After watching the series for a second time, I think so. It's so well put together and I don't think there will ever be another TV series with the type of impact, influence, and realism that The Wire had.
With that said, The Sopranos is still neck and neck with The Wire and The Sopranos has bar none the best TV series ending of all time.
You really think season 4 lost it's touch?! That's surprising, season 4 is highly praised as arguably the best season of The Wire and one of the greatest seasons of any television show ever and I am with the majority on that one.
With that said, I agree with a lot of what you said. The Wire fans are very protective and defensive of the show. Breaking Bad is without a doubt right up there with The Wire and The Sopranos, but aside from Breaking Bad there aren't too many shows that compare.
I like Breaking Bad but it simply doesn't touch the wire in terms of intelligence and sofistication.
Now obviously what you like is up to you, so is how you determine what the best show of all time is. For me it's a mixture of clever dialogue, complex story and obviously good acting. And I am a sucker for things that connect, and a show's ability to do that with subtlety. To me that's the wire in a nut shell. The cyclical nature of the ending, the sobering statements about the infrastructure of all the elements that make up the city and the connections throughout the show are a level of genius I have not encountered in any tv show since, and I've seen a lot.
I like BB but personally don't get the "it's the goat" crowd but like I said to each his own. Other shows I have over BB if anybody cares, are the shield and Sons of Anarchy (even with subpar last season) and then a few like the Sopranos I have on kinda the same level. Boardwalk would have been in the mix til SPOILER they ice Jimmy I just felt like it didn't fit with what the show had done and they did it cuz the audience wasn't as into Nucky as they were Jimmy and the show was about Nucky Again all of this just my opinion. I thought BB was very entertaining and is a very good show, and I like shows that entertain and aren't overly complex (huge Justified fan) but when we're talking the best of all time it's gotta be a show that makes me think the most and a show I could talk about and analyze forever. That is the wire, but that's definitely not how a lot of people feel about what they want in a tv show
I believe a great show like The Wire deserved a better ending. And I'm brave (foolhardy?) enough to post this two episodes before the finale.
You haven't even watched the show all the way through and you have opinions this strong. I bet your thoughts will change when or if you watch this again, because I'm quite sure you missed something that would probably change your whole prospective of some things. To put it quite simply you have not seen all of what the Wire has to offer. A rewatch is required.
When I first got into the show I thought season 1-3 were the best, and still enjoys those more to this day mainly for the Barksdale storylines, but now after watching it many times I see that season 4 plays just as good if not better than the first 3 seasons.
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For me, it is my favorite show of all time by quite a bit. I loved Breaking Bad but it was only good the first time around. I tried getting into The Sopranos but only lasted about 5 or 6 episodes before I lost interest. I might try again sooner or later.
The Wire just had such a great group of characters and so many different plots and sub plots. It gets better on rewatches too.
I love the wire, but I am not sure if this show has had that much impact or influence. There haven't been any shows like this. It did not win any Emmys. Most actors of The Wire have done fairly well but none of them became a breakout star except Idris Elba.
Well, you cannot base influence and impact on Emmy awards and how well the careers of the actors went after the show. With that said, The Wire is more of a cult hit, more so than shows like The Sopranos/Breaking Bad.
I also said there have not been any shows resembling it . or that may seem to have been inspired by it. How else would you measure influence and impact? Perhaps one could make a case if we had the numbers of viewership in recent years.
The show is highly praised and regarded as one of the best TV shows ever, of any genre. Hell Lil Wayne even name dropped Stringer Bell in a song of his.
I'm a die hard Sopranos fan and I disagree, The Wire is absolutely right up there with The Sopranos (and Breaking Bad as well for that matter). Anyone who doesn't think that all 3 of those shows are genius is crazy.
Point One: "Best Show Ever" is an incomplete category. Was it the most entertaining show you've ever seen? Was it the most touching? Did it make you laugh hardest? Cry hardest? Did you learn something?
That last one is why people point to "The Wire" as being in a class of its own, because it is entertaining, it is touching, it does make you laugh and cry, but on top of all of that, it might open your mind up a little bit about how corrupt almost every aspect of "the straight world" actually is, how there may not be that much difference between being a lawyer or a criminal who robs drug dealers, how the system doesn't care about you and will eventually chew you up should you make the mistake of giving a *beep* when it ain't your turn to do so.
For some people, they don't want that type of "lesson" in their TV shows, they want pure entertainment, which is why some might feel that 24 or The Shield or How I Met Your Mother is the "best show ever".
