Nicely done: The Wire season one
Oct. 8th, 2006 09:30 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
baleanopteraI’m a little concerned as to how I can describe the complexity and awesomeness that is the Wire. Therefore I’ll cheat and use points to structure the mess. This is what’s buzzing round my head right now. There might be more later.
Atmosphere and mood.
- in which I talk about laughter
Essentially the Wire tells a bleak story, and one that could easily be depressing and dystrophic to the point of darkness. Many series that think they are taking about “important and adult themes” choose to do the darkness thing. What I love about the Wire is that it never lets go of humour. Even in the bleakest, most depressing moments, like when Kima gets shot, there is humour. Yes, it is desperate and not always funny humour, and it’s coloured by the circumstances – but its there.
Why is this so important to me? One of the most annoying things I read or see are stories that depict dark themes and feel they must do this in an all-encompassing dark and brutal tone. Not only is this extremely depressing to watch, but I often find it very unbelievable. If there is one thing I really like about humanity it’s our ability to laugh. The reasons for cracking jokes are varied – sometimes it’s snarky defence, sometimes it’s desperation and sometimes its joy. But it’s there. One of the most touching funerals I’ve ever been to had people who told jokes about the departed. Sometimes they would laugh, and sometimes they would cry. This doubleness is present in The Wire as well. The story is bleak, most of the characters have problems or tragic fates- but all of them at one time or another smiles and tells jokes. Even in their most desperate hour. This is for me part of what makes this series so special and so human.
The Visual
- in which there is mention of McNuggets
I have compared The Wire with a novel, full of layers and plot threads that require close attention. But it is also a tv-series, and therefore a story told primarily through an audio-visual medium. Amazingly enough it never forgets this, and just as important as the dialog and the plot are the visual techniques. I’ve mentioned in a previous post about the juxtapositions- from the McNuggets to the Sushi. But there is also the repetition of visual elements – like Poot eating McNuggets in the final episode of S1. But he is alone and on a black couch. The first time he was with Wallace and the couch was orange. I really like these kind of visual call backs.
Then there is the presentation of characters through the visual means. The first time Avon Barksdale comes to the projects the filming goes into a strange slow motion, and it results in Avon appearing like some hero in a an action film, it makes him the clear centre piece, it makes the viewer pay special attention – and it generally marks what would have been an ordinary scene as something spectacular. For Avon in slow-mo is awe inspiring.
Then there is the dancer at Orlando’s, Shardene. The first shots of her show her dancing and stripping at the bar. She is a times drunk and I half expected her to be a whore. But as the series progresses and we learn more about her character the shots of her dancing diminish, and we are more often than not shown her fully clothed. Of course this helps change our perception of her.
One of the reasons I really like this conscious use of the visual medium is that it doesn’t happen very often. Usually a series or a movie can do the odd visual symbol once in a while, but then it’s often to underline the existing symbolism in the dialog or plot. In The Wire the use of the visual as part of the storytelling is present all the time. It appears to me that the writers of the show have given just as much though to the visual feel as they have to the dialog and plot. For instance – Prez starts out rather bad, but as he starts working the paper trail and gain confidence his clothing style changes. He doesn’t become fancy but rather the opposite – he becomes geeky. He is relaxing, he is letting his guard down and the real Prez starts to shine through, and they manage to symbolise this through geeky shirts.
The opposite is true of Freamon. He starts out in grand dad clothes, but little by little changes them to something smart as he is woken from “slumber”.
The Characters
- in which I find something symbolic in goldfish
The characters are never anything other fully fleshed out. This amazes me. Usually there is always one character that’s a little one dimensional, or that you feel is more a plot requirement than a character. (I’d say Deadwood had one in Jack McCall.) But never with The Wire. A part of me is very much “how is that possible?”. But obviously it is, and I love it.
I also love how they build the characters. I’ve mentioned the visual techniques – but they also manage it by giving the characters quirks. Like Wee Bay – who is a killer, a possible rapist and not a very nice guy – but he has names for all his fish. And not in a gimmicky way either.
Neither are they afraid to let the characterisation be understated. Like Wallace who has never heard crickets, and mentions this in passing to Lt. Daniels. Nothing is commented on this fact, it’s just left to stand alone – and let the viewer draw her own conclusions. And even if I might never get over the sight of Bunk in a pink bathrobe I adore what this scene does for his characterisation.
There is also characterisation through dialog, not just in what they say but in how they say it. When D’Angelo talks to the hoppers at the projects he can tell these long stories or talk philosophically about chess. When he talks with Avon his usual gift for articulation shuts down, and he starts to talk in short sentences, and his use of street slang is much more obvious. When he talks with the police his use of street slang almost disappears in comparison.
