Description

From David Simon, creator and co-writer of HBO's triple Emmy-winning mini-series The Corner, this unvarnished, highly realistic HBO series follows a single sprawling narcotics and murder investigation in Baltimore. Told from the point of view of both the police and their targets, the series captures a universe of subterfuge and surveillance, where easy distinctions between good and evil, and crime and punishment, are challenged at every turn. Episodes comprise: 'The Target', 'The Detail', 'The Buys', 'Old Cases', 'The Pager', 'The Wire', 'One Arrest', 'Lessons', 'Game Day', 'The Cost', 'The Hunt', 'Cleaning Up' and 'Sentencing'.

Criminally ignored by far, far too many people, The Wire has proven itself to be that rarest of things: an intelligent, clever, character-driven show, that’s lasted more than one season.

Season 1:
This boxset brings together all the episodes from the maiden series of The Wire, spread across thirteen episodes. Yet those episodes, unlike many in the police genre where the show spends a good deal of its time, are dedicated to just one case. Furthermore, it follows both sides of the case. Thus, there’s the Baltimore police department, with its statistics to manage, its internal politics to manage and its chain of command to respect, set against a highly organised gang, who too have more than their fair share of problems.

The Wire is a slow burn show, taking time to delicate put its pieces in place. Rarely do you get a dramatic end to an episode, and it’s not afraid to humanise and blur the lines between good and bad. But, bluntly, there’s nothing--not even The Sopranos--that US TV has broadcast in the last ten years that can hold a torch to it. This first series is genuinely outstanding television, and really deserves your attention. And the good news? Excellent as it is, this first series isn’t even the best that The Wire has to offer.

Season 2:
Picking up after the dramatic events of its maiden season, the second series of The Wire achieves something really rather special: it even manages to outclass the first.

For those fresh to the show, surely the best, most intelligent piece of scripted drama to emerge from America in the last decade, the actual premise is fairly simple. Across the thirteen episodes of its season, it charts one case, and the numerous influences upon it. So it devotes roughly equal time to those committing the crimes as it does to those chasing them.

This time, the Baltimore Police Department have twin worries. There’s the continuing, festering narrative of events from the season before, along with a new problem when a container of dead bodies turns up at the nearby docks. After initial battles over whose statistics the bodies will be attributed to, a fresh case begins for the embattled officers of the Major Crimes Unit.

Yet season two is about much more than the case itself. Bubbling under the surface are characters with real problems, that take their toll on the day-to-day, while at the docks themselves there are union struggles underway, which also have a part to play. Thanks to, frankly, superb scripting, these various narrative threads are woven together quite brilliantly, and the result is perhaps the finest series of The Wire to date. And that’s no small feat.

If you’re one of the many who have let The Wire fly under their radar thus far, then you’re urged to rectify that. Clearly season one is the logical starting point, but begin your adventure in the knowledge that this second series is simple exceptional. For the rest of the US television industry, this is the standard to aim for.

Season 3:Corruption is rife throughout The Wire: The Complete Third Season, which picks up the further adventures of the Baltimore Major Crimes Unit as they continue to wage war on narcotics. Only as this is The Wire, that’s just the beginnings of their problems. Once again, the show that’s rightly being acclaimed as one of Americas finest and most intelligent dramas covers the story from all areas. There’s the investigating cops on one hand, their targets on the other, and the small matter of heavy political influence both with the Police Department itself, and from the Mayors Office too.

Cleverly sowing the seeds for the series that’ll follow, while lacing the narrative with a wealth of challenging ideas to deal with there and then, season three isn’t perhaps the finest of The Wire to date, but it sure does run things close. From its willingness to explore a solution of tolerance to the problem in hand, through to the political ambitions of one man determined to make a name for himself, and the small matter of a narcotics operation riddled with in-fighting, its compelling drama.

Its also unequalled in recent times, courtesy of its outstanding writing, measured performances and willingness to take some bold gambles. Put bluntly, The Wire: The Complete Third Season is a quite brilliant piece of television drama, and easily rewards a purchase.

Season 4:
Even if you missed the first three seasons (the character guides and thorough episode recaps on HBO's website are recommended), and with only one season left, it's not too late to get in under The Wire. In fact, season 4 is an accessible introduction for those who know The Wire only by its street cred as arguably the very best show on television. For them especially, this season will be, as befitting its theme, a real education. Without resorting to melodramatics that other ratings-challenged series employ to gain that frustratingly elusive audience, The Wire shakes things up this season in a way that is true to the series and its characters. A major character, Dominic West's McNulty, plays a minor role as a contented street cop and family man, while a former supporting player, Jim True-Frost's Roland Pryzbylewski, goes to the head of the class as a new eighth grade teacher at beleaguered Edward Tilghman Middle School. It may take a couple of episodes to orient yourself to the Baltimore backrooms, squad rooms, classrooms, and street corners where The Wire's intense dramas play out, and new viewers may miss something in character nuance, but they will easily grasp the big picture. A politically motivated shake-up sends Major Crimes detectives Freamon (Clarke Peters) and Greggs (Sonja Sohn) to Homicide. The gloves come off in the mayoral race between black incumbent Clarence Royce (Glynn Turman) and idealistic white challenger Tommy Carcetti (Aidan Gillen). Gang leader Marlo (Jamie Hector) quietly and deliberately becomes the city's new kingpin, managing to subvert all surveillance efforts. Meanwhile, while "Prez" tries to reach his students, four highly at-risk kids will be drawn into the trade.

Mere synopsis does not do The Wire justice. The series deftly juggles its myriad storylines and characters, all of whom make an impression, from Marlo's cold-blooded enforcers, Snoop (Felicia Pearson) and Chris (Gbenga Akinnagbe), to boxing instructor "Cutty" (Chad L. Coleman), determined to keep his young charges off the corners. There is not a false note in the performances or the writing. Richard Price (Clockers) and Dennis Lehane (Mystic River) again contributed episodes. That this series has only been nominated for only one Emmy (for writing) is a travesty. As engrossing as the finest novels and in a class by itself, this isn't television; it's The Wire

Season 5:
Its borderline tragic that one of American television’s finest shows of recent times comes to an end with season five of The Wire. Long-praised for its astonishing mix of character, grit and outstandingly scripted drama, the upside is that the show sure goes out with some style.

As with every season of The Wire, there’s an underlying theme running alongside the exploration of both sides of Baltimore’s narco problem, and this time it’s the media. Fighting cutbacks, yet trying to maintain quality, the staff of The Baltimore Sun prove to be a compelling addition to the mix. On top of that, there’s also Mayor Carcetti’s battles at City Hall with the budget, a stretched police force looking for easy statistics, and fractions among the city’s main dealers. Desperate times, ultimately, call for desperate measures, and it turns to McNulty to come up with a plan that threads through each of the city’s factions.

That The Wire has maintained its standards for five straight seasons is surely something to be celebrated all by itself. Yet what’s even more remarkable is the way that it leaves our screens, seemingly forever. No character is safe and nothing is black and white, right up to the quite wonderful final episode. And what a way to go that last instalment proves to be. Giving nothing away, it’s a superb fanfare to a genuinely stunning--and unequalled--piece of television drama. If you’ve not already, you really should find out what all the fuss about.

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