for all its reputation as a realistic examination of the modern western city, The Wire can also be the funniest thing on the planet) in the season that it'd be impossible to list them all. Suffice to say, that when the dust settles and the history of the Golden Age of Television is written, this collection of thirteen episodes will almost certainly emerge as its crowning achievement.

The Wire complete series blu-ray set is available now in the UK and USA.

Wertzone Classics: The Wire - Season 3 (HD)

On 20 October 2008 I reviewed the third season of The Wire. I recently completed rewatching the season thanks to the recent HD re-release, courtesy of HBO, and here's the original review with some updated thoughts.

With its third year, The Wire heads back to the streets and unfinished business. As with the second year, the third season opens up another dimension of the city, this time City Hall and the civil and police administration, but the focus is squarely back on the Barksdale organisation and Lt. Daniels' unit trying to bring them down and finish the job begun back in Season 1.

Season 3 opens with Avon Barksdale still in jail, but his parole hearing is coming up. His friend and collaborator Stringer Bell has guided the crew through some lean times and formed a 'co-op' with several other gangs which has led to them making some serious money but at the cost of sharing each other's turf. However, a new player, Marlo Stanfield, is on the way up and is not interested in sharing his territory with anyone else. The stage is set for a series of bloody showdowns and bodies dropping on the streets, to the growing discontent of the police. Lt. Daniels and his unit are forced to drop their investigation into Bell (begun at the end of the second season) to concentrate on the war, unaware that the two are connected. This war is complicated by the re-emergence of Omar Little, who has sworn to bring down Bell for manipulating him into shooting an innocent man (in the second season) and for the murder of Omar's lover back in the first season.

At the same time, an ambitious white city councilman, Tommy Carcetti, is planning to run for mayor, although his prospects in a city with a majority black population seem poor. Connecting these two storylines is a highly controversial initiative launched by police Major Colvin to move the drug dealers off the street corners into three abandoned city blocks where the police will turn a blind eye to their activities so they can concentrate more on murders and crime prevention elsewhere. The 'Hamsterdam' storyline, apparently inspired by the 'legalise drugs' movement, is a stunning and surprisingly even-handed piece of social commentary. There is also an ongoing subplot following the attempts of former Barksdale enforcer Dennis 'Cutty' Wise to go straight after spending fourteen years in prison.

Season 3 is tighter than the second season, as it is able to link the storylines together more effectively. The trials of the Barksdale gang were largely removed and separate from events on the docks, creating a disjointed second year that only started coming together towards the end. The new characters, both on the streets and in the city hall, are also more directly tied to the storylines that have gone before and are stronger as a result.

Thematically, the idea behind Season 3 appears to be that of failed reform. The failure of the city's drug prevention strategies encourage some radical, out-of-the-box thinking from Major Colvin. Whilst his policy is initially successful, it leads to a whole host of knock-on effects which are beyond his powers to address, and give a rather depressing impression that, indeed, no one man can make a difference to the system. The breathtaking cynicism and corruption of the political wing of the city is depicted, with Carcetti determined to reform the system from the inside, again with apparently little hope of success. Stringer Bell's attempts to reform himself and his friend Avon on his release from prison into respectable businessmen provides the season with its main narrative spine, but again does not have a happy ending. That said, there are moments of hope, with Cutty's attempts to go straight finally garnering some success and McNulty's attempts to straighten out his personal life ending on a positive note.

The ending of the season seems to be a little more definitive than the prior two, but the writers take care to leave enough loose ends untied to be pursued into the fourth year, with the candidates for mayor squaring up, several of the gang leaders still very much at large and the police unit once again finding themselves heading off in separate directions.

The Wire: Season 3 (*****) follows up on the first two by being just as dramatically intense with some superb characterisation, brilliant acting and some finely-judged moments of comedy to balance the darkness elsewhere. It is available on DVD in the UK and USA, and as part of the complete series box set (UK, USA).

Updated Thoughts

Rewatching the third season of The Wire, it's impossible to see its message as being anything other than "Be careful what you wish for..."

The season is dominated by McNulty's dogged pursuit of Stringer Bell, his determination to finish the work begun back in Season 1 when Avon was arrested. Avon's unexpected early release halfway through this season only reinforces McNulty's mission. On an initial viewing - especially knowing that David Simon thought there was a good chance this was the final season of the show and wanted to bring at least some resolution to things - this worked well. On a reviewing, knowing what happens next, it's downright brilliant.

Stringer and Avon's downfall paves the way for the rise to power of Marlo Stanfield, a scarily focused and utterly relentless psychopath lacking even the facade of honour and civility that Avon had and the business common sense possessed by Stringer. This makes you want either the detail to fail in their mission to defeat the Barksdale crew, or for them to hold off just long enough for Avon's people to win the street war. Of course, it doesn't happen. More tellingly, it's interesting to see Avon's growing respect for Marlo and his tactics over the course of the season, seeing something of himself (perhaps incorrectly) in the young Stanfield. This explains Avon's decision to help Marlo from behind bars in later episodes, which on a first viewing came a bit more out of left field.

