Showing posts with label Police. Show all posts
Showing posts with label Police. Show all posts

Justified: The Complete First Season

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Based on Elmore Leonard's written work, Justified revolves around the US Marshal Rayland Givens. Rayland is the lead character in the books 'Pronto', 'Riding the Rap', the short story 'Fire in the Hole' and is best described as a cowboy sheriff thrust into the modern age. Timothy Olyphant stars as Rayland in Justified, bringing the character to life with a great deal of ease; as Timothy is, of course, no stranger to playing the part of a sheriff - his performance as Seth Bullock on Deadwood is an integral part of that phenomenal series.

After a semi-controversial shooting of a button man named Tommy Bucks and the ensuring bad publicity Rayland is reassigned back to Lexington, Kentucky, a place he swore never to return to. There he's placed under the command of Chief Deputy Art Mullen (Nick Searcy) working alongside Rachel Brooks (Erica Tazel) and Tim Gutterson (Jacob Pitts), reconnects with his ex-wife Winona (Natalie Zea) - who also swore never to return to Kentucky - and becomes involved with the Crowder family in various degrees after Ava Crowder (Joelle Carter) shoots her husband Bowman Carter, while Ava's ex-brother-in-law Boyd Crowder (Walton Goggins) and past friend of Rayland proves to be an exceptionally dangerous individual after blows up a church and then shoots his accomplice dead.

Justified is a mixture of old west philosophies and modern day life, Rayland has many of the traits of the old classic small town sheriff, the most obvious of which are his hat and his ability to quick draw, he also shows a great deal of old school ethos in his dealings with criminals and civilians alike. So it is more than fair to draw comparisons between Justified and the western genre as a whole - it's not just Art Mullen's poster of the fantastic movie Tombstone that evokes the feel of the old west.

Timothy Olyphant is magnetic as Rayland Givens - he's had a great deal of practice playing a forceful and strong lawman in the past and in some ways his portrayal of Rayland is a natural extension of his past experiences as Seth Bullock - I know if you've enjoyed watching him in Deadwood you'll enjoy him here. The remainder of the cast are all solid, they give believable supporting roles - Erica Tazel is wonderfully understated and Joelle Carter is just adorable as the sweet-but-tough Ava. But the strongest performance amongst the cast belongs to The Shield alumni Walton Goggins, watching his abilities as an actor go from strength to strength on The Shield was a delight and I'm pleased to say he's a great fit here in Justified as Boyd Crowder as he's given an interesting and challenging role as one of the primary antagonists.

Structure-wise Justified is a mixture of standalone episodes and a serialised storyline that is built during the pilot episode and builds momentum in the latter part of the season. The pilot episode is fantastic, but the standalone episodes vary in quality, the earlier ones are only middling to decent at best but the later ones are pretty great and when the show gives way to its serialised story in the final few episodes and everything comes to a head it's just fantastic, ending with poise and grace that is almost poetic at times.

Justified is the very definition of a grower, at the start it's a solid, thoughtful piece with some great dialogue and fun moments but as the series progresses it becomes an elegant take on the modern western with characters who evolve and grow as the series does. As such, I'm certainly looking foward to the second season.
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The Shield: Urban Jungle - Throwaway & Dragonchasers

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Throwaway & Dragonchasers

Originally I wanted to write about just Dragonchasers, it's an episode worthy of a review/analysis all by itself, but my previous entry in the Urban Jungle series didn't include the episode Throwaway, so initially I'm going to write a little about that episode before moving onto Dragonchasers - the most important episode of the first season after the pilot episode.

Throwaway is the first episode that has the Strike Team dealing with a mess that isn't created by Shane, in this case it's Lem's **** up, shooting a man who turned out to be both a) unarmed, b) completely innocent and c) brother to a hot latina hairdresser. He shoots the man because he believes that he's armed with a gun and about to shoot Vic; this is the start of the pattern for Lem, he tends to get into trouble when he's protecting the people he cares about. In this case it's Vic, the man Lem considers to be something of a brother and a father figure. Lem himself has little family outside of the Strike Team and as such more than any of the others he considers the guys to be his family.

