Treme season 1 over. Read some reviews:
one
two
three
Compared similarly to The Wire. I hope they get a few more seasons - the music is great and like The Wire did for Baltimore, Treme makes New Orleans a central character.
Showing posts with label tv. Show all posts
Showing posts with label tv. Show all posts
Monday, June 28, 2010
Monday, May 17, 2010
Sunday, November 22, 2009
The New 'The Wire' Post
I have a secret. There is no best episode of The Wire. This flies in the face of my post on the Wire. Initially I wrote this post because I had just gotten into the show because of Bill Simmons (who is known primarily as a sportswriter for ESPN but also writes a lot about pop culture and media). He encouraged everyone to watch the show and like a good little Simmons lemming I did. I started during season 4, watched through to the finale, and then Netflixed seasons 1-3. It was brilliant. I'm sorry I didn't watch in order but I'm glad I watched. While most TV is simple entertainment and escape, this was TV with a purpose.
So why am I writing about this now? Well an interesting phenomenon about this blog is that for whatever SEO reason the Wire Post generates the most random hits from Google. When I first started the blog, I wanted to learn how this whole blogging process worked so I also installed some StatCounter html to track where people come to the blog from, what they're reading, etc. In fact, here's a map of my latest user activity (Hello Singapore!):
As I have thought about the phenomenon of the show in general, and the phenomenon of the stats for my blog post in particular it dawned on me: trying to decide a best episode is a monumental exercise in futility. It does the series a grave injustice. You can't just watch one episode and distill the entire essence - you really need to sit down with season 1, episode 1 and continue from there until the finale. And then think about what everything means. A lot. And then come to the realization that the concept of a 'best episode' for something so groundbreaking is really just a myth.
(And thanks to Matthew Yglesias for posting this and giving me a reason/excuse for this post).
So why am I writing about this now? Well an interesting phenomenon about this blog is that for whatever SEO reason the Wire Post generates the most random hits from Google. When I first started the blog, I wanted to learn how this whole blogging process worked so I also installed some StatCounter html to track where people come to the blog from, what they're reading, etc. In fact, here's a map of my latest user activity (Hello Singapore!):
As I have thought about the phenomenon of the show in general, and the phenomenon of the stats for my blog post in particular it dawned on me: trying to decide a best episode is a monumental exercise in futility. It does the series a grave injustice. You can't just watch one episode and distill the entire essence - you really need to sit down with season 1, episode 1 and continue from there until the finale. And then think about what everything means. A lot. And then come to the realization that the concept of a 'best episode' for something so groundbreaking is really just a myth.
(And thanks to Matthew Yglesias for posting this and giving me a reason/excuse for this post).
Wednesday, March 12, 2008
Wire Finale
Watching the last episode of season five (and the series), what do I expect?
A montage? No, not really in line with the rest of the series.
How will the series play out? Still trying to figure out what happened to Omar (and the switching of the body tags), will Marlo get got, what happens to Avon. Will Templeton get found out or win the pulitzer, does McNulty come to terms with himself (no), will he get found out and fired (yes). Can Kima live with her decision? What happens to the rest? Does the scandal go public? Will the Sun comply with any coverup? Does Gus quit? Get fired?
Bill Simmons and Jason Whitlock also spoke about the series (and last episode) on Simmons' latest podcast. Even though they are both sportswriters, there were a couple of interesting points, notably Whitlock's introspective comment of the cycle of the street (not his exact terminology but nonetheless). His premise starts with someone watching the show, who has no idea of what the street is like, asking questions like "How did these people get to be this way". And The Wire, by virtue of his story arcs that include kids (notably season 4), tells stories that show not only specific events and how they shape people's lives but more importantly it shows how self-sustaining the 'cycle of the street' is.
*************************************************************************
My roommate and I watched the finale last night. It wasn't quite as good as the last episode but covered a ton of ground and tied up a lot of loose ends. I was wrong about a couple of points (no montage? Perish the thought!), right about a couple of others, and simultaneously happy and annoyed how things turned out. I was annoyed because everything turned out just a little too well for some (Carcetti, Templeton, and Rawls), and not well enough for others (what happened to Kima?). On the other hand, I was happy that Daniels didn't take the commissioner's job, that Marlo had to get down and dirty in the street, and that they didn't shy away from Duquan's descent (more on that later). For some strange reason my roommate and I were a little too excited that Michael is the new Omar - speaking of, we never did find out about the switched body tag.
Is it just me or is Duquan the most tragic character on the show? He's already living on the street and then he burns the only the bridge he has so that he can buy dope to get high. He has a sweet disposition, a way with kids, and is smart and computer savvy. I think that's what Simon was trying to say about the street - it does not discriminate, it is harsh, and once you're there getting out is nearly impossible.
To me that's the biggest shame of all: unchecked, the cycle feeds on itself. With the current social system, the cycle feeds on itself. With corrupt government systems, the cycle feeds on itself. While there are many ways of dealing with poverty in our culture, it seems there are very few good ways. Even those good ways have a high chance of being abused and in turn feeding the cycle. While the show did have many personal stories of redemption (notably Bubbles) it was deservedly harsh on the systems that have failed so many.
A montage? No, not really in line with the rest of the series.
How will the series play out? Still trying to figure out what happened to Omar (and the switching of the body tags), will Marlo get got, what happens to Avon. Will Templeton get found out or win the pulitzer, does McNulty come to terms with himself (no), will he get found out and fired (yes). Can Kima live with her decision? What happens to the rest? Does the scandal go public? Will the Sun comply with any coverup? Does Gus quit? Get fired?