Foreknowledge of later seasons also makes other story points resonate much more strongly: Cutty's personal odyssey from criminal enforcer to boxing mentor, Colvin's desire to give something back to the community (and not just for the sake of his pension, as he protests) and, most prominently, Prez's ill-advised mistake in the final episodes which completes his police story arc begun in the first season and sets him on the road to the schools, and the tragically powerful fourth season.

Season 3 of The Wire, already one of its strongest years, improves immeasurably on a reviewing and is also enhanced by its presentation in HD. If you thought Hamsterdam at its worst was hard enough viewing before, it's got nothing on when every nook and cranny is shown up in widescreen.

The Wire complete series blu-ray set is available now in the UK and USA.

Wertzone Classics: The Wire - Season 2 (HD)

On 14 October 2008 I published a review of the second season of The Wire, HBO's masterpiece about the corrupting effects of American institutions (political, legal and criminal) and the destruction of the American labouring classes. Here's an updated re-review based on the new HD release of the series on Blu-Ray.

When The Wire started it was easy to see it as just another cop show, until its overwhelmingly high quality lifted it onto another level. After all, the narrative of Season 1 was simply that of cops versus drug dealers, with some murky political dealings on the side but these were left relatively unexplored. Season 2, however, shows creator David Simon's real plan: he is trying to craft the definitive portrayal of the turn-of-the-century American city. Like a Grand Theft Auto game (only with less gunplay and more, infinitely better dialogue), progressing onto Season 2 'unlocks' another chunk of the city, this time the docks and a new cast of characters, including Eastern European criminals, the unions and their families, and introduces an important new thread to the tapestry of the show.

At the end of Season 1, Lt. Daniels's unit successfully cracked the Barksdale case, but political infighting between different police departments saw arrests made prematurely. Whilst Avon and D'Angelo were sent down, the evidence against Avon was flimsy and his time inside was limited, whilst back on the street the formidable Stringer Bell has been put in charge. Meanwhile, Daniels has been booted down to work in the evidence lock-up and McNulty has been sent over to the harbour patrol, to his extreme annoyance, whilst Freamon and Bunt are working in homicide. When McNulty fishes a dead girl out of the harbour and port authority police officer Beadie Russell uncovers thirteen corpses in a freight container, the police's attention is turned to the harbour. This garners the interest of Commander Valchek, who is anxious to bring down the head of the stevedores' union, Frank Sobotka, after his union raises more cash for the local church's new stained-glass windows than Valchek's.

Season 2 of The Wire sprawls slightly more than the first season, a result of the story having to incorporate a large number of new characters and locations whilst at the same time keeping tabs on the characters from Season 1. The project gangs, Stringer Bell, Omar and so forth are firmly on the back-burner for the season, with their story forming a subplot that clears up some loose ends from the first season and sets up the events of Season 3, where they return to prominence. Whilst characters such as Omar and Bubs get limited screen time as a result compared to the first year, at least they don't vanish altogether. Luckily, the new characters are a good match for the originals. Union politics and the gradual loss of American industry and hands-on labour are covered in a fascinating manner. Frank Sobotka (played by Chris Bauer) is the character whom the season's themes centre on, showing how an essentially decent man who values loyalty and fair play is gradually morally eroded, ground down by the city institutions and effectively destroyed, whilst the start of the same process is shown happening to his nephew Nicky (Pablo Schreiber). On the law-enforcement side, Amy Ryan makes a good impression as Beadie Russell, the working beat officer who is pulled into the detective unit formed to investigate the port situation and finds herself out of her depth, until she steps up. On the street side of things, the fascinating character of Brother Mouzone (Michael Potts) is introduced very late in the season, as more pieces are set up for the third year.

The Wire remains dramatically intense, with several deaths (one in particular) and shocking plot developments meaning you don't know who is safe, or who can be trusted. The show's black sense of humour is retained (the entire investigation starts due to a personal feud between Valchek and Sobotka over whose union gives more money to their local church), the fascinating investigative tactics used by the police are expanded upon and the increasingly bleak portrayal of the modern American city is balanced by a few decent characters and moments of hope.

The Wire: Season 2 (*****) takes slightly longer to get going than Season 1, but remains gripping, intelligent and adult television and the climax is much harsher. It is available on DVD in the UK and USA, and as part of the complete series box set (UK, USA).

Updated Thoughts

If you want to start a flame war between usually reasoned, intelligent fans of The Wire, you can challenge them on what is the weaker season: the second or the fifth. The results can be quite interesting. Of course, they're both fantastic, but I think most would agree they're a tiny notch below the other three in quality. The move away from the established cast in Season 1, the introduction of a lot of new characters with time limitations on fleshing them all out and the lack of resolution to the storyline about the Greek and his gang of criminals are all issues when compared to the first season's flawless pacing, characterisation and plot construction.

