Sunday, March 3, 2013
David Simon on The Wire (2002-2008)
Instead of the usual good-guys-chasing-bad-guys framework, questions would be raised about the very labels of good and bad, and, indeed, whether such distinctly moral notions were really the point. The show would instead be about untethered capitalism run amok, about how power and money actually root themselves in a postmodern American city, and, ultimately, about why we as an urban people are no longer able to solve our problems or heal our wounds. (36)
The Wire depicts a world in which capital has triumphed completely, labor has been marginalized and monied interests have purchased enough political infrastructure to prevent reform. It is a world in which the rules and values of the free market and maximized profit have been mistaken for a social framework, a world where institutions themselves are paramount and every day human beings matter less. (36)
But instead of the old gods, The Wire is a Greek Tragedy in which the postmodern institutions are the Olympian forces. It's the police department, or the drug economy, or the political structures, or the school administration, or the macroeconomic forces that are throwing the lightning bolts and hitting people in the ass for no decent reason. (37)
David Simon, quoted in Watson, Garry. "The Literary Critic, the Nineteenth Century Novel and The Wire." Cineaction #84 (2011): 32-40.