All in all I’m amazed, I’m in love. I’m already watching season two. :D
I also have the theme-song stuck in my head. Is it available anywhere?
Atmosphere and mood.
- in which I talk about laughter
Essentially the Wire tells a bleak story, and one that could easily be depressing and dystrophic to the point of darkness. Many series that think they are taking about “important and adult themes” choose to do the darkness thing. What I love about the Wire is that it never lets go of humour. Even in the bleakest, most depressing moments, like when Kima gets shot, there is humour. Yes, it is desperate and not always funny humour, and it’s coloured by the circumstances – but its there.
Why is this so important to me? One of the most annoying things I read or see are stories that depict dark themes and feel they must do this in an all-encompassing dark and brutal tone. Not only is this extremely depressing to watch, but I often find it very unbelievable. If there is one thing I really like about humanity it’s our ability to laugh. The reasons for cracking jokes are varied – sometimes it’s snarky defence, sometimes it’s desperation and sometimes its joy. But it’s there. One of the most touching funerals I’ve ever been to had people who told jokes about the departed. Sometimes they would laugh, and sometimes they would cry. This doubleness is present in The Wire as well. The story is bleak, most of the characters have problems or tragic fates- but all of them at one time or another smiles and tells jokes. Even in their most desperate hour. This is for me part of what makes this series so special and so human.
The Visual
- in which there is mention of McNuggets
I have compared The Wire with a novel, full of layers and plot threads that require close attention. But it is also a tv-series, and therefore a story told primarily through an audio-visual medium. Amazingly enough it never forgets this, and just as important as the dialog and the plot are the visual techniques. I’ve mentioned in a previous post about the juxtapositions- from the McNuggets to the Sushi. But there is also the repetition of visual elements – like Poot eating McNuggets in the final episode of S1. But he is alone and on a black couch. The first time he was with Wallace and the couch was orange. I really like these kind of visual call backs.
Then there is the presentation of characters through the visual means. The first time Avon Barksdale comes to the projects the filming goes into a strange slow motion, and it results in Avon appearing like some hero in a an action film, it makes him the clear centre piece, it makes the viewer pay special attention – and it generally marks what would have been an ordinary scene as something spectacular. For Avon in slow-mo is awe inspiring.
Then there is the dancer at Orlando’s, Shardene. The first shots of her show her dancing and stripping at the bar. She is a times drunk and I half expected her to be a whore. But as the series progresses and we learn more about her character the shots of her dancing diminish, and we are more often than not shown her fully clothed. Of course this helps change our perception of her.
One of the reasons I really like this conscious use of the visual medium is that it doesn’t happen very often. Usually a series or a movie can do the odd visual symbol once in a while, but then it’s often to underline the existing symbolism in the dialog or plot. In The Wire the use of the visual as part of the storytelling is present all the time. It appears to me that the writers of the show have given just as much though to the visual feel as they have to the dialog and plot. For instance – Prez starts out rather bad, but as he starts working the paper trail and gain confidence his clothing style changes. He doesn’t become fancy but rather the opposite – he becomes geeky. He is relaxing, he is letting his guard down and the real Prez starts to shine through, and they manage to symbolise this through geeky shirts.
The opposite is true of Freamon. He starts out in grand dad clothes, but little by little changes them to something smart as he is woken from “slumber”.
The Characters
- in which I find something symbolic in goldfish
The characters are never anything other fully fleshed out. This amazes me. Usually there is always one character that’s a little one dimensional, or that you feel is more a plot requirement than a character. (I’d say Deadwood had one in Jack McCall.) But never with The Wire. A part of me is very much “how is that possible?”. But obviously it is, and I love it.
I also love how they build the characters. I’ve mentioned the visual techniques – but they also manage it by giving the characters quirks. Like Wee Bay – who is a killer, a possible rapist and not a very nice guy – but he has names for all his fish. And not in a gimmicky way either.
Neither are they afraid to let the characterisation be understated. Like Wallace who has never heard crickets, and mentions this in passing to Lt. Daniels. Nothing is commented on this fact, it’s just left to stand alone – and let the viewer draw her own conclusions. And even if I might never get over the sight of Bunk in a pink bathrobe I adore what this scene does for his characterisation.
There is also characterisation through dialog, not just in what they say but in how they say it. When D’Angelo talks to the hoppers at the projects he can tell these long stories or talk philosophically about chess. When he talks with Avon his usual gift for articulation shuts down, and he starts to talk in short sentences, and his use of street slang is much more obvious. When he talks with the police his use of street slang almost disappears in comparison.
