Aalborg Universitet

Social Reproduction and Political Change in

Jensen, Mikkel Bo Brendstrup

Published in: Akademisk kvarter / Academic Quarter

Publication date: 2017

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Link to publication from Aalborg University

Citation for published version (APA): Jensen, M. B. B. (2017). Social Reproduction and Political Change in The Wire . Akademisk kvarter / Academic Quarter, 15, 121-136. http://www.akademiskkvarter.hum.aau.dk/pdf/vol15/8.MikkelJensen_Social%20Reproduction%20and%20Politic al%20Change%20in%20The%20Wire.pdf

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- Volume 15 ’s attempt to create a ’s attempt to create The Wire Volume 15. Autum 2017 • on the web 2017 • Autum 15. Volume Culture Unbound Culture and , political television serials, sys The Explicator been structured as a more uplifting and redeeming uplifting and redeeming as a more been structured The Wire, The Wire, (2002-2008). While several critics have argued that this that this have argued (2002-2008). While several critics (2002-2008), lists the major governing forces that shape (2002-2008), lists the major governing forces The Wire Keywords temic analysis Introduction of HBO’sIn an oft-quoted turn of phrase, David Simon, showrunner The Wire This paper examines a core tension in the political television serial tension in This paper examines a core The Wire in its portrayal of contempo show is both “bleak” and “systemic” that it is useful to understand these this paper argues rary society, textual elements as building blocks in that argues The paper argument. political consistent and coherent had of its societal criticism would be undercut the systemic nature story, and the show would not embrace the logical consequence of the politics it espouses. Abstract condary school teacher, he is now working on a dissertation on condary school teacher, the collected of David Simon. He has published a few works as Douglas Couplandarticles on North American authors such and Dave Eggers in Aalborg University. Having formerly worked as an upper-se Having formerly University. Aalborg holds an MA in English and History and is a PhD Fellow at in English holds an MA quarter

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The Wire Social Reproduction and Political Change in Political and Social Reproduction Mikkel Jensen

kvarter akademisk ------as sys ’s fic - 122 are all are The Wire The Wire

Mikkel Jensen Mikkel The Wire The Wire “characters’ agency Volume ’s portrayal of Balti 15 for failing “to offer is a Greek tragedy in is a Greek The Wire The Wire The Wire , that the show presents a , that the show presents The Wire are at the mercy of structural and and of structural at the mercy are The Wire (Dreier & Atlas 2009, 332, italics in the orig Atlas 2009, 332, italics & (Dreier

The Wire ” ’s portrayal of institutional networks seems to to ’s portrayal of institutional networks seems Social Reproduction and Political Change in Change Political and Reproduction Social espouses. For if a show focuses on the dysfunc solvable The Wire The Wire characterization of the contemporary American metropolis. metropolis. American characterization of the contemporary (Simon in Hornby 2007, NP). But instead of the old gods, But instead of the the Olympian forc institutions are which the postmodern or the economy, department, or the drug es. It’s the police administration, or the or the school political structures, the lightning throwing that are forces macroeconomic reason decent no for the ass in hitting people bolts and tures. Indeed, it has been argued that Indeed, it has been argued tures. hope for positive change. politics is one that leaves very little more Atlas criticize and John Peter Dreier facing cities and the the problems viewers any understanding that urban poor are Coates labels it a nihilist poet Ta-Nehisi Baltimore inal). Similarly, conceptualizing institutions as show (Coates 2008, NP). Certainly, suggests how the characters of “Olympian forces” Simon’s mention of “the old gods” reveals how he sees reveals Simon’s mention of “the old gods” which, to him, is a proper drama being indebted to ancient Greek and underscoring in terms of understanding frame of reference how the characters of cen this on Noting control. their beyond are that forces institutional that on tral aspect, Jason Mittell argues is rarely able to make a difference in broader institution systems” overmatched surely characters are (Mittell 2015, 222) and the show’s and socio-economic struc of institutional when facing the force and restrain the lives of the characters that inhabit the characters of the lives restrain and Maryland: of Baltimore, tionalized rendition early academic analyses of temic sub and This article examines these networked institutional forces sequently considers what this conceptualization entails for the pol itics that it – at least implicitly – calls for change. tional aspects of a society, However, having the needed any notion of individuals or groups preclude but powerless in their attempts to solve crimes, change the domi nant political culture or alleviate the social ills that affect this Balti in one of the Marsha Kinder (2012) argues, For these reasons, more. quarter

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kvarter akademisk ------The 123 makes The Wire complex