It is also the first episode to give Claudette (side note: Claudette was originally scripted to be a man, C.H. Pounder's performance convinced Shawn Ryan to change the characters gender with minimal other changes - one of the reasons Claudette is the strongest female personality on the show by a long margin, she's given the dominant role in the Claudette/Dutch relationship). It's also the moment where the Julien/Danny rift comes to a head, only resolved when Acevada himself steps in and breaks their heads against each other (figuratively) to force a resolution to the situation. For these two this is something of a turning point, the episode allows them to move forward and cements the foundation of a strong working and personal relationship. Julien and Danny working together is an important part of the show, they're often required to provide the story that contrasts with the Strike Team's high energy acts and Dutch and Claudette's tendency to journey in really dark places.

Mix into this a fantastic heist/set up performed by the Strike Team and Throwaway is a solid episode that works well and develops some of less well developed characters somewhat. Learning more about Claudette, especially Dutch's reactions towards her father, is welcome and entertaining; likewise having Julien and Danny come to some form of balance in their relationship as trainer/trainee is very important as it sets up one of the key elements in the following episode.

Dragonchasers is one of the episodes of The Shield where I experienced a television revelation, the very first episode was, of course, Pilot which stepped over the line of what was considered acceptable to show on television by having the lead character murder a fellow police officer at the culmination of it. As I've mentioned in earlier posts, The Shield then takes some time to distance itself from the pilot episode showing the return to normal that occurs after a fellow officer is killed on the job. Now, you'd be forgiven if you thought that considering the fact that Terry was murdered was going to be a large part of the shows initial thrust, but the truth of the matter here is that with only two people knowing the truth and a solid cover up clearing the evidence for every character in the show Terry's death looks exactly like it does on the surface - the bust went bad, Terry got killed. Police Officers die in the line of duty, everyone at the station knows that is a fact and they've all experienced it before - so they move on and back to the daily grind.

I've digressed, so I'll return to Dragonchasers and why it is the second episode in The Shield that changed the way I perceive television and raised the bar for what I accept as good story writing. Dragonchasers contains two monumental story lines in it, but for the first time neither one belongs to the Strike Team - instead the storys revolve around Julien and Dutch.

Up until this point in the series I considered Dutch to be little more than light relief and Julien to be a secondary character. Julien's antagonistic relationship with Danny (and being set against Vic for a while) made it difficult to access him as a character and Dutch for a long time had little more in the way of defining characteristics outside of "stereotypical nerd-cop".

Dragonchasers changes the game for both of them, for Julien the episode brings together his conflicted and angry emotions about being gay along with his new found resolve to do right by his patrol partner Danny. After a transvestite (played by Jazzmun) bites Danny (attempting to give her HIV - which he blames the police force for) Julien eventually agrees to throw the perp a 'blanket party' - a savage tradition where the perp is covered under a blanket in the back of a police van and then beaten with nightsticks. Julien not only cuts loose here, but his conflicted emotions over his own sexuality (and his commonly misguided notion that transvestites are the same as homosexuals in general) results in his turning the perp into himself in his mind. The resulting violence is exceptionally harsh, while the scene doesn't play out in graphic detail, the damage caused by the beating (as described by Danny) show just how far Julien went over the edge.

The real meaty story though belongs to Dutch, bringing to a head the 'face down' serial killer mini-arc, the initial thrust occurs when Julien and Danny happen upon a man masturbating in an alley - they let him go with a warning, but when mentioning the anecdote to Dutch he makes a connection most wouldn't. The man was jerking off near where one of the serial killings occurred (or at least where the body was dumped), this fits with the profile he was considering for the killer.

After first scoping Sean (the suspect) out Dutch has him come in, not to charge him with anything, but to sound him out and try to see if the man has any levers he can push. What follows is a tour-de-force performance from both Jay Karnes and Michael Kelly (as Sean), Dutch is quite literally broken apart by the intuitive and merciless Sean who disassembled every part of Dutch's personality in an exceptional level of mental bullying and showboating. Dutch himself sits there, trying to regain purchase and being humiliated - this humiliation is compounded even further when the rest of the station start watching Sean's performance for their own entertainment. You're left wondering why on Earth Dutch is willing to sit there and take this kind of abuse, is his obsession with finding the serial killer that large? Is he so desperate that he'll put up with anything to achieve this?