All in all I’m amazed, I’m in love. I’m already watching season two. :D
I also have the theme-song stuck in my head. Is it available anywhere?
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no subject
Date: 2006-10-08 10:16 pm (UTC)Many series that think they are taking about “important and adult themes” choose to do the darkness thing
I like this too – that “The Wire” certainly doesn’t take itself too seriously. I am always feeling uneasy with the position “look how dark I am. How many important issues I tell about” of some shows.
Then there is the presentation of characters through the visual means. The first time Avon Barksdale comes to the projects the filming goes into a strange slow motion, and it results in Avon appearing like some hero in a an action film
This reminds me of the scene in “Reservoir dogs”. This was done before, but still it is amazing in “The Wire”. Somehow just by watching that short scene you can work out “who is who” – for me it is in a way reminiscent of the Queen’s outings and everybody has a defined position in the pack. Defined by their position in the chain of command.
I also have the theme-song stuck in my head. Is it available anywhere?
A fantastic song – I love the way they changed the musical arrangement in the season 2. It is still the same song and it is still awesome, but it is more fitting to the dock storyline. It is performed by "Blind boys of Alabama", Here is the Amazon link with the album containing this song. (http://www.amazon.co.uk/Spirit-Century-Blind-Boys-Alabama/dp/B000059MEM/sr=8-1/qid=1160345684/ref=sr_1_1/202-4426246-1939063?ie=UTF8&s=music)
The characters are never anything other fully fleshed out
This is what is so truly awesome!!! I love every one of them , even Prez’s father-in-law. :D
no subject
Date: 2006-10-09 08:32 am (UTC)*blushes* Thank you - I was a little afraid it would be to general and not specific enough.
I am always feeling uneasy with the position “look how dark I am. How many important issues I tell about” of some shows.
Me too. The danger with going for "darkness and despair" when dealing with important issues is that it either becomes to dark for the viewer to relate to, or that the issue itself drowns in all the "darkness and despair". It's a very fine line to walk. With "The Wire" they include humour and that IMHO makes everything so much more believable. There is something about humour that for me confirms life and hope, and these are emotions that humans rarely lets go of. So if humour is gone a story can easily stop feeling "real" to me, and instead it takes on the mantle of stylistic dystopia. (darkness for the sake of darkness)
Another thing "The Wire" does is that it doesn't dwell on the bleak and ugly things. It never becomes gracious in showing horrible mutilated bodies, like Omar's boy Brandon. The viewer is shown Brandon yes, but the camera doesn't linger. A lot of series seems to feel that showing blood and gore in excessive detail is part of what makes the show "Mature and about important themes" - most of the time I just feel it's gracious.
Somehow just by watching that short scene you can work out “who is who”
Definitely. And I think your right in it echoing royalty with Avon and his court. It's an amazing scene, and it could so easily have been cheesy. But it's not. Avon (and his sister) still scares me though. You get the feeling that there is something so hard at the core of both of them, and when D'Angelo started talking about how this was what his family did I got even more spooked.
A fantastic song – I love the way they changed the musical arrangement in the season 2.
most def! (*grin* I've been waiting for an excuse to use that expression. ) Thank you for the link - the cd is now on my wish list. As you say it's a fantastic song, and I love, love, love the fact that they changed it. Adapting title songs and sequences to fit the seasons of a show is something I really like. It might be a little geeky of me, but I just love when the title feel matches the series feel.
I love every one of them , even Prez’s father-in-law. :D
Now I haven't gotten to know his father-in-law that well yet - but I loved the fact that he commissioned a stained glass window. But so far I'm either fascinated or loving almost all the characters from season one. I even have an appreciation for maj. Rawles. Not to fond of the Deputy Ops though. And on that note: Carver! How could you? You stupid, stupid boy. But he didn't look to pleased with himself at the end did he?
I also cannot get over the fact that I like Prez and Herc. At the beginning of the show I thought I would loath them, but now I'm all: Yes! Go boys!
Especially Herc at the end telling the rooks how to work a case by thinking, and Prez at 2.1 saying he just wanted to work cases. Aww..
I suspect I'm going to need some "The Wire" icons. You know of any?
no subject
Date: 2006-10-09 08:56 am (UTC)Oh no! You must be making FANTASTIIC lectures.