Mikkel Jensen Mikkel social The Wire Volume 15 is characterized by a is characterized , can only be appreci ’s appeal lies more in its more appeal lies ’s . He argues that “I think you . He argues The Wire is a political television serial? is a political television The Wire 3 The Wire The Wire Thus, the narrative complexity of 1 The Baltimore Sun The Baltimore Social Reproduction and Political Change in Change Political and Reproduction Social feature that facilitates a portrayal of feature This sociological gaze is to see all social phenomena This sociological gaze is to see all 2 formal invites us to assume the role of amateur sociologists” (La invites us to assume the role is a In the fifth season, journalist Gus Haynes is in a heated debate in debate heated a in is Haynes Gus journalist season, fifth the In In Jason Mittell’s view, the central formal element of today’s in the central view, In Jason Mittell’s ated and understood in the context of the loss of jobs, unemploy jobs, of loss the of context the in understood and ated It is in this way that ment, and the war on drugs. a so 60 hour long narrative to paint full use of the ever-expanding cietal portrait that would be difficult to accomplish in other art forms, except for maybe the novel. the editorial office of office editorial the need a lot of context anything”,to seriously examine (5.2) which se for the politics of the entire can be seen as a method statement of how the narrative is toldries. In this sense, the formal complexity insti where contains, it diegesis the of complexity social the reflects in portrayed in their societal context. Large tutions themselves are etc. the school system, city hall stitutions such as the police force, level that systemic all seen as elements within the larger thus are Kinder identifies. In this perspective a school is not just framed as for teachersan educational institution but is also a site of struggle which, in the vision of and children, layers” (Mittell 2015, 222). Wire contemporary televi several Lavik notes that whereas Erlend ity. “narrative their in Mittell’s terminology, marked by, sion serials are 45), 2015, (Mittell effects” special invite content. Lavik writes that “if narratively complex TV-series say that amateur narratologists, we could of the role assume to us The Wire 133). 2014, vik to one another. in relation power to change their circumstances. What, then, does this conun What, their circumstances. power to change that mean for the way drum this article. question that is at the heart of That is the interpretative which, however, of television is its “complexity”, novative strand that He argues takes on many forms. a “complex web of in that relates distinct “centrifugal complexity” system rather than in the the social across forged terconnectivity the narrative or psychological in depth of any one individual’s role quarter

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Mikkel Jensen Mikkel The Wire The Volume 15 ”, Erlend Lavik points to a”, Erlend Lavik points The Wire Social Reproduction and Political Change in Change Political and Reproduction Social This scene is thus the visual representation of how these of how these This scene is thus the visual representation 5 An important part of Lavik’s analysis, however, is how it points however, An important part of Lavik’s analysis, move pieces around a chessboard making the detectives in the making the detectives in the a chessboard move pieces around 2012). of the shot look “like pieces in the game” (Lavik background “resemble then, foreground, extreme the in players chess two These above, making the charac Olympian Gods pulling the strings from (Lavik beyond their control” puppets, victims of forces ters mere 2012). Indeed, movers. than rather moved are characters elements of this socio-political situation does trayal of the untoward to another scene in the series that builds on the parable that that builds on the parable that to another scene in the series In Baltimore. low rises of Western D’Angelo makes in the pit in the Kima , Freamon, this other scene, Detectives Lester discussing in a square standing McNulty are and Jimmy Greggs, to push a case pre over being forced and venting their frustrations concerning clearance rates (1.6). “Just as due to pressure maturely this institutional dysfunction is most pointedly exposed in the con “the mise-en-scène alludes to versation that ensues,” Lavik argues, discussion between D’Angelo, Bodie, and the previous of the shot, two hands about chess” (Lavik 2012). In the foreground the notion of social uplift, Bodie accepts that pawns will only staythe notion of social uplift, Bodie ass pawns” (1.3). It is only muchpawns “unless they some smart man. rigged, is game “this that realizes Bodie that 4, season in later, as he puts it to Detec bitches on a chessboard” like them little We tive Jimmy McNulty (4.13). Bodie’s character arc is in and by itself when phenomena, social different how of portrayal narrative long a hard so is that network a compound other, each to relation in seen synec is then, scene, This Bodie. as character such escape for a to urban re of contemporary series’ systemic portrayal dochic for the social rather than of reproduction social of world a is This alities. uplift and change. “The king stay the king” “The king stay essay “Style in In his 2012 video of chess Barksdale explains the game D’Angelo central scene where trade. D’Angelo emphasizes in the drug to two of his subordinates the king” pawns and that “the king stay how pawns stay very is also the epigraph of that centrality, adding to its semantic of one and subordinates his on lost not is parable The episode. “so stratified the that notion the reject to tries Broadus, Bodie them, to his life. Believing in of chess should be applicable cial structures” quarter

