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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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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.

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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.

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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.

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John Doman was born in Philadelphia, Pennsylvania on January 9, 1945. He was featured in a cameo role in the Clint Eastwood film, Mystic River, as well as a guest appearance in an episode of Star Trek: Deep Space Nine. He is best known for his role as Baltimore Deputy Police Commissioner William Rawl in HBO’s critically acclaimed police drama, The Wire.

William A. Rawl is the Deputy Commissioner for Operations at the Baltimore Police Department. He is one of the most ruthless and demanding officers on the team, with a particular distaste for insubordination. Because of this, he has an ever-growing resentment towards Jimmy McNulty, who goes around the chain of command to get things done. Since majority of Baltimore’s population is African-American, he cannot achieve commissioner status, and his current position may be the highest he can possibly have.

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Date of Birth: October 15, 1969

Dominic West is one of seven children born to George and Moya West of Sheffield, Yorkshire, England. His father owned a successful plastics manufacturing plant and his mother was a homemaker who loved theater and influenced her son to start acting at age nine when he began appearing in community theater productions.

As West grew older, his focus shifted from acting. After he graduated from high school he ventured off to Argentina for a four-month stint as a cattle herder. The trip was an odd venture for a young man with such a bright future, but West claims he was “just trying to be different.”

When he returned from Argentina, West continued his education at Dublin’s Trinity College. He graduated from the school in 1993 with a B.A. in English literature. But soon after, he realized his passion was for acting, so he enrolled in the Guildhall School of Music and Drama.

After graduating, West began appearing in small roles in films like Richard III (1995), Surviving Picasso (1996) and The Gambler (1997). His early credits also include brief appearances in Spice World (1997) and as a palace guard in Star Wars: Episode 1 - The Phantom Menace (1999).

West considers his big break to be the role he played opposite Sandra Bullock in 28 Days (2000). After that, West landed prominent roles in Rock Star (2001), Chicago (2002), Mona Lisa Smile (2004) and The Forgotten (2004). In 2006, he took a villainous turn in Zack Snyder’s graphic novel adaptation 300. West has also had success on the small screen, starring in the critically acclaimed drama The Wire.

FILMOGRAPHY

Punisher: War Zone (2008)
Hannibal Rising (2007)
300 (2006)
The Forgotten (2004)
Mona Lisa Smile (2003)
Chicago (2002)
Rock Star (2001)
28 Days (2000)
Star Wars: Episode 1 - The Phantom Menace (1999)
A Midsummer Night’s Dream (1999)
Spice World (1997)
The Gambler (1997)
True Blue (1996)
Surviving Picasso (1996)
Richard III (1995)

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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. To say that these law officers did not always see eye to eye would be an understatement, but their jealous squabbles were minor compared to the ego-driven flare-ups within the bad guys’ camp — specifically the members of the Franklin Towers drug dealing operation, led by Avon Barksdale (Wood Harris) and his contentious relatives. The show depicts the lives of every part of the drug “food chain”, from junkies to dealers, and from cops to politicians. Created by David Simon (The Corner), the 13-episode The Wire debuted June 2, 2002, on the HBO cable service.

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