Meta –30–

The final scene you never saw.

H/T Jim King

I’m going slightly mad

OK, stay with me on this one.  

After Generation Kill, David Simon should get the green light to film his series for HBO in New Orleans.

When he’s done with that, his experience with all the nuances of New Orleans will give him the knowledge he needs for his next challenge.  

Yes, it will be a challenge.  His first comedy.  A comedy, a tragicomedy, a Falstaffian corker of a novel adaptation.  The book that defines New Orleans.

David Simon should write, produce and direct John Kennedy Toole’s A Confederacy of Dunces.

With me in the lead.  OK, I’d settle for Philip Seymour Hoffman, but I want a screen test, dammit. 

Confederacy has been optioned and passed around for years, but it will take a person who really knows New Orleans to get it right.  Simon respects New Orleans, and after doing his HBO series, he’ll know New Orleans so well he’ll be able to do this work justice.  He’s the only guy that gets every single one of the little things right, and in this book, that’s really important.

And if he does it on HBO, it wouldn’t have to be under 112 minutes long. 

#9 Lake Trout Special: Going Out of Business Sale

vlcsnap-8660034.jpg

Last open thread. Anyone got anything left?

Continue reading

Who got the last word?

omar.jpg

Omar: “Marlo Stanfield is not a man for this town.”

marlo.jpg

Marlo: “Do you know who I am?”

So was “The Wire” a Black show?

The Wire was probably the most successful show ever on television with a predominantly Black cast. But wait. Before anyone pats themselves on the back, what other shows have had a predmoninatly Black cast?

David Mills goes throught quite a few, but his list ends in 1984. Since then, we’ve had ROC, Cosby spinoffs, Martin, Everybody Hates Chris, and…well…that’s about it except for the WB and UPN.
Continue reading

-30- thoughts

Damn, I miss you guys, I have had a busy period.

I loved the ending. I like the way Simon finished his story

For all of our speculation about who was going to die by the end of the show, there was relatively little blood spilled. And even knowing the substance of the show, knowing people get killed, the bullet-to-the-head scenes over the last few episodes absolutely moved me to my core, they were so fucking perfect.

How is it that the final scenes of Prop Joe, Omar, and Snoop, on a show like The Wire, still manage to be so damn powerful? It doesn’t get any better than this.

If David Simon said at the meeting for the final episode, “We are going to kill one person. Who should it be and why? “, this show is what we should have gotten. I love this proposition, and I love that the answer was “Cheese gets it for doing Joe.” We had typical, predictable reasons for the deaths of any gangster or cop in our loveable lineup. Cheese spilled his own bloodline and by any code of any gangster, cop, thief, hopper, po-po or trickster god, that shit is going to take you down. Period. So I say, ” well played.”

More later…

Half awake in a fake empire

vlcsnap-6706875.jpg

Snot Boogie died because he couldn’t change things up, even a little. Omar tried changing but it didn’t take. Dukie didn’t even know how to change unless someone else did it for him.

The tree that doesn’t bend breaks.

Bubbles and McNulty both tried and failed more than once, and they lived through it but others paid the price.

Stringer Bell, Burrell, Bunny Colvin. They changed too much, or the wrong way at the wrong time.

Bend too much and you’re already broken.

Continue reading

The Co-Prosperity Sphere.

In all the excitement of wrapping up OUR REASON FOR LIVING THESE PAST TEN WEEKS OH DESPAIR OH KILL ME NOW, let’s not forget one little detail: Laura Lippman, whose New York Times obituary will note how she appeared to have been “stuck in cement” for her Wire cameo, has a new book out today.

“Another Thing to Fall” features Lippman’s P.I. character, Tess Monaghan, investigating a death on the set of, um, a TV show filmed in Baltimore. I know what you’re thinking, but it’s not that one.

Attitude problems.

You know what I like about Roger Ebert’s movie criticism? He likes movies. Really. He shares a trait with the best pop-culture critics I’ve known through the years: He walks into every movie with an open mind and open heart, expecting to be entertained. Overwhelming experience has taught him he’s as likely to be disappointed as not — hello, Deuce Bigalow — but he’s hopeful. He wants to like it. It’s like the teacher tells you on the first day of class. “Everybody has an A right now. If you get anything lower, it’s your doing.”

Everyone knows “The Wire” has been one of the most highly praised shows in TV history, garnering the sort of over-the-top plaudits that can make even the person receiving them despair. How does David Simon top “The Wire?” He’s not even 50 yet. “Generation Kill” — now with super-duper, extra double-dog Simonizing genius! You gotta feel for the guy, if only a little.

As one of those people who slung those superlatives, I plead guilty to going into this season like sunny Roger Ebert, expecting to love it. And guess what? I did. I won’t call Season 5 “a rare misstep” or a huge letdown, or anything else. It was a nice package, a little light at 10 hours, but not stepped-on at all. If pressed to single out favorite seasons, I’ll go with the evens — two and four. But five was fine.

So I’m sorry that the series’ final act was such a deep, deep disappointment to so many people who have columns and high-profile blogging sinecures, and could write with a straight face how surprising it was that David Simon, with such a finely tuned ear to the music of the street, could have it all fall apart when he tries to write the newsroom. Oh, please. Like these college-educated white boys supplement their incomes slangin’ on the corner, absorbing the nuances of the local patois. Continue reading

A Lie Agreed Upon

Spoilers for the latest, beneath.

Continue reading

Follow

Get every new post delivered to your Inbox.