The Wire - Collateral Damage: Erasing The Other

The Wire: Collateral Damage

Season Two, Episode Two

Written By: David Simon, from a story by Simon and Ed Burns

Directed By: Ed Bianchi

Read out “The Wire” Project here. Read about the previous episode here, or click here to read the coverage of the series so far. Assume spoilers for the episode.

            One of the major themes in the first season of The Wire was that from a top down perspective, the status quo was always much more important to continue than any social change. This often came with how Lieutenant Daniels was told to handle his detail: “Dope on the table.” Minor arrests at best. The detail was never formed to take down the Barksdale operation, just show the appearance that something was being done to fight the war on drugs without really any fight. Appearances are always better to keep.

            In “Collateral Damage,” the plot heavy second episode that sets into motion a number of major through lines for the season, we really get that theme racing back. It begins right from our opening scene, as Officer Russell works with a group of detectives on the 13 Jane Does found in the cargo. When a forensics officer discovers they suffocated to death, everyone assumes it was an accidental, leaving Russell to herself. No murder, no problem.

The Wire - The Hunt: Fallout

The Wire: The Hunt

Season One, Episode Eleven

Directed By: Steve Shill

Written By: Joy Lusco, from a story by Simon and Ed Burns

Read out “The Wire” Project here. Read about the previous episode here, or click here to see the total coverage. Assume spoilers for the episode.

            “The Hunt” begins with a great tracking shot that weaves its way through the chaos of the crime scene from last week’s sting operation gone wrong. It’s a visual touch like this by director Steve Shill that throws us into the mess. Instead of getting a series of organized shots and cuts, we get chaos and dislocation of space. That is, until Major Rawls shuts everyone up and tells everyone who isn’t working the case to get out. At this point, continuity is restored, and business begins.

            Reactions and responses are thus the theme of “The Hunt,” after last week’s episode balanced a number of plot lines to help set up for the season’s impending climax. “The Hunt” is also densely plotted, but there’s a little more to chew on thematically, starting with McNulty. Rawls comes upon McNulty still covered in Gregg’s blood, and it’s a great visual touch that he doesn’t wash it off until half way through the episode. While McNulty feels responsible, Rawls gives him a great speech, “It's not your fault. And the motherfucker telling you this, he fucking hates your guts… Shit went bad, she took two for the company. That's the only lesson here.”

The Wire - The Wire: Past Due

The Wire: The Wire

Season One, Episode Six

Directed By: Ed Bianchi

Written By: David Simon, from a story by Simon and Ed Burns

Read out “The Wire” Project here. Read about the previous episode here, or click here to see the total coverage. Assume spoilers for the episode.

            One of the most striking things in “The Wire,” the sixth episode of David Simon’s The Wire, is its ability to emphasize characters who usually have no role in our sympathies. Yes we indetify with former addict Bubbles because he’s in the end a good guy, but what about the street thugs who we don’t even know their names. Well director Ed Bianchi gives us a very curious introduction to Wallace, one of D’Angelo’s thugs. Using a few behind the head tracking shots that are in no doubt influenced by the Dardenne brothers, we see Wallace as he wakes up in his trash home, awakens his five younger siblings, gives them their lunch, and sends them off to school. Why is this kid selling drugs? There’s your answer. However, as patriarchal as Wallace must act as home, he’s not ready to see the image of Brandon, shot, stabbed, burned, strangled, and tortured, a result of his call last night.

            The theme of “The Wire” is not so much the simplistic “actions have consequences,” but a more nuanced idea that every debt has to be paid eventually. D’Angelo, having slept with a stripper, makes chit chat with her in the morning, as she asks about his other girlfriend. “She wants clothes, a credit card with her name on it,” he replies, and then says “Pussy is never free.” D’Angelo is realizing that everything he wants comes with a hidden cost, and all the characters get that tonight.