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The Wire TV Show set in Baltimore centers around the city’s inner-city drug scene. It starts as mid-level drug dealer; D’Angelo Barksdale beats a murder rap. Det. James McNulty has been assigned to lead a joint homicide and narcotics team. The purpose of the team is to bring down drug bigwig Avon Barksdale along with his right hand man Stringer Bell, Wee-Bey, his own nephew D’Angelo Barksdale. Lt. Cedric Daniels, the supervisor, deals with his own problems including Corruption.
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If there was anyone working in TV today who could create an accurate, in-depth portrait of post-Katrina New Orleans, it’s David Simon. Many people call Simon’s previous HBO series, The Wire, one of the greatest dramas of all time, and they do it for a reason: it has rich characterizations, well-examined stories, and it gives viewers a real feel for the underbelly of Baltimore.
So, with Treme, debuting on HBO in April, Simon tries to examine the lives of ten people who are trying to pull things together three months after Hurricane Katrina flooded out New Orleans.
“New Orleans, to me, represents a place where it’s a triumph of American urban culture,” said Simon. It’s what – it’s the best that an American city can be and also the worst in a lot of ways, as I said before, but it has created a culture that has gone around the world.”
Wendell Pierce, who played Bunk on The Wire, is on board as musician Antoine Batiste, who tries to reconnect with his family while struggling to make a living in the devastated city. At the time he was offered the part, he was also in line to take the role in Men of a Certain Age that ended up going to Andre Braugher.
But the New Orleans native knew he had to take this role, and he thinks Simon’s depiction of NOLA is the most accurate he’s seen on TV in a while.
“You know, a lot of times, you see, you know, bad TV movies about New Orleans and it’s Mardi Gras every day, and everybody is dressed up, and outside the window, you see a parade going by<” said Pierce. “I knew that David and Eric (Overmyer) had a unique ability to find the specificity in a culture and depict it in a way that was authentic. And so that’s happening, and that’s evident, and I’m happy about that. New Orleanians are very protective about their culture, and I think they would be happy about the specificity in the show.”
Yes, there’s lots of good and bad aspects of New Orleans that the show can depict, but strangely enough, in the months after Katrina, the more unseemly aspects of the city — the rampant crime, especially — wasn’t there.
“The truth was the crime didn’t come back for several months, until the spring of ‘06,” said Simon. “Crime dropped
dramatically in New Orleans. So at the point at which certain initiatives show up, to the extent that they affect the lives of our characters, of our 10 major characters, we wanted to deal with them.” As time goes on, they’ll deal with the education problems, the crime problems, etc. But for now, it’s about a community trying to rebuild.
Oh, and they shot the show in the city. Even close to five years after the flood, there are still areas that haven’t recovered. “It’s a little embarrassing that, you know, it doesn’t take that much art direction to make it look like three months after (Katrina),” said Pierce.
Online Episodes: Watch or buy any previous The Wire episodes you may have missed by clicking here.
The Wire star Dominic West has admitted that he isn’t keen to make a return to US television screens.
The Sheffield-born actor, who played Detective Jimmy McNulty in the acclaimed HBO drama, confirmed that he plans to concentrate on films due to his family commitments in the UK.
As well as having three children under the age of 4 with his wife Catherine Fitzgerald, West also has a 10-year-old daughter from his previous relationship with Polly Astor.
Speaking to The Independent, he explained: “I got offered a lot of cop roles on [American] television after The Wire, but I don’t really want to do any episodic television because it’s a huge commitment and I’ve got children here and I can’t really live over there for any amount of time.”
On his movie prospects, he added: “The Wire was highly regarded rather than being of mass appeal, so my box office isn’t particularly big. I’m not straight in at the new Batman or anything. I’d be marvellous in Batman.”
‘The Wire‘ star Clarke Peters has filmed a guest appearance for BBC’s ‘Holby City’. According to Digital Spy, Peters, who stars as Detective Lester Freamon in ‘The Wire’, will play Donna Jackson’s (Jaye Jacobs) father Derek Newman for a month on the show.
Speaking about the role, Peters said: “The ‘Holby’ experience was an eye opener for me as to how professional everyone working in that factory of entertainment must be.”
“My directors, particularly Rob Evans, created an environment that was comfortable and supportive for any guest artist to thrive in.” ‘Holby City’s series producer Diana Kyle commented: “Clarke has an amazing body of work from West End theatre to ‘The Wire‘ and we were delighted when he agreed to come and join the team at ‘Holby’.”
