(This is a recap of "Late Editions" scheduled to air in a week. Spoiler Alert.)
As predicted by me in an earlier post, George Pelecanos took the mound this episode as the writer. You may have been able to tell that by the clear DC references to Georgia Ave. and Silver Spring by the vet at Walter Reed (signatures of Pelecanos writing), or that he always writes the penultimate episode for each season. (5 gets you 10 that when the season is released on DVD that Pelecanos is offering the commentary.) But, you may just notice - especially if you read his fiction - that this is a Pelecanos' episode because your heart is heavy the entire time. Nothing pleasant is concluded.
Freamon finally makes his move on Marlo off the info from his wiretap. Unlike previous seasons - where the whole season built up to the payoff of the wiretap's success, and subsequent floundering by the bureaucracy - the wiretap storyline was more of a strong B subplot. But does it have to be anything more? We've been down this road several times. We know how it works. So let's use it as a backdrop to move our story along.
With Marlo's upper brass all convening in a jail cell, it's determined from their warrants that there is a (McNulty made-up) snitch among them. Snoop's lifetime of loyalty rules her out, leaving only Michael. But Marlo and Chris aren't positive. Marlo asks Chris if he is willing to put his life on the notion that Michael didn't talk, given that he's been asking too many questions lately. With a simple look, Chris signs Michael's death warrant. But in the process of revealing justification for Michael being the snitch, Monk reveals some sour news to Marlo about Omar's warpath and (apparently undisclosed) challenges to his name. Marlo's reaction reveals - perhaps for the first time - the power behind him as he barks orders for his lieutenants to make it a priority to get word back to the corners about his lack of knowledge on Omar's insults.
Marlo and Co.'s arrest gives the police and the mayor a much needed presser - that Zorzi thoroughly enjoys - about keeping the city safer. It also directly ties them up with the fruit from the poisonous tree that the arrest grows from. But for now, the mayor is content and moves on to push classroom achievements into the spotlight visiting the Baltimore Inner City Debate forum, where old friend Namond Brice is lecturing while his foster father, Bunny Colvin and the good deacon look on. Another rushed, ham-handed conclusion scene with Carcetti and Colvin ensues. It seems like another cheap "what are they up to" cameo. For all the talk Simon chirped about the characters serving the story, and not vice versa, these cameo scenes seem forced and jarring. I mentioned earlier that I thought it was nice because they seemed to fit the storyline, but now it seems rushed in and out of place.
Out of place or not, the contrast between Namond behind the podium against Michael on the corner was stark to say the least. Michael transformed in this episode right before our eyes. His intuition on Snoop's motives offered him the upper hand when the time came. Another patent Pelecano's scene. Both characters know themselves and the other so well that the outcome is known well before it happens. Snoop knows Michael has the advantage and that she won't live, but still offers (seemingly) just cause for why he was to be executed instead of negotiating for her life. Snoop was a solider till the end.
Michael has now crossed a line. He has saved his life, but forever altered it. He has to go on the lamb and Bug and Dukie now lose his protection. The lurking figure, donning a black wife-beater T, standing in the walkway watching a tearful Bug leave, brings reference to images of Avon and Stringer. Also the cold distant stare, as Dukie tries to relive the story of four friends goofing around on a late summer's day, shows that Michael's "Boys of Summer" innocence has been lost for some time now. He seems to understand that he's a child of the game and his future is a tunnel, not a path. So now there is only the choice of how to play it left.
With Marlo under his belt, Freamon fulfills his hunger by meeting with Senator Davis who offers up a clear money path for Freamon to follow. Freamon is surprised at Clay's candor about Levy's abuse of his clients' trust and even exposes a throw away line about his own manipulation of Stringer Bell. But at the same time that Freamon gets the idea to investigate Levy, we find out that Levy has Herc - under the guise of drinking with the guys - investigating the detail.
However, it doesn't look like Freamon will get the chance to indict Levy because Kima has gone up the ladder with McNulty's lie. Luckily, the upper brass is now Daniels who - along with Pearlman - will take the appropriate time to investigate and script a PR solution. Or at least have one in their back pocket.
