The Wire Master’S Diploma Thesis
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Why Every Show Needs to Be More Like the Wire (“Not Just the Facts, Ma’Am”)
DIALOGUE WHY EVERY SHOW NEEDS TO BE MORE LIKE THE WIRE (“NOT JUST THE FACTS, MA’AM”) NEIL LANDAU University of California, Los Angeles (UCLA) The Wire (HBO, 2002-2008) upends the traditional po- ed the cop-drama universe. It was a pioneering season-long lice procedural by moving past basic plot points and “twists” procedural. Here are my top 10 reasons why Every Show in the case, diving deep into the lives of both the cops and Needs to Be More Like The Wire. the criminals they pursue. It comments on today’s America, employing characters who defy stereotype. In the words of — creator David Simon: 1. “THIS AMERICA, MAN” The grand theme here is nothing less than a nation- al existentialism: It is a police story set amid the As David Simon explains: dysfunction and indifference of an urban depart- ment—one that has failed to come to terms with In the first story arc, the episodes begin what the permanent nature of urban drug culture, one would seem to be the straightforward, albeit pro- in which thinking cops, and thinking street players, tracted, pursuit of a violent drug crew that controls must make their way independent of simple expla- a high-rise housing project. But within a brief span nations (Simon 2000: 2). of time, the officers who undertake the pursuit are forced to acknowledge truths about their de- Given the current political climate in the US and interna- partment, their role, the drug war and the city as tionally, it is timely to revisit the The Wire and how it expand- a whole. -
Criminal Procedure, the Police, and the Wire As Dissent
Brooklyn Law School BrooklynWorks Faculty Scholarship 2018 Criminal Procedure, the Police, and The irW e as Dissent I. Bennett aC pers Brooklyn Law School, [email protected] Follow this and additional works at: https://brooklynworks.brooklaw.edu/faculty Part of the Criminal Law Commons, and the Criminal Procedure Commons Recommended Citation 2018 U. Chi. Legal F. 65 (2018) This Article is brought to you for free and open access by BrooklynWorks. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of BrooklynWorks. Criminal Procedure, the Police, and The Wire as Dissent Bennett Caperst The Wire is rich with metaphors. There is the physical wire in the opening credits, a metaphor for surveillance more generally. There is the metaphor of the wire in the sense of a modern tightrope-another filmic work, Man on a Wire,1 comes to mind-where any minute one can lose one's balance. There is even the metaphor of the wire in the 2 sense that the criminal justice system is all connected or networked. Indeed, thinking about our criminal justice system as a complex net- work allows us to see that many of the perceived flaws in the criminal justice system-racial disparities in charging3 and sentencing,4 and t Visiting Professor of Law, Boston University School of Law (Fall 2017); Stanley A. August Professor of Law, Brooklyn Law School. B.A. Princeton University; J.D. Columbia Law School. Assistant U.S. Attorney, Southern District of New York 1995-2004. E-mail: bennett.capers @brooklaw.edu. ' See generally MAN ON A WIRE (Magnolia Pictures 2008) (documentary about Phillipe Pet- it's successful attempt, on August 7, 1974, to walk on a wire suspended between the towers of the World Trade Center; his act would later be described as the "artistic crime of the century"). -
The Wire the Complete Guide
The Wire The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 29 Jan 2013 02:03:03 UTC Contents Articles Overview 1 The Wire 1 David Simon 24 Writers and directors 36 Awards and nominations 38 Seasons and episodes 42 List of The Wire episodes 42 Season 1 46 Season 2 54 Season 3 61 Season 4 70 Season 5 79 Characters 86 List of The Wire characters 86 Police 95 Police of The Wire 95 Jimmy McNulty 118 Kima Greggs 124 Bunk Moreland 128 Lester Freamon 131 Herc Hauk 135 Roland Pryzbylewski 138 Ellis Carver 141 Leander Sydnor 145 Beadie Russell 147 Cedric Daniels 150 William Rawls 156 Ervin Burrell 160 Stanislaus Valchek 165 Jay Landsman 168 Law enforcement 172 Law enforcement characters of The Wire 172 Rhonda Pearlman 178 Maurice Levy 181 Street-level characters 184 Street-level characters of The Wire 184 Omar Little 190 Bubbles 196 Dennis "Cutty" Wise 199 Stringer Bell 202 Avon Barksdale 206 Marlo Stanfield 212 Proposition Joe 218 Spiros Vondas 222 The Greek 224 Chris Partlow 226 Snoop (The Wire) 230 Wee-Bey Brice 232 Bodie Broadus 235 Poot Carr 239 D'Angelo Barksdale 242 Cheese Wagstaff 245 Wallace 247 Docks 249 Characters from the docks of The Wire 249 Frank Sobotka 254 Nick Sobotka 256 Ziggy Sobotka 258 Sergei Malatov 261 Politicians 263 Politicians of The Wire 263 Tommy Carcetti 271 Clarence Royce 275 Clay Davis 279 Norman Wilson 282 School 284 School system of The Wire 284 Howard "Bunny" Colvin 290 Michael Lee 293 Duquan "Dukie" Weems 296 Namond Brice 298 Randy Wagstaff 301 Journalists 304 Journalists of The Wire 304 Augustus Haynes 309 Scott Templeton 312 Alma Gutierrez 315 Miscellany 317 And All the Pieces Matter — Five Years of Music from The Wire 317 References Article Sources and Contributors 320 Image Sources, Licenses and Contributors 324 Article Licenses License 325 1 Overview The Wire The Wire Second season intertitle Genre Crime drama Format Serial drama Created by David Simon Starring Dominic West John Doman Idris Elba Frankie Faison Larry Gilliard, Jr. -