Peters’ first episode of ‘Holby City’ is reportedly set to air in July.
The newest theme song for HBO’s THE WIRE from the 5th season.
The stars of critically acclaimed HBO series The Wire are beefing up the cast of an upcoming drama called Treme, with the likes of Wendell Pierce and Clarke Peters joining the latter’s roster. Not a few days back, it was reported that CSI: Miami’s favorite coroner Khandi Alexander will also be heading to New Orleans.
This comes as no surprise, however, as the producer of The Wire David Simon created Treme, a post-Katrina drama that looks at the iconic New Orleans neighborhood that has produced a lot of famed musicians.
Pierce, a New Orleans-native himself, will be the trombone-playing Antoine Batiste, the struggling musician trying to score gigs to support his girlfriend and their newborn baby. Peters, meanwhile, will play Albert Lambreaux, “a big chief of the White Feather Nation.” Alexander will reportedly take on the role of Batiste’s ex-wife. Both Peters and Alexander have worked with Simon on Emmy-winning miniseries The Corner.
With such heavyweights on its helm, Treme is being groomed to be HBO’s next hit. Other than the area’s music scene, it will also delve into political corruption, the public housing controversy, the crippled criminal-justice system, clashes between police and Mardi Gras Indians, and the struggle to regain the tourism industry after Katrina.
“It’s basically a post-Katrina history of the city. It will be rooted in events that everybody knows,” says The Wire and Treme creator. “What it’s not going to be is a happy stroll through David Simon’s record collection. It should not be a tourism slide show. If we do it right, it [will be] about why New Orleans matters.”
No premiere date has been set for Treme.
For its part, the Baltimore-set urban police drama The Wire recently earned the nods of the Television Critics Association with four nominations, including Program of the Year, Achievement in Drama, Individual Achievement in Drama for Simon, and the Heritage Award for its social impact.
All good things must come to an end; at least The Wire, Dave Simon’s brilliant portrait of Baltimore through all its social strata, wrapped up before it grew bloated like The Sopranos. The fifth season (only 10 episodes) brings the fourth estate into the mix of overachieving street-corner drug dealers, overworked cops, underfunded teachers and overwhelmingly corrupt politicians. The beleaguered editors and reporters at the Baltimore Sun (where Simon worked the crime beat), stripped bare by layoffs and facing competition from the Internet, are urged “to do more with less” by their weaselly managing editor (David Costabile). Even worse is the pompous executive editor (Sam Freed), with his Pulitzer lust and academic credentials. The moral center of the newsroom, city editor Gus Haynes (a deeply lived-in performance by Clark Johnson), a Menckenite dinosaur, reluctantly negotiates the cutbacks while trying to reign in Scott (Tom McCarthy), a reporter with a touch of the fabulist in him—his quotes are too good, his sources never want to be named. The inside-baseball newspaper story dovetails with the ongoing saga of Jimmy McNulty (Dominic West) and his mates in the police department. Throwing caution and common sense to the wind, McNulty fabricates a crime wave by a serial killer preying on the homeless in order to get the resources Lester Freamon (Clarke Peters) needs to solve the murders in the vacant houses from Season 4. Two bullshitters square off when McNulty and Scott both start spinning their stories into headline-grabbing hysteria that challenges the electoral dreams of slick liberal Mayor Tommy Carcetti (a spot-on impersonation of Gavin Newsom by Aidan Gillen—or is it the other way around?). Meanwhile, Marlo Stanfield (Jamie Hector) makes his move on Prop Joe (Robert F. Chew) and the Baltimore drug trade, and Omar (the amazing Michael K. Williams) returns from exile with a grudge. The show manages to do justice to scores of memorable characters, building on the fertile ground of previous seasons. The Wire has cemented so many intricate emotional foundations that some of the actors seem to merge with their characters. It is startling to see Michael (Tristan Wilds), Doquan (Jermaine Crawford) and Namon (Julito McCullum), the kids from last season, a couple of years older and a few inches taller. My reservations are minimal: the newspaper subplot isn’t all that well integrated with the rest of the narrative; McNulty’s scheming strains credibility (there’s no way they can make their doctored case stand up in court); and Marlo seems too much like a shark in comparison with Avon Barksdale and Stringer Bell, whose lives of crime had a context and a purpose—Marlo’s deadly ambition has left him devoid of complexity; he doesn’t even enjoy the money and status he achieves. But these are minor cavils when stacked up against a brilliant scene in which a Quantico FBI profiler perfectly nails McNulty’s anti-authoritarian tendencies; or the depth of professionalism that drives Bunk (Wendell Pierce) and Kima (Sonja Sohn) to acts of courageous conscience. To say that Season 5 of The Wire is the weakest one is still high praise, because The Wire is better than 99 percent of anything that has ever been on TV. Comes with commentary tracks and a couple of promo-style extras—it is amusing to hear Dominic West talking in his real English accent.