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Mikkel Jensen Mikkel Volume 15 (2006-2010) is almost Heroes as a network narrative. Bordwell as a network narrative. Bordwell The Wire Social Reproduction and Political Change in Change Political and Reproduction Social where the networked structure is presented more as a side ef more is presented the networked structure where Patrick Jagoda argues that “oscillating between episodic and se that “oscillating Patrick Jagoda argues The detectives, while trying their best to do their jobs, are met are their jobs, trying their best to do while detectives, The the more we expect significant encounters among them” (Bordwell (Bordwell them” among encounters significant expect we more the a series like where 2006, 99). However, view the that lines narrative different up sets it how in teleological er will expect to cross at some point, it is a different case with Wire its in systemic gaze; its network is sociological fect to the show’s per A sociology but not neatly systematic in its narrative structure. Bun is when Major haps particularly poignant scene in this respect and, mirroring Mittell’s analysis, further argues that “ that argues further analysis, Mittell’s and, mirroring ac social featured its among associations sensible makes aesthetic (Jagoda 2016, 105-106). This argu tors and the networks they form” network narrative. the notion of Bordwell’s David ment parallels characters with con that such narratives present argues Bordwell fates and, he writes, “the very overtness of the converging- verging 2006, 99). In this (Bordwell fates strategy can make the plot cohere” sense, it is useful to view elaborates his point, switching the term “network” for “multiple- plot”, by stating that “[w]hen a multiple-plot brings strangers to lives, that the narration emphasizes their separate the more gether, ject. The institution’s focus on clearance rates is thus berated for ject. The institution’s focus on clearance going against the detectives’ ambitious efforts that might bring is tied in with the this narrative arc about change. Consequently, of mise-en-scène the and rises low the in scene chess synecdochic one another, to relation which, seen in the square, in dialogue the of criticizing the “Olympian” om makes for a rather eloquent way nipotence of institutional logic. to regularly able more are not only rial form, post-1990s programs but also can suggest complex narratives convey linearly delivered networks” social ground that universes and cities, communities, not present Baltimore’s problems as solvable in any obvious way as solvable problems Baltimore’s not present that seems reality a political and institutional and the show portrays different of problems interrelated the to due change to unable be to compound this bleak reality. social strata that their professional to counter that runs institutional logic with an logic. Their efforts are counterproductively thwarted by the very institu an serve to come then They within. operate they institution the society it is supposed to pro tion that fails to adequately serve quarter

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Mikkel Jensen Mikkel Volume 15 is directly connected to its is directly it is important to distinguish presents, i.e. the conflict that can The Wire The Wire The Wire Social Reproduction and Political Change in Change Political and Reproduction Social The more any quantitative social indicator is used for so The more subject it will be to corrup cial decision-making, the more apt it will be to distort and and the more tion pressures it is intended to monitor the social processes corrupt (Campbell 1976, 49). tries to tie both deindustrialization, the war on drugs, as well the war on drugs, tries to tie both deindustrialization, The problem that Campbell identifies here is all but a precise mir of the criticism roring force (1.6). Making clearance rates the guiding principle for police police the guiding principle for rates clearance Making (1.6). force and measura on accountability work hints at how a political focus bility affects the priorities of law which, enforcement, the viewer is of the important case thatcalled to understand, is to the detriment And because the McNulty is working on at this point in the series. is veryshow the with McNulty rather than Rawls viewer is aligned clear in whose point of view the viewer is to side with. Donald T. American social scientist, once described how meas Campbell, the a positive outcome of a public institution’s to ensure created ures adverse effects. In Campbell’s words: efforts can have directly aspect of how the politics of aesthetic appeal. For with the former systemic one. Whereas between a societal criticism and a latterthe advances, criticism a such that scope broad the to refers of scope as well as an interrelated both to the breadth term refers and considering how ness of seemingly disparate elements, Wire conditions of urban dwellers, the to the living as political culture At one point, Bill Rawls one. a systemic show’s criticism is surely importance of so-called clearance rates, McNulty about the lectures i.e. a quantitative way of measuring the effectiveness of the police ny Colvin and drug addict happen upon each other at the Bubbles happen upon each other addict ny Colvin and drug about sharing thoughts project, site of the former (3.12). had been a good thing whether Hamsterdam Systemic Logic guarantee a sys notes “an urban focus doesn’t As Kinder rightfully that it is the viewer’stemic analysis” (72). Kinder also stresses emo characters that makes the view tional engagement with the show’s keya on in zeroes Kinder so, doing in (76); issues these about care er quarter