The "Sun" storyline continues to disappoint and it's far too late to salvage. Perhaps on the second viewing, I'll appreciate it more, but for now I'm just enjoying Clark Johnson's performance. He seems to have gathered all the arsenal he'll need against Scott who is currently suiting himself up for a Pulitzer.
And finally, Pelecanos loops all the way back to his last episode (episode 12 of S4) to complete Bubbles' circle of Sherrod's fate. Bubbles - er Reginald's story and it's conclusion are really working for me this season. I've never been a huge Bubbles fan. I've enjoyed his story lines and understood why he remained in the picture year after year, but never felt much connection or feeling with his path. That ended in this episode. Maybe it's the hope for the salvation of one character, especially after seeing Dukie begin a similar life route with his hesitant walk into the stables, but I was near tears during Reginald's time speaking in group. Simon has spoken about the real life Bubbles many times in interviews and how he wrote the man's obituary for the Sun and how that broke his heart. I hope he isn't planning on breaking ours.
Monday, February 25, 2008
Tuesday, February 19, 2008
The bad news is, we actually have to catch this Motherfucker
The last line on my page of notes from the previous episode was "Kenard's assessment of Omar." That's simply it. I chuckled as he stated, "That's Omar" with the kind of disappointment one reserves for seeing a mythical figure hobbling up as just a man. I chuckled because he said it after Omar had left with the kind of faux-bravado I have, like millions of other kids, sported when troublesome situations were defused and safety was assured. Little did I know that it was the clearest bit of foreshadowing the WIRE has ever slapped on the viewer.
So here lies Omar Little. Much like the tragedy of Achilles', Omar is done in by an unlikely threat. So much so, that even as you knew the scene had carried on too long, you never expected to see the headshot and young Kenard standing there, stunned - now a murderer. The POV and setup of that scene was brilliant. All from Omar's vantage, we here the chime of the door, see Omar's quick survey of the patron, his dismissal of the child and his resulting death. The aftermath was chaos and confusion (written and directed beautifully). The constant scream of the Korean clerk was haunting and conveyed the viewers' inner thoughts: Omar just died.
This is the third major character death in a row, with Bodie and Prop Joe being the other two, where the sense of demise is palpable. Omar's wounded wandering on the corner in daylight played almost as the wounded soldier's last stand. There was also something eerie about how he seemed to be recreating his premiere "Big Bad Wolf" scene scaring the stash out of some low-level hoppers armed with a shotgun, but using just the menace of his words and his reputation.
Much like Jimmy with Stringer, Bunk is given a courtesy call to the crime scene. This homage was extremely touching and far more emotional than the actual death scene. The explanation of the young hoppers grave robbing "souvenirs" from Omar's still warm corpse was gripping and unleashed the full wave of grief and the weight of the loss was realized.
You get the sense that Marlo's last, great threat has been vanquished, but only Marlo sees the joy in this. Chris senses paranoia and perhaps anger for not getting his trophy and finishing his duel with Omar. The scene early in the episode where Michael wisely inquires as to why Omar is not hunted or killed illustrated a clear frustration and fear in Partlow, which was voiced by Snoop. His concern stemming from the thought that maybe, just maybe, Omar is legend. That look was nearly repeated as Chris finds out about the news of Omar's death, only this time his face is filled with surprise and possibly remorse. Similar to when a classic showdown is building in boxing, but one contender loses right before the title fight.
But there is a looming anvil over Chris and Marlo's head too. And it seems, from the previews for the next episode - most likely penned by Pelecanos - that their trip to AC might not happen. It's true WIRE form as everyone's tragic conclusion descends upon them.
And it seems very clear that McNulty's future won't be so bright as, in a hilarious scene, the FBI profilers describe Baltimore's serial killer to a T. "I think they're pretty accurate", McNulty asides to Greggs regarding the Feds report. (Could be the most subtly funny line of the season.) But, that was the only thing humorous about his fate. With his many disclosures to those close to him, and threats from those acquainted with him, it seems that McNulty's little agenda is on the verge of ripping at the seams. The effects are clearly taking a toll on him.