Previously… on The Wire… you know what? If you’re just bothering to get caught up now, there’s not a hell of a lot I can offer you at this point.
We open on Carcetti who looks like he’s just been told that he’s spent the last four years walking around with his fly open. “But if we…” the mayor finally manages to say, before trailing off into silence. “Sigh,” the mayor sighs, standing up from his desk to survey his audience — Norman, that Weasely Chief of Staff who I will not miss when this show goes off the air — not one bit, Daniels, Rawls, Pearlman, and Bond. “But how can…” the mayor continues. “Jesus Christ,” Chief of Staff Weaselman properly concludes. “So this means, uh…” Carcetti adds, still struggling to use his big boy words. Five’ll get you 10 someone just passed along the info to the mayor’s office that Baltimore’s serial killer epidemic is not as serious as first believed. Norman finally punctures the ongoing stupor by surmising: “So no one killed any homeless men.” Circle gets the square. Daniels confirms that some of the deaths were random killings and others were natural deaths rigged to look like murders, but yeah — there’s no serial killer terrorizing Baltimore’s homeless. Oh, and also the money devoted to that case was funneled into the investigation that led to the high-profile drug bust you were just on the news crowing about. So that entire case is about a discovery motion away from getting tossed into the compost heap. Other than that, Mr. Mayor, it’s been a pretty run of the mill couple of weeks for the city.
Carcetti finally manages to string together a subject and a predicate within the 30-second time limit: “So let me just… understand this… um… So I’ve been going out there for weeks, slamming the governor for his neglect of the homeless and declaring that we will stop at nothing to find the person responsible for preying on the homeless, and — hey, Norman… this is my ass here!” Norman has earned the mayor’s full-frontal wrath for being unable to sufficiently suppress his laughter at the ridiculousness of the whole situation. “That’s true, boss,” says Norman, choking back giggles. “But it does have a certain charm to it. They manufactured an issue to get paid; we manufactured an issue to get you elected governor. Everybody’s getting what they need behind some Make-Believe.” And with that, Norman is reduced to peels of laughter. Hey, if you can’t laugh at your own troubles — laugh at Carcetti’s.
Wendell Pierce is recognized by film audiences for his extensive work for such directors as Woody Allen, Spike Lee, Brian De Palma, Barry Levinson, Sidney Lumet and Paul Schrader, among others. Most recently he appeared in Volcano, Bullworth under director Warren Beatty and Spike Lee’s Get On The Bus. His filmography also includes Sleepers, Waiting to Exhale, Hackers, Bye Bye Love, It Could Happen To You, Manhattan Murder Mystery, Malcolm X, Husbands and Wives, A Rage in Harlem, Bonfire of the Vanities, Causalities of War, Family Business, Ishtar, Patty Hearst and The Money Pit.
Equally accomplished in the realm of television, Pierce appeared regularly in the CBS series Gregory Hines Show and Maloney, and can currently be seen on the new Brian Benben Show. Previously a guest star on New York Undercover, I’ll Fly Away, and the pilot Hollywood Division, Pierce’s credits include the ABC mini-series Advocate’s Devil, the CBS telefilm Never Give Up: The Jimmy V Story, the HBO projects Strapped and Vietnam War Story: The Pass, A&E’s Avenue Z Aftemooif’ and the BBC miniseries With Two Lumps of Ice. Appearing in episodes of Law and Order, The Equalizer” and other series, he also lent his talents to pilot episodes of The 413, The Last Days of Russell, Medicine Show and Crime and Punishment.
Heralded for his work in the world premiere of Queenie Pie at the Kennedy Center, Pierce includes among his Broadway stage credits roles in The Piano Lesson, Serious Money and The Boys of Winter. He has appeared in such off-Broadway productions as The Good Times are Killing Me, Psychoneurotic Phantasies for Playwrights Horizons, and Tis a Pity She’s a Whore, Cymbeline and Two Gentleman of Verona for the New York Shakespeare Festival.