Actor Tray Chaney Motivates Aspiring Young Actors at Waldorf West Library
Home / Maryland Independent / News / Local News http://www.somdnews.com/independent/news/local/actor-tray-chaney-motivates-aspiring-young-actors-at-waldorf-west/article_1c131761-0fa5- 5d62-b66e-bd7a9abda9f0.html Actor Tray Chaney motivates aspiring young actors at Waldorf West library By TIFFANY WATSON [email protected] Twitter: @TiffIndyNews Jul 1, 2016 On Jun. 28 actor Tray Chaney and Shaida Reed, 21, a Brandywine resident and student at Howard University, read a monologue from a new movie that Chaney is currently shooting, during his acting workshop at Waldorf West Library. STAFF PHOTOS By TIFFANY WATSON On June 28 actor Tray Chaney and Shaida Reed, 21, a Brandywine resident and student at Howard University, read a monologue from a new movie that Chaney is currently shooting, during his acting workshop at Waldorf West Library. Not everyone was made for the big screen, but there’s no need to be discouraged, according to actor Tray Chaney from the HBO series “The Wire.” Casting managers are always looking for the next big thing. On June 28, the future actors of Charles County were shown different ways that they can jump start their acting career during an acting workshop at the Waldorf West Library. Chaney said that being in the movie industry requires a lot of hard work, dedication and confidence. Years after receiving his own big break in the acting industry, he decided to give some real life tips to the future actors in the Charles County region. “Many people always ask me how to get into the business, so while sharing my own personal experiences of how I came into the entertainment business, I just wanted to inspire and motivate them to follow their dreams,” Chaney said. -
Crime, Class, and Labour in David Simon's Baltimore
"From here to the rest of the world": Crime, class, and labour in David Simon's Baltimore. Sheamus Sweeney B.A. (Hons), M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. August 2013 School of Communications Supervisors: Prof. Helena Sheehan and Dr. Pat Brereton I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ___________________________________ (Candidate) ID No.: _55139426____ Date: _______________ TABLE OF CONTENTS Introduction 1 Literature review and methodology 17 Chapter One: Stand around and watch: David Simon and the 42 "cop shop" narrative. Chapter Two: "Let the roughness show": From death on the 64 streets to a half-life on screen. Chapter Three: "Don't give the viewer the satisfaction": 86 Investigating the social order in Homicide. Chapter Four: Wasteland of the free: Images of labour in the 122 alternative economy. Chapter Five: The Wire: Introducing the other America. 157 Chapter Six: Baltimore Utopia? The limits of reform in the 186 war on labour and the war on drugs. Chapter Seven: There is no alternative: Unencumbered capitalism 216 and the war on drugs. -
Second Chances in the Wire: Perspectives from Psychology and the Judiciary
University of Chicago Legal Forum Volume 2018 Article 9 2019 Second Chances in The irW e: Perspectives from Psychology and the Judiciary Rebecca R. Pallmeyer Dan P. McAdams Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Recommended Citation Pallmeyer, Rebecca R. and McAdams, Dan P. (2019) "Second Chances in The irW e: Perspectives from Psychology and the Judiciary," University of Chicago Legal Forum: Vol. 2018 , Article 9. Available at: https://chicagounbound.uchicago.edu/uclf/vol2018/iss1/9 This Article is brought to you for free and open access by Chicago Unbound. It has been accepted for inclusion in University of Chicago Legal Forum by an authorized editor of Chicago Unbound. For more information, please contact [email protected]. Second Chances in The Wire: Perspectives from Psychology and the Judiciary The Hon. Rebecca R. Pallmeyer† & Dan P. McAdams†† ABSTRACT Playing off a scene in The Wire wherein prison inmates discuss whether Ameri- can lives have “second acts,” this essay considers psychological and legal issues at play in people’s efforts to turn their lives around, from bad to good. In the first half of the essay, a professor of psychology discusses empirical research into re- demptive life stories in which people find positive meaning in suffering and/or transform their lives from failure to relative success. While examples of redemp- tive life stories may be found in The Wire, making good on second chances seems to be a relatively rare occurrence. In the second half, a federal judge considers the issue of second chances in the American legal system, focusing on the issue of sen- tencing. -
