Sunday, September 30, 2012

The Wire: Season Three Overview

I've never felt so ambivalent about a show before. On the one hand the Wire is a masterpiece in plot, character and dialogue. I'm watching it for the third time, know exactly what is going to happen, and I'm glued to the edge of my seat not the least bit bored. It is so layered and complex that I catch new things every time and have a stronger overall understanding of the nuances and strategies of all the different games being played, be they political, police, a combination of both, or much more deadly games on the street. I love that the Wire is so morally complex and gray, although sometimes I think the show tries a little too hard to make some characters morally complex. I can see the writers brainstorming and thinking, this character is too good, lets make him self centered or an adulterer, or this character is too evil, lets make him friendly, loyal, strong and in love with his pets. Which brings me to my main criticism of the Wire: It tries so damn hard to make a statement, that it completely loses sight of the big picture, instead focusing way too hard on the "cyclical nature of things". Season three finishes up with a montage that shows the streets the same way they were before Hamsterdam: Hoppers getting harassed by asshole low level cops in low level street rips, while Colvin stands around contemplatively looking at what is left of it. We are supposed to hate the Ultra conservative system that led to this, whether it was the uptight bosses that didn't have a clue or everyone too obsessed with their next reelection or being screwed over by the media to care about the bigger implications. David Simon is a hell of a storyteller has an incredible knack for how institutions work and operate, but he doesn't seem to be such a finely tuned sociologist, or at least he is so selective in the stories that he tells that he fails miserably at painting a complete picture.

Drug reform laws are not a new phenomenon and there has been a worldwide trend in changing them in the last two decades. Many European countries have relaxed the hell out of possession charges, decriminalizing both soft and hard drugs. Marijuana is now tolerated throughout Europe in a way that was unthought of even twenty years ago. In the U.S. individual states have made a mockery of federal drug laws by decriminalizing medical marijuana and letting anybody with as much as a headache or a bad mood receive a prescription for hydro strong enough for snoop or an Amsterdam coffeeshop. I am not saying that an experiment like Hamsterdam would be met with approval in a country as conservative as the U.S., but what I particularly don't like in the Wire is its fashionable pessimism. Who knows what drug laws will look like in twenty years? With globalization trends continuing as fast as they are, maybe some states will slowly start relaxing drug laws after seeing crime go down in European countries that are doing just that? David Simon realizes that work of art is much more "beautiful" and "revered" when it makes a grand gesture at how bad things are and how they will never change for the better. People can shake their heads and think how "raw" and "true". It is ironic that a show which goes out of its way to be morally ambiguous is so one sided when it comes to showing us the big picture of how things work.

Here is what I mean when I see that things are complex and are not simply getting better or worse. The crack epidemic subsided in the early nineties and the murder rate went way down. While that was happening, blacks who weren't involved in crime or the drug war (the vast majority) were moving out of black ghettos and getting better jobs in better neighborhoods. The empty houses in turn were being moved into by large waves of Latino immigrants who often started even worse gangs, but the crime rate still stayed down lower than it was in the late eighties. The nineties also saw a huge boom in education, and people of all races and social backgrounds went to college at an unprecedented rate. Then a meth epidemic came along but it hit small towns more than big cities. Then all of a sudden MDMA became the drug of choice for youths all over the country. Then that subsided and major drug cartels moved from Columbia to Mexico. There were now twice as many Mexicans in the U.S. as before so that made drug distribution a well planned process along both sides of the border. Then amidst a huge economic recession, Obama made history and offered national health care to all Americans. And now, despite the recession still happening, we are still expanding the information economy like never before, with high speed internet reaching the poorest and most remote neighborhoods. Change is not a new trend. After all, black people all started out as rural farm workers. Many then decided to learn trades and the Black working classes were born. World War 2 offered many opportunities for blacks to leave the south and offer skilled help with the war effort. Black neighborhoods got hit the hardest when the industrial economy shifted to a knowledge economy, but they are also catching up to the new playing field. The future is always uncertain, but as always it will bring all sorts of good and bad things with it. Trying to show just how "cyclical" things are is a gross oversimplification and a show this smart could try and tackle change more ambitiously.

