April 24, 2014
by Jane Boursaw, posted Jul 26th 2009 6:00PM
Well, well, well. How interesting to see the purchase of the nail gun we saw in the first episode of season four of The Wire come back around to bring everything together. "It's a tomb," says Freamon in "A New Day," and it all makes sense to me. Well, some of it makes sense anyway.
And then there's the teetering decision of whether Freamon will keep getting crap from the higher-ups about going out and looking for Marlo's bodies, using up manpower, and upping the murder rate of the city, or whether they'll do the right thing and actually do their jobs. Oh, the bodies that rolled in.
by Jane Boursaw, posted Jul 19th 2009 1:01PM
I'm well into season four of The Wire (just finished "Margin of Error"; read my other Jane After Dark installments), and getting into the guts of the Baltimore political scene and how it's all interwoven with the cops and drug business.
Oh, those kids! It really makes you see how they've gotta be extremely driven to get out of that life, because a lot of the adults are just priming them to continue the drug business into the next generation. Not only their parents -- which is really sad -- but people like Marlo, who has his minions handing out back-to-school cash to build goodwill with the kids. At that rate, those kids don't have a shot of clawing their way out of a life of crime.
It will take me another run-through or two to really fit all the pieces together, but I'm digging how all of the characters have evolved ... or not ...
by Michael Canfield, posted Oct 29th 2006 10:56PM
(S04E07) "Aw yeah. That golden rule." -- Bunk.
This episode is about making things right for some -- but not all -- of the characters in post-election Baltimore. Or at least trying to. Omar calls in the last of his favors. Even so, Bunk at first appears willing to let Omar go down for the murder he didn't commit, until Omar, who may be a killer but believes "a man got to have a code," appeals to Bunk's sense of justice. He may be bad, but allowing the frame-up to stand means the real killer will go free. That's all it takes to propel Bunk into the investigation, which plays out in one those scenarios The Wire does especially well: showing that internal turf wars and department politics can be as much an obstacle to justice as finding evidence and witnesses. Bunk makes an inevitable enemy of the detective originally assigned to Omar's case.
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