Schooling, Standardization, and Inequality Through the Lens of the Wire
“No one wins. One side just loses more slowly:” Schooling, Standardization, and Inequality through the Lens of The Wire An honors thesis for the Program in American Studies Benjamin R. Phelps Tufts University, 2011 ACKNOWLEDGEMENTS “Thanks for bein’ straight on this.” — Nick Sobotka First and foremost, I would like to thank Steve Cohen for the guidance he has provided me as my first reader on this project and as my academic advisor here at Tufts. Steve’s course, ED 01, which I took freshman year, guided me to American Studies, and I could not be happier that it did. Our weekly meetings this year were a great opportunity to talk about my thesis progress, educational issues, and our shared enthusiasm for The Wire, and I cannot see my final product, or my Tufts experience, being nearly as successful without his presence. Sarah Sobieraj has also been a tireless reader this year on both this thesis and my Communications and Media Studies senior project. Just as this project allowed me to marry my interests in education and television, it also allowed me to work with a media-focused sociologist who I may otherwise have only known from our brief time together in SOC 40, and I am extremely grateful that it did. Tom Chen and the support of the American Studies senior seminar have been invaluable. As something of a procrastinator, I was kept on track by Tom’s deadlines, and even though he did not work with me as closely as my two advisors, it never hurt to have another set of eyes to read over my progress. -
Criminal Procedure, the Police, and the Wire As Dissent
University of Chicago Legal Forum Volume 2018 Article 4 2019 Criminal Procedure, the Police, and The irW e as Dissent Bennett aC pers Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Recommended Citation Capers, Bennett (2019) C" riminal Procedure, the Police, and The irW e as Dissent," University of Chicago Legal Forum: Vol. 2018 , Article 4. Available at: https://chicagounbound.uchicago.edu/uclf/vol2018/iss1/4 This Article is brought to you for free and open access by Chicago Unbound. It has been accepted for inclusion in University of Chicago Legal Forum by an authorized editor of Chicago Unbound. For more information, please contact [email protected]. Criminal Procedure, the Police, and The Wire as Dissent Bennett Capers† The Wire is rich with metaphors. There is the physical wire in the opening credits, a metaphor for surveillance more generally. There is the metaphor of the wire in the sense of a modern tightrope—another filmic work, Man on a Wire,1 comes to mind—where any minute one can lose one’s balance. There is even the metaphor of the wire in the sense that the criminal justice system is all connected or networked.2 Indeed, thinking about our criminal justice system as a complex net- work allows us to see that many of the perceived flaws in the criminal justice system—racial disparities in charging3 and sentencing,4 and ! Visiting Professor of Law, Boston University School of Law (Fall 2017); Stanley A. August Professor of Law, Brooklyn Law School. B.A. Princeton University; J.D. -
Discovering Moral Imagination Along the Wire. (2014)
SOLÉR, MICHELLE LOWE, Ph.D. All the Pieces Matter: Discovering Moral Imagination Along The Wire. (2014). Directed by Dr. Svi Shapiro. 304 pp. This dissertation is an investigation into the tool of moral imagination in the service of social justice. Supported by the philosophies of David Purpel, Maxine Greene, and John Dewey, this analysis is engaged through six themes examined through the text of David Simon’s series, The Wire. These themes supply a foundation for how we might more thoroughly engage with moral imagination on a daily basis because there is a crisis in our culture around how we value the lives of all people. Themes presented in this discussion are: (1) The idea that everybody matters; (2) A changing notion of truth; (3) Thoughtlessness and banality; (4) Wide-awakeness and not taking things for granted; (5) Asking critical questions; and lastly, (6) People claiming responsibility. Applying these themes to specific textual examples excerpted from a dramatized television serial creates a space to discuss prophetic in- betweenness to interrogate and examine situations of systemic dysfunction and economic injustice outside of a fictional space. ALL THE PIECES MATTER: DISCOVERING MORAL IMAGINATION ALONG THE WIRE by Michelle Lowe Solér A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2014 Approved by ____________________________ Committee Chair 2014 Michelle Lowe Solér APPROVAL PAGE This dissertation written by Michelle Lowe Solér has been approved by the following committee of the Faculty of the Graduate School at The University of North Carolina at Greensboro. -
1 'It Can't Be a Lie': the Wire As Breaching Experiment Joshua