So if humour is gone a story can easily stop feeling "real" to me, and instead it takes on the mantle of stylistic dystopia. (darkness for the sake of darkness)
Agree again. Also in the Police/Drug trafficking environment I imagine that there is always the banter going on. (it is not I have been in these environments, though. Just imagine :) . Man-centered environments are often like this. It would have been very strange to see them talking very politely to each other - this what feels strange for me in "Law and Order".
Another thing "The Wire" does is that it doesn't dwell on the bleak and ugly things
For me this makes the stories scarier in a way – Stringer and Avon are so matter-of-fact about what they are doing and so “unrepentant”. And Jimmy and the crew also don’t go about thinking the high thoughts about saving the humanity. They just want to do a good job, be “good police”.
Somehow just by watching that short scene you can work out “who is whoâ€
But it's not. Avon (and his sister) still scares me though. You get the feeling that there is something so hard at the core of both of them, and when D'Angelo started talking about how this was what his family did I got even more spooked.
I can’t forgive what Brianne did to D’Angelo at the end of the season 2. She should have known her son better and should have known that this is going to break him.
A fantastic song – I love the way they changed the musical arrangement in the season 2.
most def! (*grin* I've been waiting for an excuse to use that expression. ) Thank you for the link - the cd is now on my wish list. As you say it's a fantastic song, and I love, love, love the fact that they changed it. Adapting title songs and sequences to fit the seasons of a show is something I really like. It might be a little geeky of me, but I just love when the title feel matches the series feel.
I love every one of them , even Prez’s father-in-law. :D
Carver! How could you? You stupid, stupid boy. But he didn't look to pleased with himself at the end did he?
There will be some more on Carver in season 2. Just saying :)
I also cannot get over the fact that I like Prez and Herc. At the beginning of the show I thought I would loath them, but now I'm all: Yes! Go boys!
The Wire always has a surprise in store for me – I was absolutely convinced at the beginning that Prez will be some kind of “infant terrible” all the way. But math nerds – how I love you!!
I have made some icons a while ago - http://alexandral.livejournal.com/29513.html#cutid1, please take any if they are any good :)
And – EEEEEEE! I have watched the first episode of season 3 of “Deadwood”. I don’t know how I lived without this show!. But I think I must go and get season 1 – I can’t understand a thing!!!
no subject
Date: 2006-10-09 11:21 am (UTC)Now I'm blushing even more. Still it's good to hear as lecturing is part of what I want to do for a living. :)
And Jimmy and the crew also don’t go about thinking the high thoughts about saving the humanity. They just want to do a good job, be “good police”.
Exactly! And sometimes the police break rules and twist ethics as well. I suspect that is another post -the paralleles between the police and the gangsters. Both camps have corruption as well as rules, and you get this feeling that which side of the law they are on is somewhat arbitrary. Not that the criminals were devoid of choice, but that it's easier to start selling drugs if you grow up in the projects. Take someone like Stringer - I could easily picture him as a police instead of a gangster.
Then there is the scene with Herc, Carver and Bodie playing pool. These people could be friends - if the situation was a little different. And that just complicates manners in a very interesting way.
as absolutely convinced at the beginning that Prez will be some kind of “infant terrible” all the way. But math nerds – how I love you!!
Yes!I think I actually squeed out loud when Prez solved the beeper-code. I figured he was up to something when he started copying the phone, but the solution to it was brilliant. i think I have a special geeky place in my heart for Prez. :)
I have made some icons a while ago
*big grin* See, I was hoping this would be the case. I'll click on over and take a look - and in all probability I'll grab a few. ;)
And – EEEEEEE! I have watched the first episode of season 3 of “Deadwood”.
It's so, so good. Even if I hate Hearst with a passion. The bad guys in Deadwood keep getting badder don't they?
Speaking of tv-series - this is one of the things I really like about autumn. It's the perfect season for watching tv and movies. And all the favourite shows start up again. Have you watched the first episode of Veronica Mars S3?
no subject
Date: 2006-10-10 01:54 pm (UTC)Meep. I haven't had a chance yet. I am not sure if I will do it this week or start saving the episodes and watch everything at once. "Deadwood" is really calling me. And plus there doesn't seem to be enough hours in the day. :)
no subject
Date: 2006-10-10 06:06 pm (UTC)In regards to VM, this is the first time I'm able to watch it as it airs. Before I have only watched the season as a whole. So I figured I'd try the experience of watching the crime-show relatively un-spoiled. I might crack on the being unspoiled though. I suspect my nerves will not hold. ;)
no subject
Date: 2006-10-11 05:37 pm (UTC)I love spoilers, my brain can't cope with uncertainty :)