This is why I didn't like the stevedores season two "death of the docks" season. For many children born into the working classes college is something almost everyone goes to, they don't follow in the footsteps of their parents and go out on the docks everyday hoping to get some hours in. They don't go to four year colleges and become rich, but they do get associate degrees at community colleges and end up with an income that many European professional would be envious of. Community college was mentioned one time in season 2 and only for a couple minutes. In other seasons the Wire made the point time and time again that many of the hoppers had never been outside the west side of Baltimore and hadn't heard of much else, even being surprised that Philadelphia has different radio stations from Baltimore. I bet many of the kids similar to the ones shown in the Wire are regular internet users and watch the history channel.

Tuesday, September 25, 2012

The Wire Season 3 Episode 3 and Episode 4: Hamsterdam

Pretentious pretentious pretentious good fucking god this is a horrible episode of an otherwise wonderful show. Episode 3 was incredibly adept at showing the ins and outs and backstabbing and slick political manoeuvrings and processes and the crazy tangled messy web of shit they put all over each other and leave behind as well as shitting on all their underlings in the process. This is what makes the series really shine and stand out, the sheer intelligence scheming and moral complexity of the characters is enough for one hell of a show. Add incredible acting, and the 35 years of hands on experience of life  This was a half ass episode, a byproduct of a TV show creators "vision" getting the best of actual plotting, dialogue and character. Worse part of the episode is when Colvin takes everyone into the auditorium and says we're making changes and everyone boos him on the spot. That coupled with Herc and Carver rounding up hoppers and them being pissed that "its not supposed to work this way, we grind you fuck our shit up thats how it is" is supposed to beautifully artistically and pessimistically show us how resistant to change people are. That may be true in many cases, but for a show thats supposed to be a "documentary of the streets", the street thugs sure are contemplative and philosophical, talking about how things are supposed to be. They are in effect taking overeducated Ivy League  Jewish screenwriters caressing the hell out of their liberal values and trying to make it authentic and give it street cred just because it is said by black people wearing baggy clothes using AUTHENTIC Baltimore slang. Half these kids look straight out of the suburbs, and I can just see them changing out of their starched khakis and pressed polo shirts, and into G rags, size 90 pants and XXXL white T-shirts. I bet the wardrobe team had a hard on for months because even the outfits were so authentic. Every last detail. It basically means the research they did to make it so authentic was go to a local shopping mall, go into a hip hop shop and buy the clothes. If you don't understand or share my frustration, watch a documentary on youtube called hood-to-hood. It is a true documentary of the streets, people talk about the real day to day hustle of the corners and it really sounds truly ghetto. You can barely understand what the fuck it is they are talking about even with subtitles because they a hustler flow thats half rap song and half incoherent street babble without much of a middle, end continuity or even a clause to most sentences. So if the cops picked up these real street kids they wouldnt be spewing out Shakespearean platitudes in Ebonics and contemplating the nature of change, they would either cuss out the cops for being cops and fucking with them or go to "Hamsterdam", check out if its bullshit and sling without thinking twice about it. Isn't "The Game" all about not looking back?

Sunday, September 23, 2012

The Wire Season 3 Episode 1

As much as I love the Wire, I don't think it deserves to be such an intellectual jerk off session. People that claim, "its so brilliant, its so realistic" don't see the obvious that its pretentious as hell and very over the top. All of the critics claim that it is "unique in not talking down to its viewers" don't see that it is basically childishly explaining how a cynical city works to naive and idealistic viewers. Way too much overstating for my taste. Some examples from this episode

- Daniels is shocked to hear that his wifes career has any impact on his own, that she has to watch "her moves" in and around city hall before they can even think about promoting him from major to lieutenant. As if a smart and ambitious forty something year old who played his cards well enough to make it to major was too naive to realize that "everything is connected", another theme that The Wire is brave enough to tackle but overstates the hell out of it a lot of the time

- Bunny Colvins speech to Deputy Rawls that you can't make bodies disappear, which is followed by Stan Valcheck looking incredulous and asking "what got into you". Bunny replies he doesn't care, he's almost retired anyway. Its as if this scene is not to show us a realistic slice of the Baltimore Police Dept but rather its as if Bunny is talking to the audience, explaining to us how things work. They had to justify him being so irrelevantly stupid, so they justified it with his retirement, and made sure it made a big impact on Rawls who is shown furious and resentful, as if he couldn't stand to be told the truth. Yet again concisely but pretentiously showing us that you don't mouth off to your superiors. A perfect type of scene for critics and intellectuals to get on their high horse and philosophize for hours about how "institutions trump individual thought or achievement"