The Wire is among the best, without a doubt. The only other show that I would say comes anywhere near covering as many bases as it does would be The West Wing, another show that actually taught you some realities about how government and society work while entertaining you. Not as realistic, though, it's set in a fantasy land where the government actually works sometimes, and accomplishes things.
Point Two: Every season of The Wire was in a way like starting over with a new show. Yes, you still had mostly the same characters as far as the cops went, but the other players could change radically, with new additions every season. The most jarring of these changes was of course when Season 2 came along, and suddenly we were looking at these dockworkers, mostly of Polish descent, and we spent far less time with Avon, Stringer, Bodie, etc. They were still there, but they were no longer the primary focus. And we had to learn to care about a whole new group of people. A lot of people didn't like that, and S2 is often cited as if not being the "worst" season, at least featuring the most characters that you you were not happy to see appear on the screen (poor Ziggy).
Season 3 is often thought of as being the "best season", and it's pretty obvious why that is. We went largely back to following the same guys that we'd followed in S1. Avon was back out of prison, and we finally got to dig a little deeper into him, and into String. Now, Season 3 also introduced or went deeper on a lot of new characters as well, mainly the Eastside players. But since they were an extended part of a world we already knew (the Barksdale/Bell Empire), we were far more accepting of them.
We get to Season 4 and it's time to talk about how little McNulty gets talked about when discussing various seasons, or the show as a whole. This is, after all, the STAR of the show, the man whose name comes first, the first character we see on the screen in S1ep01, the guy listed at the top in the IMDb acting credits for the show. So much of what happens on the show is pushed forward because of McNulty. But he isn't actually all that dynamic himself, he's somewhat of a trite character (although of course Dominic West does an outstanding job playing the guy), the too smart for his own good cop who has a problem with controlling his drinking and his dick. This is nothing new, and that's part of why he's the center of the show, the glue. He's a place we recognize to start out from, he's our guide to many different lifestyles and cultural values as portrayed in the show.
And by the end of Season 3, he was worn out. He asked to be given a greatly reduced role in Season 4, and he was. The character changes, he becomes domesticated, living with Beattie and the kids, his ex-wife can't believe how well he's matured, his relationship with his sons is good. And of course it's completely boring (though very sweet). He is in S4 far less than any other season of the show, and it probably is why we have a post in here talking about how the show "lost focus" in S4. It didn't lose focus, not in the slightest, but it lost the character of Jimmy McNulty that we'd come to know over 3 seasons, the viewing audience lost its familiar guide.
Additionally, S4 really isn't David Simon's season. The season belongs largely to Ed Burns, and the character of Prez (in this season) is based in no small part on Ed Burns' personal experiences. He worked as a Baltimore City police detective for 20 years, then he worked as a Baltimore public school teacher for 7 years before retiring. He knew David Simon from when Simon was a reporter for the Baltimore Sun, and the two worked together on everything Simon had created for television at this point, The Corner, The Wire, and Generation Kill.
Burns has far more writing credits for S4 than Simon does. It was his season. And compared to the other four season, S4 is by far the most hopeful of any of the seasons. McNulty might turn out to have a happy life after all. Bubs is clean. Bunny's trying to do something to change the mindset of the Corner Kids. Naimond realizes he doesn't have it in him. Michael seems like he's going to figure out a way to get a better life. Dukie even has some hope! Carchetti seems like he's actually growing to care about people and accomplishing real change. Cutty has found some purpose.
I think all of this hopefulness is why I find S4 to be my personal favorite, and a lot of folks agree, but usually it's not until they've watched it 2 or 3 times. Gotta get used to the different feel, and to the changes from the previous season.
And all of that hopefulness gets sucked right out of the room in Season 5. Every single last bit of it. And that's part of why people usually find S5 to be the weakest (although the final episodes was definitely very good).
Another strike against S5 is that McNulty's creation of a "homeless killer" overshadowed the point the storytellers were trying to make about how the priorities of the police department (reflecting society overall) are pretty messed up. The only way to get approval to solve the murders of a bunch of people who were dead where it didn't matter was to make up an outrageous lie that wrenched at people's hearts - oh, lord, they're killing the poor homeless now! - and public outcry drives the Mayor to approve funds for the Police.
I think the final strike against S5 is one that I actually just realized the last time I re-watched the Series a few months ago (probably my 4th time watching the entire thing). If you were to take all of the scenes in S5 that actually had to do with the Major Crimes Unit working on the Marlo Stanfield case, I don't think you'd have much more than 35-40 minutes. And a lot of that would be just people in the Major Crimes office having conversations.
