"The Wire" The Target(2002) !!INSTALL!!
Wee-Bey Brice drives D'Angelo to Orlando's strip club, a front for the Barksdale Organization. When D'Angelo discusses the trial in Wee-Bey's car, Wee-Bey curtly reminds him not to discuss business in the car or on the phone, in case both are being monitored. Avon chides D'Angelo for committing a needless public murder, costing the organization time, effort, and money. D'Angelo also meets a stripper called Shardene Innes. When D'Angelo arrives at the high-rise Franklin Terrace housing projects, Stringer tells him he has been demoted to heading a crew in the low-rise projects, dubbed "the Pit." This new crew includes Bodie Broadus, Poot Carr, and young Wallace.
"The Wire" The Target(2002)
@andrewdon't be offended by my post, but i *was* in some way insulted by that simon comment that alan exposed. i am "everyman". the guy that turns on his tv to watch a television show. chips in his lap. beer in his mit.i don't sit in awe, analyzing every nuance of every scene of every new show that is presented to me. this was one of the first scenes of the first ep of the wire. a courtroom scene where a witness flips, the drug dealer gets off... i've seen this a thousand times on television. so yeah, i did tune out a bit because it wasn't particularly outstanding or interesting."the artist template he wanted to establish" in that one scene had been established a thousand times before."artist template he wanted to establish." pfffttt... madon.the flashback worked for me on a..."you know what? i wasn't paying all that much attention in the first few minutes, but after these last 50 minutes you sure have my attention now." wanting to know, not wondering level.oh, yeah... that's who that dude was. thanks. and that's not a practical level. that's an essential level to get me and my chips back next week. subtle difference. do you see?
Episodic television creates a different tragic spectator.12 In form and practice, a television audience member might engage the screen in ways similar to both a novel's reader or a play's spectators. Sitting at home alone or with a few friends, a television spectator might view a particular drama as a partially atomized and private experience, and yet share the experience with thousands if not millions of other viewers. Nicole Loraux, in her study of fifth-century Athenian theater, describes "the specifically theatrical experience of being a spectator, understanding the singular definite article 'a' not as the designation of a singularity but as the expression of a neutral identity."13 Cable television combines the plural "a" of ancient [End Page 488] Greek tragedy with the singular "the" of bourgeois reading. The Wire was seen by nearly two million viewers,14 many of whom comment on blogs and other online forums for discussion.15
This is a partial truth, whose ultimate meaning (or nonmeaning) the audience will not understand until the series has run its course. The "they" to which McNulty refers is the Baltimore police hierarchy, which, in the show, often as not stymies investigative creativity and success. This hierarchy's most representative figure is the Deputy Commissioner for Operations, William A. Rawls, who has pledged to end McNulty's career as soon as possible. Throughout the series, McNulty habitually achieves brilliant but Pyrrhic victories against the stultifying hierarchy of the police department. Due to his wayward hubris and fragmentary self-awareness, McNulty's triumphs often undermine the lives of family, friends, and even the investigations to which he had contributed his talents. His successes provoke disaster, and his disasters success, culminating in an illegal investigation in which McNulty falsifies crime in order to reroute official police resources toward an illegal wiretap case. An unlikely candidate for tragic grandeur, McNulty suffers and benefits from the pressing desire to know, from the same instincts for relentless investigative efforts that propel Oedipus to his recognition, fall, and blindness. Of all characters in The Wire, it is McNulty whose ingrained pertinacity most consistently and disastrously challenges the force majeure of institutional fate. It is his machinations beyond official channels that prompt the investigations that drive every season except the fourth. And it is he, with faults as flagrant as his curiosity and investigative aptitude, whom the institution's agents target most often for gratuitous retaliation.
12. Throughout this essay, I sometimes refer to "spectators" and "the audience" as such; and sometimes I will refer to a collective "we." These are extraordinarily problematic terms of reference for a collective in which I participate but for which I can in no way speak with assurance. In generalizing the experiences and perceptions of individuals, these terms can serve heuristic purposes, allowing me to make conclusions about these imagined constructs based on the internal evidence of the texts themselves, whether ancient Greek tragedies or contemporary episodic television. 041b061a72