The revelation comes in the eleventh hour, when (watched by almost the entire force via CCTV) Dutch admits that he only took this tirade of abuse and humiliation with the intent of buying time to get a search warrant for both Sean's house and his aunt's. Once found out Sean soon changes track, admitting to everything and laying claim to his body count. The rest of the force watch as Dutch nails Sean and bags himself one serious serial killer - he walks out of the interview room to the sound of applause from his fellow officers. All of them are impressed with what Dutch did.

This just makes the closing scene of Dragonchasers all the more poignant, Dutch - still being congratulated - heads to his car and sits down inside before breaking down in tears. He may have scored a decisive victory (not just for Sean's victims, the public and the law in general, but also for himself and his status in the station), but Sean's attacks and how close they cut to the truth of Dutch's life, took their toll on him. Dutch may stand victorious but was it worth the price?

This entire storyline is amongst one of the best that Dutch and Claudette have, it's a great piece that portrays a lot about a man without needing to spell it out in a simplistic and 'dumbed down' fashion. Dutch doesn't need to vocalise his pain, it's all there for you to see in his actions and expressions.

Quite frankly it's a stunning performance and that's why Dragonchasers is one of the best episodes of The Shield (and possibly one of the best procedural episodes in the genre, it's certainly in a similar league to Homicide's Three Men and Adena).
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The Shield: Urban Jungle "Dawg Days" to "Cupid & Psycho"

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"Dawg Days", "Blowback", "Cherrypoppers", "Pay in Pain" & "Cupid & Psycho"

The middle stretch of The Shield's first season is an interesting selection of stories. They establish just about everything you need to know about all of the core characters and their motivations. Dawg Days is a rather fun episode that demonstrates how difficult it can be for a police officer to work as the "landlord" to drug dealers, things get out of hand when one of Vic's "informants" Rondell Robinson opens fire at a party where Lem and Danny are both moonlighting security. Lem knows to keep his mouth shut about Rondell's involvement but Danny - as a good, straight cop - implicates him. This results in Vic having to call in some favours with Danny, playing on the intimate relationship between them to get Rondell out of trouble. Dawg Days is also notable as the first appearance of the character Kern Little (played by " Sticky Fingaz") Kern will make multiple appearances in many seasons and remain important to Vic for a long time. His introduction here is particulary memorable, mostly due to his exit from the storage container near the end of the episode.

Blowback can seem less important on the first viewing, but it's actually one of the major start points for the show - the introduction of the Armenian gangster/foot fetishist Margos Dezerian (played by Katey Sagal's husband Kurt Sutter creator of The Shield's sister show Sons of Anarchy), "The Dezerian" and his Armenian cohorts eventually grow to be major parts of the show, especially in seasons 2, 3 and 7. Dezerian himself would go on to make just three appearances, but he remains one of the most memorable criminals of the show and the Armenians themselves eventually became one of the greatest potential threats to Vic and his boys.

It also helps that Margos is one heck of a creepy character. Blowback is also one of the episodes where the Strike Team come close to exposing themselves after they steal two bricks of heroin from the Armenian bust but are seen doing so by Julien. The interplay between Julien, Acevada and Vic continues throughout the entire run of these episodes, ending in Cupid and Psycho when Vic blackmails Julien into changing his story.

Cherrypoppers is a journey into one of the sickest stories The Shield ever touches on, dealing with a ring of people involved in 'Cherrypopper' movies - films that involve young girls and lets just leave it at that. The Shield often attempts to move Vic towards the role of protagonist by having the people he's set against seeming far worse than he is. Cherrypoppers is one of those episodes (like the pilot) dealing with sexual predators hunting after and abusing young girls. It's a primal form of manipulation but it does work well, you have to understand that many people eventually 'forgot' just how dark, twisted and criminal Vic actually was. In the end some of them even began to mistakenly think of Vic as a 'hero' rather than the cop killing, brutal drug lord with a badge that he was.

Shane's racism, which was touched upon back in The Spread, flares up in a more prominent fashion during Pay in Pain, as mentioned earlier Shane's racist attitudes would often become a major problem for the Strike Team, especially for Vic. Vic doesn't care what skin colour someone is, he only cares if they're an asset or a threat to him, so Shane's "un-business-like" (and frankly backward) attitudes towards non-Caucasians is a problem. The general Strike Team attitude is 'doesn't matter where you're from if your money is green and plentiful', so Shane is a problem. Of course, Shane being a problem is something of a reoccurring issue in The Shield and Pay in Pain is not the last time it will surface.