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Mikkel Jensen Mikkel Volume 15 point to, however, is that certain meas point to, however, The Wire Social Reproduction and Political Change in Change Political and Reproduction Social ’s systemic analysis. The Wire , the overall purpose of public institutions is undercut by cer is undercut , the overall purpose of public institutions In the simplest of terms, the overall purpose of a police force is to purpose of a police force In the simplest of terms, the overall scene, and in season four when Pryzbylewski which also frustrates Middle School. The way that season Tilghman working at Edward the school system as a main setting serves to illus four introduces and social trate educational institutions, police enforcement how and to draw this connection is very impor interrelated are realities tant for stitutions face are (Williams 2014, 71). The quantitative logic of thefrom away efforts the redirects effectively however, measuring, As a easily measurable. more are highest of goals to goals which consequence, the efforts of a public institution are directed not at their objective (i.e. teaching overall kids and solving crimes), but beenhave which measurements the to up living at aimed rather are notes Blum correctly As Lawrence imposed by a political logic. “[t]he constantly at odds with construc of the institution are rules any of the issues with which the institution is tively addressing education, governing the city)” (NP). engage (crime, to meant McNulty in the above mentioned what so frustrates is logic This prevent and solve crime just like the overall purpose is to socialize and solve crime just like the prevent criticism The ability. school’s the of best their to children teach and that Campbell and In encumber such functionality. within these institutions ures Wire the institu to assist supposed that originally were tain measures purposes. Film scholar Linda tions in living up to their intended points to Williams how episode 4.1 contains “an intricate cross-cut given to PowerPoint presentation of very short beats comparing a given to police” which to teachers with a PowerPoint presentation the challenges that these in her is a way of suggesting how similar arise in the interplay between people trying to live up to the overall between people trying to live arise in the interplay and con and how that work is measured mission of the institution of monitoring and how quantitative ways sequently (mis)managed police work can, in effect,“distort and corrupt” the very work that the heart of upon. The issue that is at to improve it was intended social is that, faced with certain quantitative Campbell’s objections from is barred the police force indicators such as clearance rates, living up to its overall purpose. quarter

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Mikkel Jensen Mikkel aligned formal is thus to be seen point of showing point of showing Volume 15 The Wire political that examines the intertwined and net and intertwined examines the that Social Reproduction and Political Change in Change Political and Reproduction Social synthesis to these particular characters and when both of the with said characters (Mittell 2015, 129-134). Mittell ’s fourth season. ’s accomplishment lies in how it “demonstrates the inter the it “demonstrates how in lies accomplishment ’s access successfully demonstrates its successfully demonstrates ’s centrifugal complex narrative format, which, when seen narrative format, which, when ’s centrifugal complex allegiance and The Wire The Wire The Television scholars Murray Smith and Jason Mittell argue that by scholars Murray Smith and Jason Mittell argue Television worked nature of these different phenomena. Historian Robert develop historical showing at excels film that argues Rosenstone in which po social relationships of changing ments as “a process interwo and categories are litical, personal, and social questions (30) and though ven” (i.e. not examined separately) of than others, viewers gain following certain characters more ment to feel come may viewers place in are elements even defines the latter term as “the moral evaluation of aligned charac ters such that we find ourselves sympathetic to their beliefs and excels superbly in showing social connections. As such, it is through through is it such, As connections. social showing in superbly excels network its format as a sociological narrative (a The Wire urban inequality” as Chadda of systemic “the interconnectedness dis 166). In a classroom 2011, put it (Chadda & Wilson and Wilson this rela dealing, middle schooler Zenobia stresses cussion on drug it’s just part of thething, but tionship when she says “[w]e got our Zeno To episode. that of epigraph the also is which (4.8), thing” big the use game but – through the drug bia “the big thing” is probably as the - the viewer understands “the big thing” of dramatic irony that shapes the lives of the students socio-economic structure entire on in-depth analyses of individual factors which are only “implic are individual factors which on in-depth analyses of as being intertwined (Chadda &itly understood among scholars” under at aim that approaches such to contrast In 166). 2011, Wilson of scope the ills, social different standing ambitious an as neither a historical drama nor a film, this long serialized narrative Scope thus ties in with of networked institutions This political portrayal The Wire social portrayal whose a general and ambitious as whole, presents Soci than much academic research. is broader scope, incidentally, partthat argue Wilson Julius William and Chadda Anmol ologists of urban inequality in a way that can be of systemic connectedness very difficult to illustrate in academic works,” which tend to focus quarter

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kvarter akademisk . ------’s 129 ’s circu The Wire express The Wire is defeat The Wire at the same