At least, they are on an initial viewing. On a re-watch, the season improves from being pretty damn good with a few minor issues to being almost the equal of those around it. Knowing how the Greek and his dealings play into the bigger story of Baltimore from the later seasons helps a lot, as it introduces more of an element of tragedy into proceedings: if the cops had arrested the Greek and his gang, a lot of what happened in the seasons that followed would not have been possible. Similarly, the elimination of D'Angelo feels like a mere tying-up of a loose end from the first season, but in fact sets up a series of plot points and events in Season 3 that will have huge ramifications.

In fact, few elements are not improved by a rewatch. James Ransome's performance as Ziggy still feels a little belaboured in some scenes, but beyond that, this is a collection of highly watchable, smartly-written, brilliantly-acted and often unexpectedly hilarious episodes.

The move to HD also benefits this season immensely, with so much of the action taking place in huge industrial wastelands, on container ships and against other, large-scale backdrops which are improved by the move to widescreen.

The Wire complete series blu-ray set is available now in the UK and USA.

Wertzone Classics: The Wire - Season 1 (HD)

On 8 October 2008 I published a review of Season 1 of The Wire, David Simon's five-year ode to the death of the American Dream and the corrupting effect of institutions. I recently completed a rewatch of the season, this time in HD from the official Blu-Ray release. The original review is reprinted below along with some updated impressions.

The Wire is, at first glance, Yet Another Cop Show, about a group of disparate and conflicted police officers working to bring down criminals who are often not much better than they are. Yawn. However, there are two things that mean that people should take this seriously. Firstly, it's made by HBO who, up to a couple of years ago anyway, seemed physically incapable of making something unless it was absolutely gripping and awesome. Secondly, it's the creation of former police writer and journalist David Simon, whose previous show was the brilliant Homicide: Life on the Street.


The Wire kicks off on the mean streets of Baltimore, Maryland, in 2002. A murder case against a young black man named D'Angelo Barksdale collapses when one of the witnesses is scared into retracting her testimony. The furious judge learns from homicide detective Jimmy McNulty that D'Angelo is a junior member of a far-reaching criminal gang run by his cousin, the extremely elusive Avon Barksdale. This gang controls all the drug supplies on the west side of the city, and are protected by a labyrinth of legit front organisations. Determined to get some payback, the judge uses his influence to have a special joint homicide-narcotics unit formed to bring down the Barksdale gang, with McNulty assigned and an up-and-coming officer named Lt. Daniels placed in charge.

The investigation into the Barksdale organisation by the unit forms the backbone of the first season of the show, but that's just one side of the story. We also get to see the investigation from the POV of the criminals themselves, most notably D'Angelo as he finds himself free but busted down to supplying the lowest of the estates, as well as the kids who work for him. A dangerous, unpredictable third faction is also in play in the form of the one-man army Omar Little, a criminal whose personal code means he can only steal from other criminals. The police try to form an alliance with Omar to bring down Barksdale, but their erstwhile ally has an unfortunate tendency to blow away the criminals they're trying to get locked up, which makes this a difficult task.

The appeal of The Wire is hard to explain to those who haven't seen it. It's fairly slow-moving (although never dull) in places and arguably takes two or three episodes to really kick in. It's also pretty unforgiving if you miss an episode. Flashbacks to prior episodes are non-existent, and plot points and character and emotional arcs often turn on a single conversation from several episodes earlier. You need to pay attention here. Luckily, that's made easy by the tight writing, the ingenious methods the criminals go to avoid being caught and the even more intelligent methods the police need to use to investigate them, and the acting. It'd be almost impossible to single out any of the actors for praise. British actor Dominic West has the closest thing to a central role as McNulty, and handles the character very well, but Lance Reddick (more recently seen as the enigmatic Abbadon in Lost) holds every scene he's in as the formidable Lt. Daniels. Clarke Peters develops his character of Lester Freamon from almost a background role to that of the most intelligent and confident officer on the team in a natural and impressive manner. John Doman's constantly-infuriated performance as McNulty's commanding officer and eternal nemesis Major Rawls has to be mentioned as well.

On the criminal side of things, British actor Idris Elba (formerly seen as Vaughn in the excellent Ultraviolet) impresses as Stringer Bell, Avon Barksdale's trusted number-two man, and Larry Gilliard Jr. provides the main criminal POV as 'D' Barksdale, as he tries to claw his way back up the organisation amidst growing concerns about how the family does business. For most people - including Barak Obama - the stand-out performances in the show belong to two of the more morally ambiguous characters, namely Michael K. Williams as the dangerously unpredictable Omar and Andre Royo as 'Bubs', a street informant struggling with his own drug addiction. Royo's performance was so convincing that whilst filming he was offered a heroin fix by a passer-by who thought he badly needed it, and later referred to this as his 'street Oscar'.