Bill Simmons and Jason Whitlock also spoke about the series (and last episode) on Simmons' latest podcast. Even though they are both sportswriters, there were a couple of interesting points, notably Whitlock's introspective comment of the cycle of the street (not his exact terminology but nonetheless). His premise starts with someone watching the show, who has no idea of what the street is like, asking questions like "How did these people get to be this way". And The Wire, by virtue of his story arcs that include kids (notably season 4), tells stories that show not only specific events and how they shape people's lives but more importantly it shows how self-sustaining the 'cycle of the street' is.
*************************************************************************
My roommate and I watched the finale last night. It wasn't quite as good as the last episode but covered a ton of ground and tied up a lot of loose ends. I was wrong about a couple of points (no montage? Perish the thought!), right about a couple of others, and simultaneously happy and annoyed how things turned out. I was annoyed because everything turned out just a little too well for some (Carcetti, Templeton, and Rawls), and not well enough for others (what happened to Kima?). On the other hand, I was happy that Daniels didn't take the commissioner's job, that Marlo had to get down and dirty in the street, and that they didn't shy away from Duquan's descent (more on that later). For some strange reason my roommate and I were a little too excited that Michael is the new Omar - speaking of, we never did find out about the switched body tag.
Is it just me or is Duquan the most tragic character on the show? He's already living on the street and then he burns the only the bridge he has so that he can buy dope to get high. He has a sweet disposition, a way with kids, and is smart and computer savvy. I think that's what Simon was trying to say about the street - it does not discriminate, it is harsh, and once you're there getting out is nearly impossible.
To me that's the biggest shame of all: unchecked, the cycle feeds on itself. With the current social system, the cycle feeds on itself. With corrupt government systems, the cycle feeds on itself. While there are many ways of dealing with poverty in our culture, it seems there are very few good ways. Even those good ways have a high chance of being abused and in turn feeding the cycle. While the show did have many personal stories of redemption (notably Bubbles) it was deservedly harsh on the systems that have failed so many.
Friday, February 29, 2008
Best Episode of The Wire EVER
Phew, exhale. Breath again. Remove crap from pants. What the hell just happened?!?!?!?!?!
I don't really know where to begin. I think I just watched the best episode of television ever. The Wire
, Season Five
, Episode 59. I'm not a television critic; I don't have the ability to dissect a TV show into its constituent parts. I had a conversation about the Oscars the other day and it went something like this: I feel like I can watch a movie and be able to discern relative quality of only a couple of the specialties it takes to create a motion picture. For instance, take acting. I believe it's possible to separate good and bad. Cinematography is another example of a specialty I feel comfortable talking about - the use of backdrops, locations, sets, etc. Think No Country for Old Men
. The use of camera angles, colors, locations, etc. gave a feel of authenticity and added tremendously to the film.
On the flip side of the coin is directing. I have a much harder time comparing the relative merits of movie direction. I lack the toolset and vocabulary and only "know it when I see it." It's kind of like eating food: you can tell what most of the parts are and whether they're good. Who doesn't like chips, cheese, and salsa? Good directing makes those parts come together like a heavenly plate of Loteria nachos.
Well the latest episode of The Wire was like that plate of nachos after eating nothing but rice and beans for a year. The performances were fantastic - drug dealers that come off as sympathetic, police officers that are loathsome, and drug addicts searching for redemption. The writing is incredible even if the overarching storyline of this season is a little out in left field. And the cinematography makes the city of Baltimore an integral castmember. But those descriptions fail to encompass just how riveting the episode was and why TV and movies can be so powerful.
Unfortunately The Wire is about to end - only one more episode left. But there's hope. A David Simon show in New Orleans
? Yes please.
A couple links about economics and what real gangters think (it's a multi-part series).
** UPDATE (11/22/2009)
I have a new rant about this post.
I don't really know where to begin. I think I just watched the best episode of television ever. The Wire
, Season Five, Episode 59. I'm not a television critic; I don't have the ability to dissect a TV show into its constituent parts. I had a conversation about the Oscars the other day and it went something like this: I feel like I can watch a movie and be able to discern relative quality of only a couple of the specialties it takes to create a motion picture. For instance, take acting. I believe it's possible to separate good and bad. Cinematography is another example of a specialty I feel comfortable talking about - the use of backdrops, locations, sets, etc. Think No Country for Old Men. The use of camera angles, colors, locations, etc. gave a feel of authenticity and added tremendously to the film.On the flip side of the coin is directing. I have a much harder time comparing the relative merits of movie direction. I lack the toolset and vocabulary and only "know it when I see it." It's kind of like eating food: you can tell what most of the parts are and whether they're good. Who doesn't like chips, cheese, and salsa? Good directing makes those parts come together like a heavenly plate of Loteria nachos.
Well the latest episode of The Wire was like that plate of nachos after eating nothing but rice and beans for a year. The performances were fantastic - drug dealers that come off as sympathetic, police officers that are loathsome, and drug addicts searching for redemption. The writing is incredible even if the overarching storyline of this season is a little out in left field. And the cinematography makes the city of Baltimore an integral castmember. But those descriptions fail to encompass just how riveting the episode was and why TV and movies can be so powerful.
Unfortunately The Wire is about to end - only one more episode left. But there's hope. A David Simon show in New Orleans
? Yes please.A couple links about economics and what real gangters think (it's a multi-part series).
** UPDATE (11/22/2009)
I have a new rant about this post.
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