Mikkel Jensen Mikkel The Wire The Wire The Wire Volume 15 Social Reproduction and Political Change in Change Political and Reproduction Social is integral in presenting the individuals as being fixed in . Jakob Isak Nielsen rightly notes that the serialized format of Overall, the series is more prone to point out problems and try to to point out problems prone Overall, the series is more time The Wire atsomething adjust to were one if that argues also He structures. one point in this it circuit would influence the state of affairs at an that this (Nielsen 2012, 86-87), but I argue other point in this circuit difficult very it makes probably that way a in structured is “circuit” phe different these as circuit the in point one at anything change to of the mayor is to “eat shit” and not really change anything as his not really of the mayor is to “eat shit” and predecessor tells him (4.7). Though these observations could be that Atlas’s criticism and seen as justifying Dreier this as part of to view productive ist, I believe it is more will not suffice in this situation. reform that incremental argument peo of groups various for sympathy creating by opinions influence solutions but concrete ple rather than forwarding nonetheless shows how it seems lar logic of social reproduction impossible to change one thing, say the schools, without attending to unemployment, loss of jobs, and the war on drugs tutional logic as a destructive element in the storyworld of element in tutional logic as a destructive of Politics A Form question of how But how does all this answer the being a political serial from es its politics; i.e. the issue that arises a situation as all but unal that calls for change but which presents by Michael and when Bub terable. When Omar dies he is replaced asfiends’ ‘dope the to addition next the just is Dukie up cleans bles 201). When the Barksdale or Bubbles would say (Nannicelli 2009, ganization crumbles the void is filled outby Marlo. the Similarly, that the role with the harsh reality is faced idealistic mayor Carcetti ethics and thus emotionally invested in their stories” (134). Draw that when argue and Jason Mittell, one could ing on Murray Smith explicitly criticize(that the viewer is aligned with) these characters the institutional logic, the show is, in effect,inviting the viewersto see things from the perspective of these police officers. In keeping it seems that the viewer’s allegiance with Mittell’s terminology, is the textual feature and with, e.g., Kima Greggs point of view with that of thethat invites the viewer to align his/her for the viewer to see the insti Major Crimes Unit and, in turn, calls quarter

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Mikkel Jensen Mikkel The Wire Volume 15 of this situation is at of this situation puts forth. As such, it puts forth. cause and effect in a way a in effect and cause both The Wire systemic nature Social Reproduction and Political Change in Change Political and Reproduction Social is presented as a form of sociological network nar as a form of sociological is presented is interested in making a case about systemic vio is interested , however, “the “social factors” excluded from most excluded from “the “social factors” , however, The Wire change. The Wire The Wire are connected to its politics. In most episodic police procedur police episodic most In politics. its to connected are That Because in the networked narrative format that Because in the networked narrative Due to the networked roadblocks that keep this untoward sys that keep this untoward Due to the networked roadblocks systemic is suggested ratherthat is something individual cases not and lence subtly in the very first scene of the series, which, then, comes to stand as a form of mission statement for the ensuing series (1.1). In this scene, McNulty is talking to a witness in order to figure out American nicknamed Snot Boogie has been African why a young a witness, from information get to trying officer police a With killed. is. In to centrality” (McMillan 2009, 53). It is promoted are procedurals because the viewer with rative that it presents traditional forms of police more that sets this show apart from In this serialized narrative, the viewer is presented procedurals. with both the effects of institutional mismanagement at the street level but also how and why this institutional logic is reproduced key element in season 3. It is in this sense that which is a politically, level, the point that, at a basic structural the show’s politics stresses so crippled that what is needed is a are the institutional realities can hardly be overstated how much the formal choices found in be overstated how can hardly Wire information that has to do di als the viewer is only privy to the of the crime the background with solving a crime – not what rectly the show’s politics rejects the notion of a positive outlook; i.e. “it is the notion the show’s politics rejects all going to work out eventually.” intercon are viewers get to see how social catastrophes es so fully, nected and in this sense we see both cause and effect of a great con intricately extension, by is, feature textual This plotlines. many portrayal that nected to the social nomena are structured in a way that ensures that this state of affairs of state this that ensures that way a in structured are nomena situation. itself. It is a gridlocked reproduces that the tem in place, it follows of It would go against the politics the heart of the problem. pow for a positive change is adequately source to suggest that the are Positive forces situation. erful to change things in the current Cutty etc. – Waylon, – Bunk, Kima, Colvin, Carcetti, indeed there their institutions as they are, by but with them being overpowered quarter