The cast is uniformally brilliant (the above barely scratches the surface of the quality performances and characters on display here), the writing is fantastic and the show is, surprisingly, very funny. Whether it's the stories of some mind-bogglingly stupid criminals, or the ridiculous difficulties the team faces at getting a desk into their basement office, or Bubs' methods of identifying suspects for the police observers, the show has a jet-black vein of comedy which gives several laughs per episode. This is necessary because the show can be quite bleak, showing as it does wasted young lives amidst the crumbling tenements of a poor city, and a lot of the characters die in rather unpleasant ways over the course of the investigation. The investigation also ends messily, and the fates of many of the characters is left wide open for the second season.

The Wire: Season 1 (*****) takes a couple of episodes to build up a head of steam and get you into its headspace, but once that's done it never lets go. The show is available on DVD in the UK and USA, and also as part of the complete series box set (UK, USA). Fantasy writer Joe Abercrombie waxes lyrical on the show here, whilst British TV critic Charlie Brooker has a video appraisal here.

McNulty in full-on smug mode is even more supremely punchable in 1080p

Updated Thoughts
It's been seven years (!) since I watched the first season of The Wire and I was concerned that I would have forgotten too much about the show to enjoy one of its oft-reported key features, the fact that on a rewatch you pick up so much material that flies over your head in the initial viewing. In fact, it didn't take too much past McNulty's opening eulogy to Snot Boogie (the first, but a long way from the last, murder we see on the show) for the entire season to reassert itself in my head. There's not too many shows that can do that, but this is one that stays with you through the years.

On a rewatch, the first thing that impresses is how tightly written and meticulously constructed the series really is. There is not a single wasted breath, pointless line of dialogue or redundant moment in the entire season. The season is beautifully bookended by looping things full circle (Stringer Bell's respectful - if sardonic - acknowledgement of McNulty's intelligence in the finale reflecting McNulty's angry congratulations in the opening episode) but the finale also moves things forward and keeps stories in play for the second season. The characterisation is absolutely stunning, with even the most seemingly irredeemable character given their moments of humanity: Rawls decisively taking charge of the crime scene investigation after Kima is shot and his reassurance of his sworn nemesis McNulty afterwards gives him a depth matched by only one other scene in the entire series (and knowing that about Rawls...changes nothing at all, because it's completely irrelevant). Wee-Bey may be a totally murderous, ruthless killer, but it's hard not feel a momentary twang of sympathy or respect when he stands up and takes the fall for the entire drug gang in the finale, knowing he will never see freedom again. This is given more resonance by knowing what he does in Season 4: the man, for all of his despicable attributes, has his code.

Beyond the terrific writing, measured pace and awe-inspiring construction of the story, there is the absolute howl-inducing sense of humour. There's the single greatest crime scene investigation scene in filmed history (TV or movies), the desk-moving scene, the fishtank episode, McNulty's handling of Bunk's (very minor) betrayal, Bub's crazy schemes to get drug money, Omar's apology for killing an important witness (and McNulty's resulting attempt to measure his own morality) and the banter of the kids in the low rises. This is balanced out elsewhere by the tragedies: what happens to the witnesses in the opening court case (even the one who plays ball with Stringer), the fate of Bubs's friend and the absolute gut-punching of Wallace's rise and fall in favour.

Later seasons may be more complex and more layered, but the first season of The Wire has a tremendous focus and story-telling purity to it that makes it my favourite of the five, and easily one of the greatest seasons in the history of television (absolutely no hyperbole required). The high definition makeover is technically stunning, and in fact David Simon's concern that the show would suffer from losing its grainy documentary look doesn't really materialise. An on-the-streets documentary about Baltimore today would be shot in HD, and in fact the grimmer aspects of The Wire take on a stronger resonance when you can see the streets, the corners and the dusty police offices in much clearer detail.

The Wire complete series blu-ray set is available now in the UK and USA.

The Wire: Season 5

The fifth and final season of The Wire is given the task of wrapping up all the loose ends from previous seasons and also to give space to a new storyline element, that of the media. With the police, criminals, politicians, working class and teachers already covered, moving into the newspapers is the logical next port of call, especially since many of the show's writers cut their teeth as journalists at one time or another.


