The suspense, it’s killing us.

But at least there’s a lot to read. The pre-premiere publicity onslaught continues with today’s NYT feature on Clark Johnson. Sidebar bonus for newbies: A season-by-season tracking of the major plotlines, without spoilers, coming in at just under 1,000 words.

UPDATE: But wait, there’s more! Specifically, the John Leonard review in New York magazine, a publication working overtime at making sweet, sweet love to “The Wire.”



  1. Damn, New York mag really is pulling out the stops, aren’t they? What a gorgeously written review. I’ve always loved John Leonard, used to see him on the subway a lot in NYC.

    Belzer “the original crab cake” — hee!

  2. Clark Johnson was terrific in a fine Canadian-produced TV show I think nobody remembers but me (didn’t even make his Wikipedia article) called E.N.G (for electronic news gathering). Victor Garber was also in it, and like Homicide, had an ensemble cast playing complex and well-developed characters in situations that oozed moral ambiguity.

    As far as Homicide is concerned, it was simply the best written, best acted show in the history of network television. Every member of the ensemble was superb. The episodes about the murder of Adena Watson by the Araber (I’m absolutely sure he did it, and Moses Gunn made sure I was sure ), particularly the interrogation, were incredibly intense. The main Clark Johnson story line was the supremely evil Luther Mahoney story and the internal affairs investigation of his well-deserved death by cop.

    The Wire inhabits the same circle of hell that Homicide did but never quite rises to the same level of excellence.

  3. it’s been fun re-watching Homicide and realizing how groundbreaking it was for TEN years ago.

    The Sleuth Channel obviously gets the worldview-they scheduled The Subway episode for 8a.m. on Christmas morning!

  4. I’ve been reading the TWOP recaps of Season Four, which have been coming out almost daily now that Season Five’s about to start.

    The point about failure is interesting to me because it’s so clearly what I experienced as a reporter, this sense that we’re the optimist who jumped off a building and every floor down said “so far, so good.” That we can just keep falling, saying “so far, so good,” and we’ll never hit the ground. To quote another favorite newsroom drama of mine, The Paper, “It’s never one big dramatic choice, it’s little vague situations every single day and you’re either there or you’re not.”

    Newspapers have jumped off the building, and every floor down they talk about bloggers and Craiglist and “changing business models” and the ground’s coming up a million miles an hour. The ground is priorities and profits, that’s all it is, but we’re not looking down. We’re looking at the windows as we pass by, reassuring ourselves we’re still here.


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