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’s bleakness. ’s Mikkel Jensen Mikkel Volume 15 The Wire Social Reproduction and Political Change in Change Political and Reproduction Social and, as Williams argues, (2) America as “both a America as “both a (2) argues, and, as Williams America, man.” Not another America, but the one America, but the one Not another America, man.” is on the trail of a much larger crime than street-level than street-level crime is on the trail of a much larger This Learning that the murder victim, Snot Boogie, had been known victim, Snot Learning that the murder The Wire social diagnosis and thus serves as an inkling of how it will look to America”. of “This examine the roots Exit a point to is really that there It then follows hopeful in its politics – had it been more That bleakness is inherent it would betray the systemic character of its societal criticism. Fre quently drawing on Greek mythology and other canonical figures “ American social justice” (Wil of homicide. That crime is the failure liams 2014, 85-86). That reading follows how Snot Boogie stresses copula deletion, a char of the sentence. However, the second word & English (Trotta American Vernacular African of acteristic feature Blyahher 21-22), 2011, is used for maximum effect as the omission of the verbal phrase allows for this potently ambiguous statement America as both a spatial category with in terms both (1) invoking several Americas then,scene, opening The 84-85). 2014, (Williams idea” an and place of the scope statement for political method a as works As such, the dialogue and mise-en-scène of the opening scene sug As such, the dialogue and mise-en-scène case. individual an about not but – case crime a is show the that gests game, McNulty asks his un steal the pot at a craps to repeatedly The wit continue to let him play. named witness why they would America, man.” The case that “Got to. This ness replies: exact in the but Boogie of Snot case the thus not is investigates “ words that argues Linda Williams Baltimore. found in ghettos of Western to an individual crime, suchthis scene suggests that “the solution point of the episode. Rather, real as “who shot Snot,”” is not the the sound of sirens, a murder victim lying on the street and the blu street the victim lying on murder a of sirens, the sound many of the classic, police cars, the scene invokes ish lights from be and the viewer would not police show of a generic elements completely off the mark if she expected that the ensuing narrative would follow a police investigation focused on finding and trying Snotof mention further no is There no. But murderer. Boogie’s Snot ofelements scene invokes the Boogie and in this sense the opening on guilt and blame – but the – with its focus the police procedural of Snot Boogie’s murder. ensuing narrative omits the investigation quarter

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’s interest in ’s interest Mikkel Jensen Mikkel Volume 15 The Wire In Simon’s view, Dickens “wouldDickens view, Simon’s In 6 is thus related to how ‘the town’ is all to how ‘the town’ is thus related The Wire Social Reproduction and Political Change in Change Political and Reproduction Social as being parallel to or in opposition to other narrative as being parallel do not transcend their surrounding environment; they dothey environment; surrounding their transcend not do There’s no cleaning it up anymore. There’s no riding in, There’s no cleaning it up anymore. There’s triumph over institutions. The institution is always bigger. bigger. always is institution The institutions. over triumph on any level of individuality It doesn’t tolerate that degree moments of epic characteri for any length of time. These in, like, old rooted all false. They’re inherently zation are Guy rides into town, cleans up the or something. Westerns town, rides out of town. town is what it is (Simon in no riding out. The there’s Mills 2007). “The Wire” has not only gone the opposite way, it’s resist the opposite way, has not only gone “The Wire” America, individuals ed the idea that, in this post-modern The Wire Victorian England, but then his verdict would always be, “[b]ut “[b]ut be, always would verdict his then but England, Victorian make lawyer is going to thank God a nice old uncle or this heroic Pear In the end, the guy would punk out” (Simon in things better.” Dickensthat here saying thus is Simon NP). 2012, son was not con his in sistent in the societal criticism that he otherwise presented hopeful more novels; his plotlines would eventually create ending po his up undercutting suggests, actually wound which, Simon’s litical argument. make the case for a much better social compact than existed in make the case for a much better social compact than existed in there is. In the systemic logic of this television serial, all the charac is. In the systemic logic of this television there themstop which constraints institutional within interlocked are ters from really affecting change on their surroundings. Simon’s men to speak to how characters ontion of “epic characterization” seems Wire The is how not rise above it. What Simon thus implicitly argues is consistent in its systemic analysis. Thanks to some social ills and its focus on class as an explanatory category, critics likened the show to novels of Charles Dickens, which, how us.” on badly “fell Simon to ever, The bleak outlook of from literary history, David Simon often contextualizes his work often Simon David history, literary from on formats and writers and in this seemingly off the cuff remark be Mills, Simon uses 2007 interview conducted by David a low from individual in to discuss the power of the of the western the genre to structures: relation quarter