Julien continues to struggle with his homosexuality, something that stands at odds with both his spiritual life and his work one. He's drawn to Thomas, but he's also repulsed by who he is and he's deathly afraid of being discovered by his colleagues. The police force is (as we're reminded by Danny) a brotherhood, and there's quite a few things that can get you ostracised from it, being a rat or being gay are two of them. Julien has managed to be both of these and it's Cupid & Psycho where these two issues come together - in the hands of Vic Mackey.

But Vic continues with the information in the way he always does, it's a tool to be used. He actually doesn't care that Julien is gay, not one bit - but it is a lever he can use to get Julien to drop his testimony against the Strike Team on the drugs, he plays a fantastic game and pushes Julien all the way to recanting - no matter the consequences. Afterwards Vic turns it on it's head by suggesting that Julien 'did Vic a favour' and now Vic has his back. It's a classic case of manipulation and Vic won't go telling people that Julien is gay as long as Julien isn't a threat to him. Vic even goes as far as to consider Julien a 'buddy' now that he has control of him.

It's a just another example in the way that Vic manipulates people and uses them as resources, if you're in someway of use to Vic he'll keep you sweet, if you're of potential use he'll manipulate the situation until you're in his control, if you're a threat he will eliminate you one way or the other. Ultimately everything Vic does is about control and protection for himself.

These episodes also establish a further driving motivation for Vic apart from his sociopathic consequentialism. His son Matthew is diagnosed with autism, a serious issue for a young child and an expensive one for any family to deal with, Matt's autism fast becomes one of the major driving forces behind Vic's all consuming need to get money and as much as possible. It also legitimises his actions both in his mind and in the minds of many viewers. He might do bad things, but he's doing them to ensure his son gets the life he deserves.

Of course, things are not perfect at this point, the lack of early character development due to that "missing season 0" (The season pre-Crowley's shooting) means that some of the relationships between the characters feel a little forced. Vic and Gillroy is a great example of this, it feels like Vic is nothing but a problem for Gillroy so you're left wondering why on Earth the man protected Vic at any time, his announcement that he's removing any assistance he might give Vic during the end of Cupid & Psycho seems almost redundant, why he helped Vic and the Strike Team up till now seems almost impossible to understand.

David Acevada is given some exceptional character development during this period, he goes from being 'the man after Vic for some reason' to a politically ambitious man who desires advancement in politics, exposing Vic is one of the fastest ways he can secure the popular vote - something Terry Crowley alluded to in the pilot episode. Now his hard on for Vic becomes something more understandable and his anger over Julien's retraction all the more vivid.

Dutch is also given some extra focus and direction, his obsession with catching the 'face down' serial killer continues and escalates when he asks for the assistance of the FBI. His frustration at an inability to succeed here, something that is compounded by two lads using the police force to play a practical joke on each other, pushes him towards using a psychic for help. It won't be the last time his obsession with serial killers will take him to unusual places.

Dutch also gains some personal growth from an unusual source during the Claudette/Vic, Shane/Dutch pairing, Shane's advice on how to land some 'hot widow' action is very offensive and immature, but Dutch is desperate enough to give it a go and in Cupid & Psycho it pays off, giving Dutch his first relationship of the show. You'd be right if you thought that anyone listening to Shane is desperate, but the world is full of desperate people just looking to make a connection with someone, anyone, and Dutch is one of those people.

These five middle episodes for the first season give us a taste of what the show is like during 'business at usual' hours, it's energetic, fun and filled with scrapes that almost get the Strike Team into trouble. Almost like a grim and gritty version of The Three Stooges, but it's also capable of going to profound places, surprising you with a revelation about a character or showing you an insight into one member of the force - often through physical means. Some of the looks and shots of the characters show exceptional depth, expressing more than their words or even their actions do, this is a hallmark of Clark Johnson's work and it's his deep influence that is felt right across the show with the long wordless moments that convey an ocean of emotion.

