Omar certainly isn't realistic either. A gay stick up boy is able to rob notorious drug dealers for ten years and hide out in a relatively small city all the while announcing his presence with a characteristic tune? That doesn't happen. The reason Omar exists in the show is because he makes a point. That point is that Omar is able to thrive because he works outside of any institution. Meanwhile police, school teachers, politicians, dock workers and drug dealers are all constrained by the institutions they exist in. The Wire isn't a realistic show in that you go to Baltimore and that is what happens in the city. It still provides insight into how society works.
I've watched the show fully 7-8 times and season 1 about a dozen times. People who don't re-watch are definitely missing a lot of fun. I found my second go at it to be the best because you feel like an insider watching the show from a different perspective. Watching the first ep again after watching the whole show is a spiritual experience.
Slowest, most boring show in television history. Fmd what a pile of shit. I've gotta wait 7 episodes before she starts actually happening? Get fucked.
It's a better show and V but it's Play School compared to Lost and Arrow champ. Tell ya story walking.
So many great things about the show, but what's kinda cool is that a series that isn't really character driven has so many strong & fully rounded characters in it. I still prefer The Sopranos (without that show there'd be no The Wire, IMHO; it really pushed the TV envelope and proved what the format could do) but it's a towering achievement.
Is that Australian for "I respectfully demur"? It's not character driven in the sense it's an ensemble piece that's driven by its story arcs rather than making one or two main characters its focus and the programme's plot being driven by what happens to them. McNulty's kinda as close as it has to a cynosure and he's barely in series four. It's also fucking brutal in killing off some of its strongest characters. Each series famously tackles a different facet of Baltimore's slow death: the police in series one, the docks in two, politics in three, schools in four and the newspapers in five.