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Mikkel Jensen Mikkel Critique The Wire The Wire Volume 15 avoids letting the viewer avoids letting the http://www.darkmatter101. , 4. , The Wire paints such a bleak picture in this par paints such a bleak picture ’s portrayal of society is marked almost , but I believe that they nonetheless miss, but I believe that they nonetheless Assessing the Impact of Planned Social Change Dark Matter The Way Hollywood Tells It. Story and Style in Hollywood Tells The Way ’s call for a paradigmatic, political shift. So ’s call for a paradigmatic, political at an institutional and structural level, its call at an institutional and structural The Wire The Wire The Wire Social Reproduction and Political Change in Change Political and Reproduction Social . Berkeley, CA: University of California Press. . Berkeley, is not a flawed call for change; on the it contrary, The Wire seemingly becomes almost paradoxical or quixotic. But it seemingly becomes almost paradoxical reproduction The Wire cation-on-the-wire/ change org/site/2011/04/29/b5-it-got-all-the-dinks-schools-and-ed u Modern Movies cation on ‘The Wire’ cation on ‘The Wire’ Dartmouth College. Affairs Center, NH: Public Hanover, 251-278. In this sense, it becomes clear why it is important that clear why it is important In this sense, it becomes Blum, Lawrence (2001) “B5 – it got all the dinks”: Schools and Edu (2001) “B5 – it got all the dinks”: Schools and Blum, Lawrence David (2006) Bordwell, Campbell, Donald (1976) point to, yet it is only by tracing how these two textual elements are these two textual elements are point to, yet it is only by tracing how that this is the way that one sees that connected and consistency in its argumenta criticism achieves a coherence tion. the that such change must address consistent in arguing remains situation. systemicness of the current References “Judging by the Cover” in (2012) Rye Andersen, Tore story, the systemic nature of its societal portrayal would fall away systemic nature the story, about Dickens, “punk words and then the show would, in Simon’s consequence of the politics it es out”, i.e. not embrace the logical pouses. So because solely by for consistent argumentatively in doing so that it remains is precisely “bleakness”, then, is thus at the in its call for change. The show’s very heart of of systemicness the identifies correctly Kinder while Atlas and bleakness that Dreier icism she does not connect it to the paints such a bleak picture, for if there were a potentially redeem potentially a were there if for picture, a bleak such paints be invited to defunct system, viewers would ing element in this embedded was already for improvement believe that the potential And affairs. of state current the in in their correct Atlas are and in this sense, Dreier think like that. So characterization of the purpose of why uplifting and redeeming Because had it been a more ticular way. quarter

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Mikkel Jensen Mikkel Critical Inqui http://www. . . Race, Class, and The Wire and Phi and The Wire Vimeo ” in , 8(3), 329-340. Volume 15 ” at Undercover Black Man Undercover Citizenship as the “Miss – Bush-Era Fable about . Chicago: University of . Chicago: University of The Wire og den tredje gullalderen og den tredje The Wire Believer Magazine The Wire City & Community The Wire : Urban Decay and American Television . Chicago: Open Court. and America’s Dark Corners: Critical Es and America’s : Urban Decay and American Television , 52 (3&4), 487-507. Network Aesthetics Complex TV: The Poetics of Contemporary Televi Contemporary of Poetics The TV: Complex Tv-serier: Social Reproduction and Political Change in Change Political and Reproduction Social . New York: New York University Press. York New York: . New https://www.theatlantic.com/entertainment/ar Criticism ” in The Wire http://undercoverblackman.blogspot.dk/2007/01/ ” in , (eds. Liam Kennedy and Stephen Shapiro). Ann Arbor, Arbor, Ann Shapiro). , (eds. Liam Kennedy and Stephen , Dec 8. (eds. Arin Keeble & Ivan Stacy). Jefferson, NC: McFarland & McFarland NC: Jefferson, Stacy). Ivan & Keeble Arin (eds. , 38, 164-188. Universitetsforlaget. ing Middle” says Inc. Company, The Wire in The Wire Procedural” America’s Urban Poor?” in believermag.com/issues/200708/?read=interview_simon Chicago Press. and the City” in The Wire Systemics, Seriality, Genre 15-32. MI: The University of Michigan Press, meo.com/39768998 Hole”: Systemic Urban Inequality and Hole”: Systemic January 22. q-david-simon-pt-1.html sion Storytelling Complexity” in The Wire London: Continuum. Tiffany). & Potter, (eds. Marshall, C.W. (eds. Marshall, C.W. & Potter, Tiffany). London: Continuum. Tiffany). & Potter, (eds. Marshall, C.W. ry lantic chive/2008/12/the-politics-of-the-wire-again/6371/ losophy: This America, Man Mills, David (2007) “Q&A: David Simon” at (2015) Jason Mittell, Narrative All Connected: Televisual (2009) “It’s Nannicelli, Ted Lavik, Erlend (2014) Erlend Lavik, in the game” Michael (2015) “ “It’s all Lister, and Tragedy Greek Gods in Baltimore: Love, Chris (2010) “Greek Institutions, and the Police (2009) “Heroism, Alasdair McMillan, Hornby, Nick (2007) “David Simon” Nick Hornby, Jagoda, Patrick (2016) The Emotive Power of Marsha (2012) “Rewiring Baltimore: Kinder, Style in Lavik, Erlend (2012) “Visual Chadda, Anmol & Wilson, William Julius (2011) ““Way Down in the ““Way Julius (2011) William Anmol & Wilson, Chadda, (again)” (2008) “The politics of The Wire Coates, Ta-Nehisi Bitch” in Aruba, Ain’t (2013) “This Joanna Crosby, Atlas, John (2009) “ Peter & Dreier, quarter