- Cutty coming out of Prison and feeling so dazed and disoriented and eventually getting screwed over on a drug deal by a younger and shrewder criminal. Cutty comes out of Prison, gets a G-pack (1,000 vials of heroin) as a coming home present and tries to get a drug dealer he randomly sees on the street to sell it and split the profits with. He comes back later that night and wants his split, only to have a gun pulled on him and told to fuck off, the cops took the package. He gives a back in the day speech "a man had to have a police filing report number if he claims he lost his package to the police" and he get ridiculed. "We aint back in the day". The show here plays some tricks on us, pretending to be fiercely and tragically realistic when it is once again pretentious. It is basically telling us obviously people are going to be involved in the drug trade, lets be realistic. Obviously the only thing someone like Cutty has going for him is to sell the G-Pack he got so lets root for him, its not like getting a GED in prison or learning a trade is a realistic option. We're badasses and we've created a completely different show because we don't pussyfoot around with bullshit, we show it like it is. But since the show has to be tragically beautiful so the critics can have a circle jerk, the show has to make a statement, that even within drug dealing communities values have deteriorated, its every man for himself, no one has any pride or honor or anything. This is a theme that is found throughout the Wire and its complete bullshit. Its paranoia and hysteria, making people feel all uppity and deep because oh shit, today's kids are even worse. The truth is if you look at statistics, murder rates have gone down since Cutty got out of prison. Season Three was filmed in 2004 and according to the plot Cutty got released out of prison after 14 years. That would mean that he got locked up in 1990, or very near the very height of the crack epidemic, when murder rates were twice what they are now, family values were at an all time low, and crime was rampant and out of proportion. But that would make for shitty storytelling to show us that the merciless hardcore streets have gotten safer, chiller and more relaxed, we should instead demonize the hell out of everything so that we can sit back and ponder from our cushy beds while watching the Wire and think wow, the producers are true craftsmen, things will never change or get better.

Friday, September 14, 2012

Ted the Movie

What a retarded lame and unfunny movie. I completely don't understand why so many of my facebook friends actually hit the like button on its public profile. Or all the critics that have been ranting and raving about its "sweet and sentimental" brilliance. Even  It's full of bad acting (and thats hard to screw up with so many good actors) and one dimensional characters. The Dictator was retarded especially for someone as brilliant as Sacha Baron Cohen but come to think of it it was genius compared to this. A lot of parralels between the two movies, come to think of it. Mila Kunis in Ted and Amy in the Dictator both  I maybe got one light chuckle out of the entire movie and I don't remember where.

1/10

Thursday, September 13, 2012

Sons of Anarchy

Normally anything with this many convenient plot coincidences would seem insanely stupid contrived and cheesy but this series is so viscerally enticing, so well directed and acted and has such good dialogue that we don't care, we just sit there in awe and take in the bad assery and forgive any and all evil because the Sons are so cool.

Wednesday, September 12, 2012

TV: Homeland Season One Episode One

Seems like a cheesy premise at first: a US Marine gets captured and tortured by the Iraqis then they keep him alive for eight years before he gets discovered and saved by an American anti terrorist group. Half the plot focuses on him and the other half is about a mentally unstable but incredibly sharp female agent who thinks he deflected to the other side because there would be no reason for the Iraqis to keep him alive that many years. Everyone questions her sanity and she get called up on taking antipsychotics.

This all seems like too many convenient plot building sensational coincidences, but the acting directing and editing are so amazing that we don't pay any attention to that. The ambivalence of both characters is so great that we are on the edges of our seats the entire time wondering who is crazy

Tuesday, September 11, 2012

Movie Review: 3 Iron

What a crazy fucked up bad ass movie.

Asian absurdity, morbidity, and deadpan minimalism come together to form an extremely dark and original vision. Asian movies don't seem to work too well when they're remade in western markets because their flow comes from what is left out and not said rather than what is stated directly. This movie takes that to an extreme where the two main characters don't talk at all and we have to play detectives to figure out the plot for ourselves. Anyone that talks at all in this movie comes off as a dork that states the obvious, catering to the Asian aesthetic of cool that is a great contribution to international arthouse cinema.