1 ‘It Can’t Be a Lie’: The Wire as Breaching Experiment Joshua Page & Joe Soss University of Minnesota The Politics of HBOs’ The Wire: Everything is Connected (2015), Eds. Shirin Deylami and Jonathan Havercroft. New York: Routledge, Ch.1, pp. 11-40. The five seasons of The Wire are widely recognized as a landmark event in the history of media efforts to portray life in America’s poor, racially segregated communities. The show was especially momentous for scholars, such as us, who study urban poverty and the various ways authorities work to manage its problems and populations. Here, finally, was a dramatic depiction of the world we knew through our research and tried to convey in our teaching and public engagement. Here, finally, was a nuanced, humane account of the lives and lived realities—of cops and drug dealers and teachers and addicts and students and parents and more—that intersect and shape one another in the most marginalized neighborhoods of our nation’s cities. Here, finally, was a wildly popular, critically acclaimed, nationally televised cry of dissent from the “thriving cultural industry of fear of the poor, led by such television programs as ‘America’s Most Wanted’ and ‘Cops.’”1 More even than most documentaries, The Wire offers a realistic depiction of life inside the “hyperghetto,” a social space defined by stark racial segregation, severely diminished jobs and social services, inadequate schools, rampant poverty, open-air drug markets, widespread housing foreclosures, and pervasive depression and dilapidation.2 From the show’s inception, 1 Loïc Wacquant, Punishing the Poor: The Neoliberal Government of Social Insecurity (Durham: Duke University Press, 2009) 131-32. -
I:\28531 Ind Law Rev 46-2\46Masthead.Wpd
THE WIRE AND ALTERNATIVE STORIES OF LAW AND INEQUALITY ROBERT C. POWER* INTRODUCTION The Wire was a dramatic television series that examined the connections among crime, law enforcement, government, and business in contemporary Baltimore, Maryland.1 It was among the most critically praised television series of all time2 and continues to garner substantial academic attention in the form of scholarly articles,3 academic conferences,4 and university courses.5 One aspect * Professor, Widener University School of Law. A.B., Brown University; J.D., Northwestern University Law School. Professor Power thanks Alexander Meiklejohn and John Dernbach for their comments on an earlier draft of this Article. He also thanks Lucas Csovelak, Andrea Nappi, Gabor Ovari, Ed Sonnenberg, and Brent Johnson for research assistance. 1. Substantial information about the series is available at HBO.COM, http://www.hbo.com/ the-wire/episodes#/the-wire/index.html [hereinafter Wire HBO site]. This site contains detailed summaries of each episode. Subsequent references to specific episodes in this Article refer to the season, followed by the number of the episode counting from the beginning of season one, and then the name of the episode. For example, the first episode of season four, which introduces the four boys who serve as protagonists in season four, is The Wire: Boys of Summer (HBO television broadcast Sept. 10, 2006) [hereinafter Episode 4-38, Boys of Summer]. Additional information is available at The Wire, IMDB.COM, http://www.imdb.com/ title/tt0306414/ (last visited Mar. 26, 2013) [hereinafter Wire IMDB site]. Several books contain essays and other commentaries about the series. -
Why Every Show Needs to Be More Like the WIRE
Why Every Show Needs to Be More Like THE WIRE (“Not Just the Facts, Ma’am.”) The Wire upends the traditional police procedural by moving past basic plot points and “twists” in the case, diving deep into the lives of both the cops and the criminals they pursue. We see this immediately in the teaser of the pilot. Detective Jimmy McNulty (Dominic West) is at the scene of a shooting, questioning a Witness (Kamal Bostic-Smith) on the murder of a boy from “round the way nicknamed “Snot Boogie.” McNulty and the Witness go back and forth on the origin of “Snot Boogie’s” nickname at first. Until the Witness explains what happened: MCNULTY So who shot Snot? WITNESS I ain’t going to no court. Motherfucker ain’t have to put no cap in him though. MCNULTY Definitely not. WITNESS He could’ve just whipped his ass, like we always whip his ass. MCNULTY I agree with you. !1 WITNESS He gonna kill Snot. Snot been doing the same shit since I don’t know how long. Kill a man over some bullshit. I’m saying, every Friday night in the alley behind the cut-rate, we rolling bones, you know? All the boys from around the way, we roll till late. MCNULTY Alley crap game, right? WITNESS And like every time, Snot, he’d fade a few shooters. Play it out till the pot’s deep. Then he’d snatch and run. MCNULTY --Every time? WITNESS —Couldn’t help hisself. MCNULTY Let me understand you. Every Friday night, you and your boys would shoot crap, right? And every Friday night, your pal Snotboogie he’d wait till there was cash on the ground, then grab the money and run away?--You let him do that? WITNESS --We catch him and beat his ass.