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kvarter akademisk , - - Oliver Oliver 135 NYPD NYPD Passage The Wire , 30 (4), Moderna and

, Mikkel Jensen Mikkel ” in , 12 September:12 , , 58, 16-28. Volume 15 The Wire ” and they even use this ” and they even use this Homicide , in which a focus on a single, Dickens Quarterly inviterer oss til å innta rollen oss til å innta rollen inviterer Vice Magazine Vice The Wire The Wire Deadwood , form of complexity stands in oppositionin complexity stands form of The Velvet Light Trap Light The Velvet Breaking Bad Breaking of The Wire. London: Duke University Press. London: Duke University The Wire. . Santa Barbara, CA: Praeger. and Money” in On centrifugal ’s Social Reproduction and Political Change in Change Political and Reproduction Social , (ed. Robert Toplin). Lawrence: University of Kansas. of University Lawrence: Toplin). Robert (ed. , The Wire The Wire Violence is Power Violence , 105 (1), 15-42. centripetal complexity Dickens, 288-298. in the TV series features AAVE selected of Television Narrative” in Narrative” of Television https://www.vice.com/read/david-simon-280-v16n12 USA Stone’s Språk Blue: 68, 83-100. English] which is frequently used in English] which is frequently & Blyahher very line by D’Angelo to illustrate that point (Trotta 20). 2011, at least eight oth essay, Other than Lavik’s video essay and the present to Simon’s paratextual comparisons publications refer er peer-reviewed mythology – and that does not even consider the journalis with Greek &Sheehan 2009 (50), tic comparisons: Etheridge 2008 (155), McMillan 2013 (7), Williams (173), Crosby Sweeney 2009 (NP), Love 2010, Vest To Mittell, To to the a storyworld with unmatched works to “create central protagonist 223). depth of characterization” (Mittell 2015, som oss til å innta rollen inviterer “Hvis narrativt komplekse TV-serier at kan vi si amatørnarratologer, som amatørsosiologer.” See Nielsen 2012 for a comparison of the contemporary television serial and the novel. subject-verb & Oleg Blyahher explain that “Non-standard Joe Trotta American Vernacular [African AAVE is a typical aspect of agreement 5 1 2 3 4 Trotta, Joe & Blyahher, Oleg (2011) “Game done changed: A look at A “Game done changed: Oleg (2011) Joe & Blyahher, Trotta, The Wire (2011) P. Jason Vest, (2014) Linda Williams, Notes Newman, Michael Z. (2006) “From Beats to Arcs: Toward a Poetics Toward Arcs: Beats to Z. (2006) “From Newman, Michael roman?” (2012) “Tv-serien som vor tids Nielsen, Jakob Isak Simon” “David (2012) Jesse Pearson, Stone as Historian” in Rosenstone, Robert (2000) “Oliver Game is Rigged”: (2013) “This Schelstraete, Jasper & Buelens, Gert quarter

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Mikkel Jensen Mikkel The Wire Volume 15 . Tore Rye Andersen (2012) has traced howAndersen (2012) Rye . Tore is also structured as a network narrative structured is also The Wire Social Reproduction and Political Change in Change Political and Reproduction Social Our Mutual Friend texts, it is important to note that this is, in fact, a possibility and more texts, it is important to note that this perils;come with certain may this how acknowledge to needs over one made remarks the paratextual analytical i.e. that criticism may mirror rather than engage in a critical examination by any number of creators methodological issue is one thatof the text in question. In any case, this of and not overlook the chance that s/he mere the critic must be aware paratextual claims. ly parrots for a discussion of See also Schelstraete & Buelens 2013 1864- Dickens’ that notes Bordwell David Interestingly, Dickens. to tion 65 novel 2006, 100). (Bordwell 2014 (4), Lister 2015 (69). It thus seems clear that this statement – this terms of framing – seems to have made its mark in authorial paratext the discussion about discussed in literary – works are – in his example where is a circuit there a way that is affected by such authorial paratexts. He shows howa part, in is, that context cultural a through is read work subsequently televi and film of case the in or, work, the of creator the by constructed as thresholds, functioning paratexts With creators. the of one sion series, which viewers and critics engage with i.e. a certain vantage point from 6 quarter

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