It's a shame that such an emotional impact drapes what was a very tight episode. The brilliant surveillance scenes and drug pattern revelations that made the first season so addictive seem almost lost in this current WIRE landscape. The pieces are coming together for the detail, but there is a sense that all of this intuitive and ingenious work by Freamon/Sydnor is going to be washed away by the flood of the approaching scandal and the ensuing bureaucratic response. As every politician and the unknowing participants duck for cover, McNulty will be sacrificed as the scapegoat, while all other parties exploit the silver lining of his ruse - the clearance of cases, the drop in crime (for this quarter), and, hopefully, the incarceration of Baltimore's real serial killer: Marlo Stanfield/Chris Partlow/Snoop Pearson.
One alarming trend is developing here. As stated earlier, the Kenard line was a glaring bit of foreshadowing. My fear is that the 4 characters used for the three, seemingly throw away, WIRE "prequels" will all meet a tragic fate. Bunk and McNulty are the only ones left and it seems as though they might fall in the whirlwind of this ruse's inevitable unveiling. Bunk may be collateral damage - to steal a line from Season 2 - for his knowledge and acquiescence of the lie. Let's hope it's after he serves the warrant for Partlow's murder.
McNulty has already proven that his fate will resemble that of the dealers and gangsters he so effectively polices. It will end with him in either cuffs or - if Beadie's discussion with him is another case of foreshadowing - dead. I don't see that happening, but her sentiment was somber as I couldn't help but wonder who would be at Omar Little's funeral. RIP. It's all in the game.
So here lies Omar Little. Much like the tragedy of Achilles', Omar is done in by an unlikely threat. So much so, that even as you knew the scene had carried on too long, you never expected to see the headshot and young Kenard standing there, stunned - now a murderer. The POV and setup of that scene was brilliant. All from Omar's vantage, we here the chime of the door, see Omar's quick survey of the patron, his dismissal of the child and his resulting death. The aftermath was chaos and confusion (written and directed beautifully). The constant scream of the Korean clerk was haunting and conveyed the viewers' inner thoughts: Omar just died.
This is the third major character death in a row, with Bodie and Prop Joe being the other two, where the sense of demise is palpable. Omar's wounded wandering on the corner in daylight played almost as the wounded soldier's last stand. There was also something eerie about how he seemed to be recreating his premiere "Big Bad Wolf" scene scaring the stash out of some low-level hoppers armed with a shotgun, but using just the menace of his words and his reputation.
Much like Jimmy with Stringer, Bunk is given a courtesy call to the crime scene. This homage was extremely touching and far more emotional than the actual death scene. The explanation of the young hoppers grave robbing "souvenirs" from Omar's still warm corpse was gripping and unleashed the full wave of grief and the weight of the loss was realized.
You get the sense that Marlo's last, great threat has been vanquished, but only Marlo sees the joy in this. Chris senses paranoia and perhaps anger for not getting his trophy and finishing his duel with Omar. The scene early in the episode where Michael wisely inquires as to why Omar is not hunted or killed illustrated a clear frustration and fear in Partlow, which was voiced by Snoop. His concern stemming from the thought that maybe, just maybe, Omar is legend. That look was nearly repeated as Chris finds out about the news of Omar's death, only this time his face is filled with surprise and possibly remorse. Similar to when a classic showdown is building in boxing, but one contender loses right before the title fight.
But there is a looming anvil over Chris and Marlo's head too. And it seems, from the previews for the next episode - most likely penned by Pelecanos - that their trip to AC might not happen. It's true WIRE form as everyone's tragic conclusion descends upon them.
And it seems very clear that McNulty's future won't be so bright as, in a hilarious scene, the FBI profilers describe Baltimore's serial killer to a T. "I think they're pretty accurate", McNulty asides to Greggs regarding the Feds report. (Could be the most subtly funny line of the season.) But, that was the only thing humorous about his fate. With his many disclosures to those close to him, and threats from those acquainted with him, it seems that McNulty's little agenda is on the verge of ripping at the seams. The effects are clearly taking a toll on him.