While the plots of The Shield are quite often breakneck and thin (due to the number of stories in a single episode) the characterisation in the show is of exceptional depth. Especially when you're dealing with key characters like Acevada, Shane, Lem, Dutch, Claudette and of course, Vic himself. It's these powerful performances that make re watching the show such a deligh as there are hidden depths to every scene.
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The Shield: Urban Jungle - "Our Gang" & "The Spread"

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The pilot episode is the defining point of The Shield, it's the bang on which the entire series is formed, and while it is one of the most important episodes in the show it's not a great character piece. As I mentioned previously it's a piece that's crammed full of characters and has to rush along at a breakneck pace towards an almost inevitable conclusion. As such it falls into the hands of the following two episodes to give us some extra character depth and development in order to allow us, the viewer, to connect with these characters on a deeper level.

"Our Gang" follows on from the events of the pilot episode with the barest of moments elapsed. Most of the Farmington District Police Force is outside the hospital where Terry Crowley was taken. That's the first real mule kick from this series, Vic's bullet wasn't even a clean kill - Terry dies in hospital in the following episode. Despite shooting for the head Vic couldn't even manage to be certain his problem was dealt with cleanly, Terry does die without waking up and being able to tell people what happened, but the entire situation is a great example of how messy things could have been (and will be).

The reactions outside the hospital during the cold opening are also great; Vic manages to look cold and almost like he is in shock, unable to grasp what's happened - but he's always in complete control of his actions, especially his closing comment "I'm responsible." A comment that serves two purposes, first of all it creates a "Did he just confess?" moment for the viewers (a moment that is extended a little by the opening credits) and secondly in the context of the situation it actually serves as a calculated move. By admitting a form of guilt he's able to make whatever signs of guilt he and Shane might have look natural and also by starting with such a bombshell he's heading off any accusations that might suggest he's responsible for Terry's murder. Even in a situation like this Vic is looking for the higher ground to take the advantage. He's that sociopathic.

Shane on the other hand is obviously afraid of being caught, he looks sick and close to breaking throughout the scene. He's fortunate that he's not questioned at this point in the episode because he would probably have broken (later on, when he's had time to compose himself and fabricate a story with Vic he does manage to keep it together, just). Lem and Ronnie on the other hand wear their innocence on their sleeve, especially Lem who takes the whole incident personally, for Lem the Strike Team will always be his family and the loss of their newest member is like losing a young brother. He lashes out in the only way he can, breaking a van window and cutting his hand up. You notice here that the innocent member of the Strike Team lashes out in anger, whereas his two guilty team mates remain relatively calm and collected. Ronnie on the other hand - the reasons behind the way he reacts become clearer once you've seen the seventh season.

A huge section of the rest of "Our Gang" deals with the mental landscape of Vic Mackey, through a series of flashbacks we're shown Vic's mental process in an abstract manner. Gradually we see him reconcile his dissonance over the act, almost breaking during the weightlifting scene but finally coming back out of it as collected as he's ever been. It's almost an act of birth (or rebirth) for him, (there's certainly a lot of pushing involved in the sequence, that's for sure.)

"Our Gang" also confirms one of the major antagonistic relationships of the show, the one between David Acevada and Vic Mackey. David's pursuit of Vic, which is somewhat hollow and unconvincing in the pilot episode "I just want to get a dirty cop off the street" reaches a new level of purpose. He's convinced that Vic is behind Terry's death and while he cannot even come close to comprehending the truth and instead suggests that Vic set Terry up and sent him into a death trap (which is why he doesn't manage to break Shane - he's just far enough away from the truth that Shane can deny with certainty). It also brings Gilroy fully into the equation, a man who currently has Vic's back but will eventually become the piece that (temporarily) unites Vic and Acevada against him.

While "Our Gang" represents a transition past the abnormal events of the pilot episode, "The Spread" represents business as usual. It's the first real insight into the capering shenanigans of the Strike Team and lets you experience what things must have been like before the show started. It's a lighthearted episode that could almost make you forget what transpired in the two episodes previously, it's certainly at odds with them.

The Strike Team perform a little light corruption by detaining a star basketball player and thus determining the outcome of a match before it happens. It's betting time. This storyline gives the guys a chance to spread their characters, showing Lem to be quite an amiable fellow, and revealing Shanes racist attitudes in a well acted manner. Walton Goggins manages to look very uncomfortable at appropriate moments, showing some deep seated racist attitudes buried inside Shane's persona - something that will pay off in a later season (in one of the moments I kind of wish never happened). Ronnie still remains something of a background extra at this point.