Thanks to the efforts of the ever-redoubtable defence attorney Maurice Levy, Marlo Stanfield and his crew have avoided jail time, despite being linked to 22 bodies discovered in vacant housing in Baltimore. New mayor Tommy Carcetti wants the murders solved, so the Major Crimes Unit has been reconstituted with most of the old team back in play: Kima, Freamon, McNulty and Sydnor. Meanwhile, Herc has been forced to leave the police and is now working for Levy as a private investigator, and Omar is enjoying a holiday life down in the Caribbean, having apparently left behind the game for good. Unfortunately, Carcetti has inherited a massive education budget deficit from his predecessor and is forced to divert substantial financial resources away from the police to the schools. The Major Crimes Unit is disbanded, and even the street cops find their vehicle maintenance funding being pulled. With the police off his back, Marlo's consolidation of control over the city's drug trade suddenly ramps up to a new and dangerous level and he vows to settle his score with Omar.

With bodies dropping but no funds available to investigate them, McNulty comes up with a scheme to get attention and resources back to the police force but, needless to say, it backfires spectacularly. At the same time, the Baltimore Sun is facing cutbacks but an ambitious young reporter, Scott Templeton, finds unorthodox means of finding new stories that please the bosses but annoy his editor.

The final season of The Wire has a lot of ground to cover, as the police force's attempts to take down Marlo hit a brick wall and a new case rapidly rises to prominence, whilst a whole new facet of the city is explored through the newspaper. Simultaneously, many subplots running from the previous season continue to be explored, such as the continuing trials of the former schoolchildren from Prez's class (although only Dukie and Michael have a lot of screen time this season, Namond and Randy being reduced to cameos) and Marlo's attempt to dispose of the last barrier between him and total control of the city's drug trade. As a result a lot of other storylines fall behind. Carver and Herc appear a lot less than before (although when they do appear, they have some important things to contribute to the show's ending), Prez only has a brief cameo and the school storyline is pretty much abandoned. Cutty also only has a brief appearance, although given that his rehabilitation arc through Seasons 3 and 4 is pretty much complete that is more understandable.

The name of the game this year is resolution. McNulty and Freamon are out for Marlo's blood and plan to bring down his organisation and put him in jail at any cost, and the extraordinary (and increasingly illegal) lengths they go to achieve that are breathtaking. Having played the system for four seasons prior without much to show for it, the two police officers are at breaking point, which isn't surprising. We also see Carcetti, the wonder boy who wanted clean stats and a new dawn for his city, being driven down by the system into the same morass of murky compromises and grey morality that blighted his predecessor. The newspaper storyline is nicely handled, and encapsulates the idea of people trying to do the right thing and getting beaten back for it whilst those who ride and exploit the system can succeed. It's a very cynical view of the world, although one that seems to be depressingly backed up by reality.

But inbetween the cracks there are rays of light. Michael has been put through the wringer in the show's last two seasons and done some very bad things, but towards the end he comes to the realisation that he is in the game but not a gang player, which leads to a very logical end point for him, whilst Bubbles' traumas over the years finally lead him down the path of redemption. It would have been easy for the writers to have had Bubbles rehabilitate at the end of Season 1, but making his journey much longer and more painful before the possibility of a happy ending presents itself results in a more satisfying resolution.

The series ends by showing us the hard-won victories the forces of law and order have achieved, but elsewhere many of the villains are still at large with blood on their hands. Some of the 'good guys' are left broken, or homeless, or without their jobs, or as drug addicts. But some people get what's coming to them, and the series ends with a long, lingering shot of Baltimore, a crime-addled, bankrupt city where the people are just struggling to survive day by day. It was this city, which stands in for pretty much any city in America, that was the real star of the show. David Simon and his writers, directors and actors are to be commended by giving us the definitive portrait of the American city in the 21st Century, and that portrait is not a positive or a happy one. But it has a ring of truth and authenticity to it that no other cop or lawyer show has ever achieved.

Season 5 of the The Wire (*****) is a fitting end-point to the series, and a fine capstone to one of the greatest TV shows of all time. Storylines and mysteries stretching back to Season 1 are resolved satisfyingly, but no easy answers are given and the ending is anything but neat. The season is available on DVD in the UK and USA, and as part of the complete series box set (UK, USA).

The Wire: Season 4

The fourth and penultimate season of The Wire sees the show moving into new territory. At the end of Season 3 the Barksdale organisation was finally destroyed for good, McNulty found himself some happiness and Daniels got a promotion. The goals set out in Season 1 had been achieved. So, where next for the Major Crimes Unit and the players of the game?

Season 4 follows several storylines in tandem. The MCU is now chasing down Marlo Stanfield, whose organisation has picked up from where Barksdale left off and now rules over most of the western district of Baltimore. However, their rise to power has apparently been accomplished with virtually no deaths, bemusing Lester Freamon. With the wiretaps also coming up empty, Freamon's attempts to follow the money trail attract the ire of his superiors and pretty soon the MCU is all but shut down and Freamon and Kima end up working in Homicide instead. Elsewhere, McNulty is enjoying the (relatively) easy life as a beat cop, Daniels is heading up his own force and Carver is maturing as an officer, with only Herc apparently resisting any change, at least until he catches the Mayor's eye (in a rather interesting manner) and finds his star rising as a result. But overall the police side of things, at least to start off with, seems pretty quiet.