It's a shame that such an emotional impact drapes what was a very tight episode. The brilliant surveillance scenes and drug pattern revelations that made the first season so addictive seem almost lost in this current WIRE landscape. The pieces are coming together for the detail, but there is a sense that all of this intuitive and ingenious work by Freamon/Sydnor is going to be washed away by the flood of the approaching scandal and the ensuing bureaucratic response. As every politician and the unknowing participants duck for cover, McNulty will be sacrificed as the scapegoat, while all other parties exploit the silver lining of his ruse - the clearance of cases, the drop in crime (for this quarter), and, hopefully, the incarceration of Baltimore's real serial killer: Marlo Stanfield/Chris Partlow/Snoop Pearson.
One alarming trend is developing here. As stated earlier, the Kenard line was a glaring bit of foreshadowing. My fear is that the 4 characters used for the three, seemingly throw away, WIRE "prequels" will all meet a tragic fate. Bunk and McNulty are the only ones left and it seems as though they might fall in the whirlwind of this ruse's inevitable unveiling. Bunk may be collateral damage - to steal a line from Season 2 - for his knowledge and acquiescence of the lie. Let's hope it's after he serves the warrant for Partlow's murder.
McNulty has already proven that his fate will resemble that of the dealers and gangsters he so effectively polices. It will end with him in either cuffs or - if Beadie's discussion with him is another case of foreshadowing - dead. I don't see that happening, but her sentiment was somber as I couldn't help but wonder who would be at Omar Little's funeral. RIP. It's all in the game.
Thinking short when they should be thinking long...
(Due to firewall troubles with the old - or should I say month old - PC, I am seriously delayed on my "Took" post. So delayed in fact that I had watched it moments after my last post, and now - a week and the next episode watched later - I'm going to try and write about it. Bad idea. So some quick thoughts and then I'll move on.)
As the episode begins with the latest trick out of McNulty/Lester's sleeve, we see the real and disastrous impact of this lie. It's written all over Sydnor's contemplative face as he surveys legions of patrol cops - aided by helicopters - respond to McNulty's fake call to Templeton. There is a sense that this is bubbling over.
The latest play has landed McNulty with the full attention of the mayor, BPD, and the newspaper. (The dueling briefings between the BPD and Sun were great.) The feeling I got from this episode can be wrapped up in one word: "unglued."
Even Templeton's lies are starting to number so high to track fully, as we watch Haynes step past Det. Munch (cameo by Richard Belzer) to do some follow up investigation with Mello regarding Templeton's explanation on his correction from a prior story. Hayne's is sniffing out Templeton's lies. (I firmly do believe that the creator's named him Templeton after the rat in Charlotte's Web as pointed out by THND's Andrew Johnston.)
Senator Clay Davis, seeking the influence of Pro-mith-us and the counsel of Billy Murphy (actual Baltimore lawyer), watches Bond and Pearlman become unglued with his OJ-like performance in front of the Baltimore city jury. "They don't teach that shit in law school."
And finally, Omar, seems to be breaking form. The cameos continue with Sevino's return, and early demise at the hands of the ghetto Batman. His warpath continues as he interrogates Michael on his corner, again mirroring the heat Michael is getting from Bunk and the Homicide unit regarding the murder of Bug's dad.
This episode was not with out it's gray beams of hope though. The scene with the young reporter and Bubbles was understated and perfect. Bubbles finds his way to be useful and insightful - this time telling a story, not "snitching" and for free of charge. And finally, Kima's "Goodnight Moon" scene at the end of the episode felt like a nap in the middle of a hectic work week. Just to stop and breathe. The air may not be pleasant, but it's time to rest.
As the episode begins with the latest trick out of McNulty/Lester's sleeve, we see the real and disastrous impact of this lie. It's written all over Sydnor's contemplative face as he surveys legions of patrol cops - aided by helicopters - respond to McNulty's fake call to Templeton. There is a sense that this is bubbling over.
The latest play has landed McNulty with the full attention of the mayor, BPD, and the newspaper. (The dueling briefings between the BPD and Sun were great.) The feeling I got from this episode can be wrapped up in one word: "unglued."
Even Templeton's lies are starting to number so high to track fully, as we watch Haynes step past Det. Munch (cameo by Richard Belzer) to do some follow up investigation with Mello regarding Templeton's explanation on his correction from a prior story. Hayne's is sniffing out Templeton's lies. (I firmly do believe that the creator's named him Templeton after the rat in Charlotte's Web as pointed out by THND's Andrew Johnston.)