Throughout the first few episodes it's the Dutch/Claudette stories that can provide the tension and the laughs when things look bleakest. "The Spread" is no exception, the main thrust of the story is pretty grim, there's a serial killer/rapist on the loose. But the discovery of a naked man, and the fact that he keeps jars in his fridge full of *Dutch sniffs them* "That's not mayonnaise"... wait for it. Semen. Is a classic moment of black humor, Dutch's reaction is just hilarious as he tries to leap away from the jar, dropping it and getting the man juice on his shoes.

In fact pretty much the whole of "The Spread" is a relatively lighthearted affair, but it remains important because it does set up the start of the serial killer storyline for Dutch and Claudette. A storyline that contains one of the more brilliant moments of the season, the one where I took my opinion of Dutch and turned it 180 (it's in the episode "Dragonchasers" which I consider to be the second huge moment of The Shield). It's also the first episode to really play up Julien's struggle with his homosexuality, the point where Julien begins to become more than just 'the rookie cop who makes mistakes'.

"The Spread" is also a great example of what the show could have been like if they'd run a season prior to Terry Crowley's murder. The hi-jinks of The Strike Team are exactly the kind of thing he could have been involved in, something a little underhanded and dirty but not overtly criminal. It's another one of those episodes that makes me wish there had been a prequel season (so to speak), but it's not worth dwelling on again this season as the rest of the episodes coming up pick up the pace and move forward.

With the completion of "Our Gang" and "The Spread" The Shield has mostly got past its initial crunch point and is looking to move forward with an eye towards developing a long term story line. The show would never manage to escape Terry's shadow, but at this point it had at least performed a cathartic ritual and bought some breathing space so it can expand beyond the 'original sin'.
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The Shield: Urban Jungle - Pilot

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"Good cop and bad cop left for the day, I'm a different kinda cop. "

Pilot episodes are probably the most important episode in any television series, they set the tone and pace of the show while also letting the audience (and network) decide if this particular show is for them. As such most pilot episodes attempt to come out swinging with a couple of huge blows that's going to make the people watching go "Wow, I can't believe I just saw that. What's next?"

Without some kind of hook in this day and age it's quite probable that the average viewer will forget about a series and not return to watching it. So many pilot episodes include highly charged and memorable incidents that often attempt to be unique in an effort to crystallise themselves in the memory of the viewers. Some great examples of this include Six Feet Under's brutal car accident involving Nathan Sr; BSG's nuking of civilisation (in a mini-series sure, but still), Rescue Me's ghosts and West Wing's revelation of the identity of Martin Sheen as the president. The objective is to create talking points that will keep people going until the following week's episode.

Pilot is one of the most extreme examples of this concept as right from the gate The Shield sits down and tells you exactly what kind of a show it's going to be. It's a hard hitting show that isn't afraid to deal with unpleasant crimes and police brutality. Pilot sets the style, tone and pacing for the entire series and lets you know exactly what you're going to be seeing from the show in the future. Personally I think this is a great construct, if you don't enjoy the pilot episode then it's clear you won't enjoy the rest of the show - it's a fantastic sampler of the coming storm the show provides.

There are a few fantastic decisions that were made during the creation of Pilot the most significant of which was the casting choices. Looking past the core cast it's the role of Terry Crowley that was the real stroke of genius. Reed Diamond was a relatively well known face linked to procedurals at the time due to his involvement in Homicide: Life on the Street and it's clear that it worked because Reed's role as Terry (despite appearing in just three episodes) is iconic and has become one of his best known roles on television - an impressive feat considering the low episode count, but Terry is that important to the series.

Add to Reed's "stunt casting" the decision to try and frame Terry as a lead role, including putting Reed's name into the opening credits and the way the plot attempts to promote him as one of several leads in an ensemble piece and you end up with a show that does it's absolute best to set up Terry as an important character in order to make his subsequent murder by Vic at the climax of the episode as surprising as possible. Reed was even heavily featured in the adverts for the show before the pilot's airing.

There is one thing that has to be made clear here, the reason we don't see anyone plotting to murder Terry in advance isn't a case of misdirection by the writing, it's because Vic doesn't plan to shoot Terry when he heads into Two Time's apartment - things just fall into his hands and he takes an opportunity to eliminate Terry because he knows Terry's snitching on him and his team. Terry's murder is the 'original sin' of the series (and Vic) but it's not a planned thing and though it doesn't seem like it as time passes, Vic's actions do actually prey on him - it just takes a long time for it to surface.

