And so Jane After Dark has come to the end of The Wire. I need to watch it again to catch more than the one-eighth I caught the first time around. But after watching all five seasons, spanned over most of this year, the thing that keeps popping into my head is that the bureaucratic end of things is really no better than the drug dealer end of things.
In some ways, the drug dealers have more ethics than the suits. At least when a druggie does something that wrongs others in the system, there's no messing around. They're shot. They know they have it coming, and they step up and take it, just like Snoop did, asking if her hair looked ok before being gunned down. Just like Proposition Joe did when he closed his eyes and waited for the inevitable bullet to the head.
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.
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 ...
Well, holy cow. I did not see that coming, although from what you've all said, I was prepared for just about anything to happen on The Wire. Except that!
I feel like season three ended on a high note. Well, sort of ... at least for McNulty, now walking the beat in the Western Division. Even though he's wearing a uniform, which is just weird for him, he's talking and laughing with the residents, and that's really what it's all about. And Rhonda and Cedric are together (oh, that chiseled butt of his!).
Even with all the busts, though, the drug business sails onward, with Marlo moving up in the hierarchy and Dennis' boxing gym virtually deserted, all the kids lured back into the streets. But mostly, season three was all about Episode 11, "Middle Ground"; in particular, a few penultimate scenes...
After a brief break to watch season four of Weeds last week, Jane After Dark is back with The Wire. I'm half-way into season three, and while there are definitely parts of this show that put me to sleep (ducking and running for cover), it's still a brilliant drama. My teenage son popped in for part of an episode, decided it was too "real," and promptly lost interest.
To help me organize my thoughts, let's take a look at a few characters:
Stringer Bell. I'm really digging Idris Elba dressed up in his fancy suit, running the real estate company, working with government officials, and holding drug meetings using Robert's Rules of Order. It's fascinating that there's this whole hierarchy within the gangs that most of them respect and follow.
As John Howard noted in the comments in last week's Jane After Dark column, I really haven't talked much about Omar yet. I just finished season two of The Wire, and to be honest, most of my thoughts right now revolve around the Sobotka clan.
First of all, how stupid was Ziggy? The guy's always been a live wire, and you could see the bad karma building throughout this season, with him flashing money around, showing off his Italian leather coat, and going a little bonkers with the stolen Mercedes. Things were bound to go bad for him, and they did just that when his deal with Double-G went oh so wrong.
(S05E08) "A lie ain't a side of a story. It's just a lie." - Terry Hanning
Rest in peace Omar Little. Wow. Honestly, that's all I really want to talk about. So let's get everything else out of the way first. I'll come back to Omar. Where to start then? How about my weekly rant on Scott Templeton? When I first saw that quote at the head of the episode, I was wondering who the hell Terry Hanning was. I figured he must hold some weight if his quote was the one selected to grace the episode though. Then we saw him. The military vet that Scott "interviewed" under the bridge the day he went slumming with the homeless. I've been waiting all season for a moment like this.
...Six Creepy Killers.
Murderers, psychopaths, homicidal nut-jobs, and guys that like to eat fingers. Killers, they come in all shapes and sizes, all forms, and they're all over TV. We love to hate them and in some cases we hate that we love them. But you can't avoid them because more often than not, they lead to some great storylines on many of our favorite shows. Here's a look at some of the big ones from 2006.
1.) Sylar [Heroes] - Mild-mannered watch maker turned super-powered brain craver, Sylar has been removing the pink organs from folks on Chandra Suresh's list on Heroes all season long. He looks calm in that picture, but that was before he grew in the scrappy beard and donned a trench-coat. His ability to absorb the powers of those he kills is creepy enough, but actually seeing him get angry is definitely unnerving. Just look at what he did to Eden in the show's mid-season finale. I wouldn't recommend standing in front of a plate-glass window if this guy is on the other side of it.
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