There was no feeling at all that they had actually accomplished something when they finally caught Marlo. And they didn't, again, that was part of the point of the storytellers. Because they illegally wiretapped the phones and picture messages, and Levy figured it out (thanks, Herc), Marlo basically got a slap on the wrist. A light one.
But we could have made that point while still feeling like the folks in Major Crimes were being clever in their attempts to apprehend Marlo. We felt that in Seasons 1, 2, and 3. We didn't feel it much in S4, but that's because they didn't really have a true target in that season, they were being pushed aside and undermined, unable to go after Marlo because there weren't yet any bodies they could put on him.
After that season of frustration, the whole thing that leads them to successfully nabbing Marlo (at least temporarily) is because Sydnor didn't know where a particular street was, so he turned to his map book, and suddenly realized what the clock code was in the picture texts. It was extremely anti-climactic.
They could have at least had "Ring of Fire" playing in the background on his radio when he figured it out.
So, in short (too late), Season 5 was the weakest, and no matter how many times Simon claims they told the story they wanted to tell in 10.5 episodes, maybe if it had been 12 (or 13!), it would have played out better and felt more satisfying. Having McNulty be back in the MCU and actually working with them to bust Marlo would have been more satisfying, but perhaps they didn't want to repeat themselves.
Nice post. I recently re-watched the show (for, oh, maybe the twelfth time), and I was struck, once again, by how outstanding Season 4 is. It truly is as great as any season of any TV series ever made. The staggeringly complex interlocking narratives reach a peak, but at the same time it's the most emotional season (only second to the "Greek" tragedy of Season 2). And I think a big reason why this is is because Burns was so heavily involved. It was precisely when he stopped caring as much and stopped writing for the show as much, when the show lost the total brilliance it had more or less sustained for the first four seasons. (I'm of the view that Season 3 is both incredibly compelling and indeed great yet also easily the least fresh and consistent of the first four, feeling almost like "fan service" at times even though that's not something Simon would ever do).
Season 5 is just a giant mess, a pretty great season compared to most other shows but a great disappointment coming after the dizzying heights of those first four seasons and especially Season 4. It simply feels like a betrayal for the tone to suddenly lurch to this sub-Strangelove-ian black comedy/satire, when we were so used to a more somber Paths of Glory pathos. Many things about S5 are terrific, but it's more in the micro than the macro: certain scenes, the last two episodes (though the final montage is problematic with its "__ is the new __" schtick), there's a lot of good stuff. But the overarching, bigger parts of it, the newspaper and the serial killer, just don't work nearly like the main threads of the first four seasons did. It's hard to put into words but it's just something that feels like it was written by some imposter at times -- it lacks the deft touch, the grace and realism and avoidance of didactic dramatics which the best of the first four seasons had.
I'd put The Wire and The Sopranos as two of the most overrated shows to ever air. The Sopranos is painfully repetitive, hardly as clever as it thinks it is, and the tired mafia cliches get old quick. Tough to think of a single character to care about, even!
LOTS of cop shows, if that's your thing... I'd check some more out and see what's out there!
SOME BEST SHOW CONTENDERS:
Six Feet Under Game of Thrones Breaking Bad Making a Murderer Hill St. Blues 60 Minutes Seinfeld Fargo
If you think the Wire is anything at all like another cop show, you severely missed the point of the show. I am not saying you have to like it. One of my best friends is very very smart, and it just bored him because when he watches tv shows it's not to think too deeply about it. I'm just saying the wire is not just another cop show
The "Best Show Ever" is always a personal choice, because nobody has watched all series of all countries and all times, the future included...
But the Wire is the best show I have ever watched. It comes as close to flawlessness as possible. There are characters who are only a few minutes in the show and have more depth than main characters in other shows. You have to pay attention, there are no "last time on The Wire", no slow motion, no background music, no fast cuts, no cliffhangers. I love especially the details which makes the Wire for me the show with the biggest replay value. A small example is the DeeDee-Character:
Definitely one of the best shows ever, but I don't know about the best. I appreciate its influence and realism, but I have a couple of creative gripes; one of which is its length. Things felt a bit rushed, and I think they tried to tell a 75–80 episode story arc in 60 episodes. While I like all the characters and found them necessary, there still seemed to be too many; which wouldn't have been a problem if there were more episodes to flesh everyone out. Michael Santangelo and Terrance Fitzhugh are great examples.
Otherwise, I think it's a near-10, if not a perfect 10.