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Difficult to do more than add to the accumulated praise at this point; possibly mentioned in the threads on previous seasons is that there’s so much good content it’s difficult to isolate specific themes or characters without appearing to detract from the way that the entirety of the fictional world feels so plausible and self-contained. Pointing out this or that development seems almost too obvious when the show works through a slow build-up of events and decisions that only very occasionally leads to a dramatic confrontation – and even then that usually only signals a slight change in direction and continuation rather than a terminus. In a show that sometimes feels like it’s been designed to be described as difficult to follow, it’s maybe remarkable how low-key and really how clear much of the drama is, I’ve caught myself just soaking up the presentations of the characters with an expectation that every action will in some way inform what’s to come – then realising how different that makes this show compared to most others.
Anyway, garble of praise over, a number of things I particularly liked about season four centred on the kids, and the way that to an even greater degree than previous seasons we were given a perspective on those either at the bottom of the system or not quite yet having entered the system (or the game, if you like) which we’ve seen as being fairly fixed in the past, and those at the top (or on top) of the local system
that get to decide some things for those lower down, but also have to react to events that happen at a lower level (too many bodies, or example). And by those at the bottom I’m meaning the kids that still seem to have if not the freedom to escape entry into that structure but to varying degrees still have some choices about where into that system that they’ll fit.
And as I write that, it seems to suggest that kids aren’t already caught up in the gears of their society and history, and that seems false immediately, because of course the corner kids are where they are because of their parents and because of a lack of opportunity based on race and poverty and distorted expectations, so in a lot of ways of course their options are decided for them. As much as the season is about fresh starts and interventions, as noted above by Boboss and others it’s about change but also about things staying the same, about repetition. But for the kids that we focus on, certain choices are made, and I think surprising ones (or surprising to me at any rate). Originally it seemed clear that Michael was the responsible one of the group, who was going to try and pull himself and his brother away from his family and the corners, while Namond seemed destined for a future spent slinging on the streets. And by the end of the season things have gone the other way, Michael’s cold side is revealed, while Namond is shown that he’s not like Wee-Bey. So on the one hand we’re shown an imperfect attempt at repetition (the attempt by his mother to turn Namond into a gangster) while at the same time another kind of repetition, the abuse Michael has suffered from his stepfather seeming to fuel his violent side and in effect determine what path he’s going to follow. And to go back to the guys at the top of the chain of command, the more we see of their world the more it’s suggested that for all their apparent freedom and privilege they’re still tied into a world of bargaining and compromise, they’re aware that their actions today might restrict their choices in the future, and that as far up the system you go there will always be someone with more money or influence who’s prepared to extract favours or keep you down in order to maintain their own position, so that frustration and disappointment runs right through the system from top to bottom….
As a side note, I really liked the way that The Wire didn’t need to do anything more than hint at Michael’s abuse, and given their unspoken understanding the likely abuse of Chris as well, because what for another show might have been a subtle clue that needed to be reinforced a couple of times feels natural here, because the viewer is already trained for catching those sorts of nuances. See! Some tv, good tv, can be good for you. So good that one of the few unrealistic moments in the series, the opening where Michael is chased into an abandoned building, before shooting his pursuers who seemed to bleed some bright variety of ketchup, had already been forgiven (personally I mean) given the general high standards of the show, before it was revealed, of course, to be unreal.
So on to season five, which has to be about the bodies, Marlo and the Mayor / Major Crimes Unit drive on high quality busts, and where our recurring characters some of the kids end up, right? As substantial as season four felt, so much of it felt like it was setting up future events that they were never going to be able to squeeze in, I’m hoping that they manage to keep up the standards and format for season five. Do people think there is going to be room enough for more Bubbs and Omar, who both seemed to have reached a certain point in their arcs where their parts could be de-emphasised without detracting from the main narrative?
(God that last sentence sounds counter-intuitive given that this is The Wire.)
Anyone else been catching up with the boxed set and has thoughts to share? |
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