On the streets Marlo's rise to power has been achieved with the help of his two enforcers, the terrifyingly cold-blooded and ruthless Chris and Snoop, who have come up with a brilliant scheme to hide the resulting bodies from the police. Proposition Joe, who has inherited most of the surviving Barksdale crew, is continuing his efforts to entice Marlo into the cooperative to little avail, so he hatches a scheme to get Marlo on his side by setting up a war between him and the indefatigable Omar. Unfortunately, this leads to a pretty bloody and complicated state of affairs for all concerned.

Elsewhere, Tommy Carcetti is running for the position of mayor, but the race is a difficult three-way contest between him, the incumbent Royce and fellow councilman Tony Gray. Unfortunately, no sooner is the winner in office then they are delivered two massive problems: how to handle the proven incompetence of police commissioner Burrell when they cannot fire him for political reasons, and the discovery that they have a jaw-dropping $54 million budget deficit due to overspending in the schools.

At the same time, Prez, the former MCU member fired from the force in Season 3 after accidentally killing another officer, has started a new life as a maths teacher. His class is noisy, uncooperative, disrespectful and sometimes shockingly violent (one student slashes another's face open with a razor in his first week). However, the primary narrative for Season 4 focuses on four of the students in Prez's class - Randy, Dukie, Namond and Michael. These are all new characters, although with some ties to existing ones: Namond is the son of former Barksdale enforcer Wee-Bey and Michael is a member of Cutty's gym.

The scaling back of the other characters in favour of following these four youngsters around may seem like an odd move, but it pays off brilliantly. Having tackled the police, criminals, politicians, and dockworkers, Season 4 is about teachers, students and the role of education in shaping the lives of the young. Early in the season a divide is identified between those kids who could make something for themselves and the corner kids who don't want to do anything other than stand on the streets and sell drugs to make money, and where the four main characters fall on that divide and how they swap sides and change over the course of the season is fascinating to watch. At first glance Michael seems to be the most positive and promising of the four, but his interest in sports and growing cooperation in class hides a bitter and painful home life that soon leads him into Marlo's circle, whilst happy-go-lucky Randy makes a series of mistakes that prove costly. In fact it's Namond, who is selling drugs from the start and being schooled for a life of crime by his father from behind bars, who undergoes the most interesting and seismic shifts in character, all depicted through the brilliant-as-usual writing and some fine performances from the young actors involved.

Andre Royo as Bubs also has to be singled out for mention, as Bubs hits rock-bottom in this season and Royo's depiction of a man whose already crappy life disintegrates completely is absolutely stunning. At the same time, Dominic West's low availability for the season means that McNulty doesn't appear very much, meaning more screen time for Freamon (Clarke Peters) and Bunk (Wendell Pierce), which is a very welcome move. McNulty does return to prominence in the last two episodes, which set up the direction of the final season pretty well.

The Wire: Season 4 (*****) is as superbly-written, brilliantly funny, expertly-acted and stomach-churningly tragic as ever, except possibly even moreso than the first three seasons. If there is a negative point, it's that Season 4 is the most epic and sprawling season to date, and it takes a while for all the disparate storylines to start pulling together. But when they do, the result is the most powerful and gripping final run of episodes yet. Season 4 of The Wire is available on DVD in the UK and USA and also as part of the complete series box set (UK, USA).

The Wire: Season 3

With its third year, The Wire heads back to the streets and unfinished business. As with the second year, the third season opens up another dimension of the city, this time City Hall and the civil and police administration, but the focus is squarely back on the Barksdale organisation and Lt. Daniels' unit trying to bring them down and finish the job begun back in Season 1.

Season 3 opens with Avon Barksdale still inside, but his parole hearing is coming up. His friend and collaborator Stringer Bell has guided the crew through some lean times and formed a 'co-op' with several other gangs which has led to them making some serious money but at the cost of sharing each other's turf. However, a new player, Marlo Stanfield, is on the way up and is not interested in sharing his territory with anyone else. The stage is set for a series of bloody showdowns and bodies dropping on the streets, to the growing discontent of the police. Lt. Daniels and his unit are forced to drop their investigation into Bell (begun at the end of the second season) to concentrate on the war, unaware that the two are connected. This war is complicated by the re-emergence of Omar Little, who has sworn to bring down Bell for manipulating him into shooting an innocent man in the second season.

At the same time, an ambitious white city councilman, Tommy Carcetti, is planning to run for mayor, although his prospects in a city with a majority black population seem poor. Connecting these two storylines is a highly controversial initiative launched by police Major Colvin to move the drug dealers off the street corners into three abandoned city blocks where the police will turn a blind eye to their activities so they can concentrate more on murders and crime prevention elsewhere. The 'Hamsterdam' storyline, apparently inspired by the 'legalise drugs' movement, is a stunning and surprisingly even-handed piece of social commentary. There is also an ongoing subplot following the attempts of former Barksdale enforcer Dennis 'Cutty' Wise to go straight after spending fourteen years in prison.