Senator Clay Davis, seeking the influence of Pro-mith-us and the counsel of Billy Murphy (actual Baltimore lawyer), watches Bond and Pearlman become unglued with his OJ-like performance in front of the Baltimore city jury. "They don't teach that shit in law school."
And finally, Omar, seems to be breaking form. The cameos continue with Sevino's return, and early demise at the hands of the ghetto Batman. His warpath continues as he interrogates Michael on his corner, again mirroring the heat Michael is getting from Bunk and the Homicide unit regarding the murder of Bug's dad.
This episode was not with out it's gray beams of hope though. The scene with the young reporter and Bubbles was understated and perfect. Bubbles finds his way to be useful and insightful - this time telling a story, not "snitching" and for free of charge. And finally, Kima's "Goodnight Moon" scene at the end of the episode felt like a nap in the middle of a hectic work week. Just to stop and breathe. The air may not be pleasant, but it's time to rest.
Monday, February 11, 2008
My Heart Pumps Purple Piss For You
The pace of this season refuses to slow down. Fellow blogs continue to criticize the overwrought "unWIRE" like writing and direction. I concur with their assessments as how it's jarring to the veteran WIRE viewer, but am sitting back and enjoying the ride. I will continue to theorize that this is a result of Season 5 wrapping up story lines that don't require an additional episode or two to flesh out character qualities. However, the sacrifice here is the "Sun" storyline which is guilty of providing us with run of the mill, TV style character developments - with the exception of Haynes (who is rivaled only by Bunk as this season's stand out character).
The episode teleplay comes from Ed Burns (who continues to be overlooked as an equal co-creator of television's greatest show) and is laced with terrific lines - including the title of this entry. The line, of course, refers to Bunk's grilling of the Forensics chief, who quietly explains why there is a significant lapse in regards to DNA evidence from the "vacant" murders of Season 4.
Bunk's storyline continues to be the anchor for this season, as he is the only person aware of the McNulty/Freamon agenda and the consequences it can have on impeding real "po-lice" work. His refusal to blow the whistle and his insistence to work - alone - on the real, open serial killer case is at once admirable and taxing at the same time - portrayed beautifully by Wendell Pierce. His veteran police prowess continues to shine as he works back on the case involving Lex (allowing for one of this episode's "where are they now" cameos) by questioning the now hardened Randy. (Other cameos include 'Niko' Sobatka's insubordination of real estate developer Kracheck.) Bunk's hard work lands him with a good lead into the murder of Michael's stepfather, a single case outside of the bungled "vacants" series - because Chris refused to wait to get him into the house - allowing Bunk a clearly identified case DNA sample. However, his work continues to take a back seat to the now stoked wildfire of McNulty's "serial killer".
McNulty's ruse needs to get bigger because Freamon is becoming more insatiable for resources to track down Marlo - whose new trick is to use pics from his cell phone to indicate meetings. As the need for higher end technology to continue proper surveillance and build a case grows, so does the justification to up the ante on their lie. Further, McNulty is getting just a little taste of his former supervisors' struggles in dealing with Freamon's persistence.
The opening scene revolving around Chris and crew's frantic search for Omar was superb. (Detective Monk? Snoop Little?) The legitimate concern on Chris' face and his anger displayed that he seems to be the only one who knows what's fully at stake. Marlo continues to convey a cold confidence and his arrogance may be his downfall as he informs the co-op (which indeed seems to be dissolving) that he controls the "connect", that he's responsible for Joe's death, and that the price on the "brick" is going up. Slim Charles - fully aware that Marlo's explanation of Joe's demise was completely false - passes his opportunity to captain the East Side drug trade over to (Marlo-made) Cheese. Slim will be one to watch.
Templeton - donning a Kansas City Star t-shirt (wonder if that was consolation for interviewing there) - spends the night on the streets in an effort to actually "pound the pavement" to follow up on his front page story based on the serial killer's call to him. He finds that actually doing the work might provide better results than making it up, as even the suspicious Haynes was impressed with his piece showcasing a Gulf War II vet's story. A favorite quote amongst the shows' writers is by one of their own, Richard Price - "God is not a second rate novelist" which Templeton may be finding out by reporting this kid's actual story. (I'm also convinced that the actual anecdote was probably based in truth as well.)
