In a by-the-way fashion, Ta-Nehisi Coates mentioned something about The Wire that I found interesting:
One of the reason why Season Two is my favorite is because of the “Oh, you thought this was just the niggers?” vibe. I love the stories–Omar and Brother Muzone, String and Avon falling apart. I loved the whole Sobatka clan. But I thought the decision to shift the cast from Season One to the back-burner, and look at the drug war in a much broader context was courageous, and important.
On watching the whole series the first time through, I ranked them in this order: season 4, season 1, season 3, season 2, season 5. In addition to the other fine aspects of season four–getting to know Snoop and Chris better, the treatment of Bodie as the grizzled old vet–there’s a complex and sophisticated take on education that I’d just never seen before in television or film (though the French film The Class also deserves a mention in that context).
But Coates’ comment reminds me that part of my initial disappointment with season two was exactly what he’s praising. I was afraid, I think, that these great characters were going to permanently fade into the background, never to be seen again. At the time, I didn’t understand the bigger picture of the series; if I had, I might have appreciated these qualities. He’s right: it was a brave and important move for the show, and the later, important takes on politics and education wouldn’t have been possible if they hadn’t made that break early on. Jen and I recently re-watched the first four seasons, and I appreciated it a lot more this time around.