Season 3 is tighter than the second season, as it is able to link the storylines together more effectively than the second, where the trials of the Barksdale gang were largely removed and separate from events on the docks. The new characters, both on the streets and in the city hall, are also more directly tied to the storylines that have gone before and are stronger as a result.

Thematically, the idea behind Season 3 appears to be that of failed reform. The failure of the city's drug prevention strategies encourage some radical, out-of-the-box thinking from Major Colvin. Whilst his policy is initially successful, it leads to a whole host of knock-on effects which are beyond his powers to address, and give a rather depressing impression that, indeed, no one man can make a difference to the system. The breathtaking cynicism and corruption of the political wing of the city is depicted, with Carcetti determined to reform the system from the inside, again with apparently little hope of success. Stringer Bell's attempts to reform himself and his friend Avon on his release from prison into respectable businessmen provides the season with its main narrative spine, but again does not have a happy ending. That said, there are moments of hope, with Cutty's attempts to go straight finally garnering some success and McNulty's attempts to straighten out his personal life ending on a positive note.

The ending of the season seems to be a little more definitive than the prior two, but the writers take care to leave enough loose ends untied to be pursued into the fourth year, with the candidates for mayor squaring up, several of the gang leaders still very much at large and the police unit once again finding themselves heading off in separate directions.

The Wire: Season 3 (*****) follows up on the first two by being just as dramatically intense with some superb characterisation, brilliant acting and some finely-judged moments of comedy to balance the darkness elsewhere. It is available on DVD in the UK and USA, and as part of the complete series box set (UK, USA).

The Wire: Season 2

When The Wire started it was easy to see it as just another cop show, until its overwhelmingly high quality lifted it onto another level. After all, the narrative of Season 1 was simply that of cops versus drug dealers, with some murky political dealings on the side but these were left relatively unexplored. Season 2, however, shows creator David Simon's real plan: he is trying to craft the definitive portrayal of the turn-of-the-century American city. Like a Grand Theft Auto game, progressing onto Season 2 'unlocks' another chunk of the city, this time the docks and a new cast of characters, including Eastern European criminals, the unions and their families, and introduces an important new thread to the tapestry of the show.

At the end of Season 1, Lt. Daniels' unit successfully cracked the Barksdale case, but political infighting between different police departments saw arrests made prematurely. Whilst Avon and D'Angelo were sent down, the evidence against Avon was flimsy and his time inside was limited, whilst back on the street the formidable Stringer Bell has been put in charge. Meanwhile, Daniels has been booted down to work in the evidence lock-up and McNulty has been sent over to the harbour patrol, to his extreme annoyance, whilst Freamon and Bunt are working in homicide. When McNulty fishes a body out of the harbour and port authority police officer Beadie Russell uncovers thirteen corpses in a freight container, the police's attention is turned to the harbour. This garners the interest of Commander Valchek, who is anxious to bring down the head of the stevedores' union, Frank Sobotka, after his union raises more cash for the local church's new stained-glass windows than Valchek's.

Season 2 of The Wire sprawls slightly more than the first season, a result of the story having to incorporate a large number of new characters and locations whilst at the same time keeping tabs on the characters from Season 1. The project gangs, Stringer Bell, Omar and so forth are firmly on the back-burner for the season, with their story forming a subplot that clears up some loose ends from the first season and sets up the events of Season 3, where they return to prominence. Whilst characters such as Omar and Bubs get limited screen time as a result compared to the first year, at least they don't vanish altogether. Luckily, the new characters are a good match for the originals. Union politics and the gradual loss of American industry and hands-on labour are covered in a fascinating manner. Frank Sobotka (played by Chris Bauer) is the character whom the season's themes centre on, showing how an essentially decent man who values loyalty and fair play is gradually morally eroded, ground down by the city institutions and effectively destroyed, whilst the start of the same process is shown happening to his nephew Nicky (Pablo Schreiber). On the law-enforcement side, Amy Ryan makes a good impression as Beadie Russell, the working beat officer who is pulled into the detective unit formed to investigate the port situation and finds herself out of her depth, until she steps up. On the street side of things, the fascinating character of Brother Mouzone (Michael Potts) is introduced very late in the season, as more pieces are set up for the third year.

The Wire remains dramatically intense, with several deaths (one in particular) and shocking plot developments meaning you don't know who is safe, or who can be trusted. The show's black sense of humour is retained (the entire investigation starts due to a personal feud between Valchek and Sobotka over whose union gives more money to their local church), the fascinating investigative tactics used by the police are expanded upon and the increasingly bleak portrayal of the modern American city is balanced by a few decent characters and moments of hope.