Trouble seems to be brewing for the DA's office as well as Bond's insistence to try Senator Davis locally as a dog and pony show and by himself might get derailed by a possible leak in his office. Det. Holly uncovered Prop Joe's file of Grand Jury testaments and warrants revealing how the crafty Joe was able to stay one step of the law all these years. (Bunk: "Somebody finally got old Prop Joe.") Marlo, with his reckless and impatient ascent to Joe's chair (sitting empty during the recent meeting) as the head of the co-op, may have overlooked Joe's ability to ascertain information about ensuing raids or ongoing surveillance and may eventually keep him in the dark about the small, but insistent team - now including Sydnor - surveilling him. We'll have to watch.
The episode teleplay comes from Ed Burns (who continues to be overlooked as an equal co-creator of television's greatest show) and is laced with terrific lines - including the title of this entry. The line, of course, refers to Bunk's grilling of the Forensics chief, who quietly explains why there is a significant lapse in regards to DNA evidence from the "vacant" murders of Season 4.
Bunk's storyline continues to be the anchor for this season, as he is the only person aware of the McNulty/Freamon agenda and the consequences it can have on impeding real "po-lice" work. His refusal to blow the whistle and his insistence to work - alone - on the real, open serial killer case is at once admirable and taxing at the same time - portrayed beautifully by Wendell Pierce. His veteran police prowess continues to shine as he works back on the case involving Lex (allowing for one of this episode's "where are they now" cameos) by questioning the now hardened Randy. (Other cameos include 'Niko' Sobatka's insubordination of real estate developer Kracheck.) Bunk's hard work lands him with a good lead into the murder of Michael's stepfather, a single case outside of the bungled "vacants" series - because Chris refused to wait to get him into the house - allowing Bunk a clearly identified case DNA sample. However, his work continues to take a back seat to the now stoked wildfire of McNulty's "serial killer".
McNulty's ruse needs to get bigger because Freamon is becoming more insatiable for resources to track down Marlo - whose new trick is to use pics from his cell phone to indicate meetings. As the need for higher end technology to continue proper surveillance and build a case grows, so does the justification to up the ante on their lie. Further, McNulty is getting just a little taste of his former supervisors' struggles in dealing with Freamon's persistence.
The opening scene revolving around Chris and crew's frantic search for Omar was superb. (Detective Monk? Snoop Little?) The legitimate concern on Chris' face and his anger displayed that he seems to be the only one who knows what's fully at stake. Marlo continues to convey a cold confidence and his arrogance may be his downfall as he informs the co-op (which indeed seems to be dissolving) that he controls the "connect", that he's responsible for Joe's death, and that the price on the "brick" is going up. Slim Charles - fully aware that Marlo's explanation of Joe's demise was completely false - passes his opportunity to captain the East Side drug trade over to (Marlo-made) Cheese. Slim will be one to watch.
Templeton - donning a Kansas City Star t-shirt (wonder if that was consolation for interviewing there) - spends the night on the streets in an effort to actually "pound the pavement" to follow up on his front page story based on the serial killer's call to him. He finds that actually doing the work might provide better results than making it up, as even the suspicious Haynes was impressed with his piece showcasing a Gulf War II vet's story. A favorite quote amongst the shows' writers is by one of their own, Richard Price - "God is not a second rate novelist" which Templeton may be finding out by reporting this kid's actual story. (I'm also convinced that the actual anecdote was probably based in truth as well.)
Trouble seems to be brewing for the DA's office as well as Bond's insistence to try Senator Davis locally as a dog and pony show and by himself might get derailed by a possible leak in his office. Det. Holly uncovered Prop Joe's file of Grand Jury testaments and warrants revealing how the crafty Joe was able to stay one step of the law all these years. (Bunk: "Somebody finally got old Prop Joe.") Marlo, with his reckless and impatient ascent to Joe's chair (sitting empty during the recent meeting) as the head of the co-op, may have overlooked Joe's ability to ascertain information about ensuing raids or ongoing surveillance and may eventually keep him in the dark about the small, but insistent team - now including Sydnor - surveilling him. We'll have to watch.
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