The Wire: Season 2 (*****) takes slightly longer to get going than Season 1, but remains gripping, intelligent and adult television and the climax is much harsher. It is available on DVD in the UK and USA, and as part of the complete series box set (UK, USA).

The Wire: Season 1

The Wire is, at first glance, Yet Another Cop Show, about a group of disparate and conflicted police officers working to bring down criminals who are often not much better than they are. Yawn. However, there are two things that mean that people should take this seriously. Firstly, it's made by HBO who, up to a couple of years ago anyway, seemed physically incapable of making something unless it was absolutely gripping and awesome. Secondly, it's the creation of former police writer and journalist David Simon, whose previous show was the brilliant Homicide: Life on the Street.

The Wire kicks off on the mean streets of Baltimore, Maryland, in 2002. A murder case against a young black man named D'Angelo Barksdale collapses when one of the witnesses is scared into retracting her testimony. The furious judge learns from homicide detective Jimmy McNulty that D'Angelo is a junior member of a far-reaching criminal gang run by his cousin, the extremely elusive Avon Barksdale. This gang controls all the drug supplies on the west side of the city, and are protected by a labyrinth of legit front organisations. Determined to get some payback, the judge uses his influence to have a special joint homicide-narcotics unit formed to bring down the Barksdale gang, with McNulty assigned and an up-and-coming officer named Lt. Daniels placed in charge.

The investigation into the Barksdale organisation by the unit forms the backbone of the first season of the show, but that's just one side of the story. We also get to see the investigation from the POV of the criminals themselves, most notably D'Angelo as he finds himself free but busted down to supplying the lowest of the estates, as well as the kids who work for him. A dangerous, unpredictable third faction is also in play in the form of the one-man army Omar Little, a criminal whose personal code means he can only steal from other criminals. The police try to form an alliance with Omar to bring down Barksdale, but their erstwhile ally has an unfortunate tendency to blow away the criminals they're trying to get locked up, which makes this a difficult task.

The appeal of The Wire is hard to explain to those who haven't seen it. It's fairly slow-moving (although never dull) in places and arguably takes two or three episodes to really kick in. It's also pretty unforgiving if you miss an episode. Flashbacks to prior episodes are non-existent, and plot points and character and emotional arcs often turn on a single conversation from several episodes earlier. You need to pay attention here. Luckily, that's made easy by the tight writing, the ingenious methods the criminals go to avoid being caught and the even more intelligent methods the police need to use to investigate them, and the acting. It'd be almost impossible to single out any of the actors for praise. British actor Dominic West has the closest thing to a central role as McNulty, and handles the character very well, but Lance Reddick (more recently seen as the enigmatic Abbadon in Lost) holds every scene he's in as the formidable Lt. Daniels. Clarke Peters develops his character of Lester Freamon from almost a background role to that of the most intelligent and confident officer on the team in a natural and impressive manner. John Doman's constantly-infuriated performance as McNulty's commanding officer and eternal nemesis Major Rawls has to be mentioned as well.

On the criminal side of things, British actor Idris Elba (formerly seen as Vaughn in the excellent Ultraviolet) impresses as Stringer Bell, Avon Barksdale's trusted number-two man, and Larry Gilliard Jr. provides the main criminal POV as 'D' Barksdale, as he tries to claw his way back up the organisation amidst growing concerns about how the family does business. For most people - including Barak Obama - the stand-out performances in the show belong to two of the more morally ambiguous characters, namely Michael K. Williams as the dangerously unpredictable Omar and Andre Royo as 'Bubs', a street informant struggling with his own drug addiction. Royo's performance was so convincing that whilst filming he was offered a heroin fix by a passer-by who thought he badly needed it, and later referred to this as his 'street Oscar'.

The cast is uniformally brilliant (the above barely scratches the surface of the quality performances and characters on display here), the writing is fantastic and the show is, surprisingly, very funny. Whether it's the stories of some mind-bogglingly stupid criminals, or the ridiculous difficulties the team faces at getting a desk into their basement office, or Bubs' methods of identifying suspects for the police observers, the show has a jet-black vein of comedy which gives several laughs per episode. This is necessary because the show can be quite bleak, showing as it does wasted young lives amidst the crumbling tenements of a poor city, and a lot of the characters die in rather unpleasant ways over the course of the investigation. The investigation also ends messily, and the fates of many of the characters is left wide open for the second season.

The Wire: Season 1 (*****) takes a couple of episodes to build up a head of steam and get you into its headspace, but once that's done it never lets go. The show is available on DVD in the UK and USA, and also as part of the complete series box set (UK, USA). Fantasy writer Joe Abercrombie waxes lyrical on the show here, whilst British TV critic Charlie Brooker has a video appraisal here.