Pilot isn't perfect, it's an exceptionally dense episode with a lot going on and possibly too many characters to follow; There's Acevada, Vic and the Strike Team (Lem and Ronnie take a back role at this point, which is important because they're also the pair not involved in Terry's murder - but Shane is more active in the episode and he's the only witness to Vic's actions at the end), Claudette & Dutch and Danny & Julien - that's four separate story lines which only interweave at on occasion when the characters meet up.

The best intertwining is between Vic and Claudette/Dutch - where Dutch's interviewing techniques come up short and Acevada makes the call to allow Vic to torture a suspected paedophile. The addition of torture, paedophilia and police brutality make it clear to the viewer that this show is going to go to some dark places, but it can also make it seem like the show is trying to hard to shock. In some ways, Pilot is trying too hard Shawn Ryan and company wanted to really shock and surprise viewers in a similar way to the method Six Feet Under used before (Six Feet was one of the first shows to really bring death into the equation outside of procedurals, and they went for it in a big way). So it is more than possible some people would look at this episode and think "it's just a shock jock video nasty type show" before passing on it, and if they're thinking that then the show probably isn't for them, but for the people who stick with it and move on there's a wealth of subtlety and psychological insight of the darkness in the human condition to be gained over the passing seasons.

There is another point where I do feel that Pilot comes up a little short, and it's only with the hindsight of seven seasons. Pilot attempts to do too much and it's not until you watch the later episode Co-Pilot (an episode I'll certainly write about later on) do you realise where The Shield could have benefited from a slower burn at the start. In short, with hindsight I think the first season of The Shield would have been better served if Terry had been established and followed as one of the principle leads for at least half a season, perhaps ending the first season with the events of the pilot episode. Now I do know this would have shocked many viewers even more than Pilot did, and it could have actually turned away far more people, but in the overview of the entire series it would have worked a lot better. As it is these characters explode onto the scene with Terry's blood on their hands and we have little to go with, as time passes we do come to know (and even love) the characters, but initially there's a real disconnect that doesn't quite go away.

At this point in the show as well very few characters are painted in apart from the broad strokes. We have Acevada as the politically ambitious police captain, Dutch as the shrewd but over confident detective who's the target of the stations bully (Vic), Claudette as Dutch's world weary, jaded and cynical partner and Vic as the corrupt cop straight out of the stone ages of policing. Everyone else has very little depth (and even those four aren't exactly rounded out); Danny and Julien are involved in little more than light relief (their case involving the tyres slashed by Lamar works quite well as a balance to Dutch and Claudette's dark investigation).

Vic does have considerably more characterisation than the other members of the cast during this episode; he's already portrayed as a somewhat complex character, while bringing in Lonnie for questioning over the murder of his partner he shows concern about the children left loose in a drug den and right after fleecing the pimp Dimitri he ends up handing Connie (a hooker) a fair bit of money so she doesn't have to work tonight (and for her son). Vic's concern about Connie is a constant thing in the early part of the show.

There is also some strong symbolism present in the episode; Acevada's speech about cleaning up the town contrasts deeply with the Strike Team's actions on the street. Vic's first act in the show is to beat a perp for running and the rest of the episode does have strong ties with the plotting of the film Serpico (with an alternative outcome for the Serpico-like figure of Terry). The other major symbolic object of note is the men's room toilet - it's blocked and remains blocked for most of the series. I'm not 100% on what this stands for, but the only period where it is unblocked is during the fourth season (when Monica Rawlings is in charge and things look like they're going to get a lot better in Farmington). I'd hazard a guess that it is to do with the arrested development of the male characters in the show and their tendency to remain 'blocked' at a more primal state, but it also could be a reference to The Strike Team and how The Barn is unable to get rid of it's unsightly "waste".

When you take the whole episode into context there are flaws to it, but as an opening to the series it's close to perfect. It's completely faithful to the way the rest of the show would unfold and it sets up the incredible feat of a seven season story line that does pay off in full (in the most spectacular and emotionally draining fashion). There's no other show that manages to have the concepts and constructs of it's pilot episode remain relevant for seven seasons and still echo across the final few episodes. So Pilot is one of the most important episodes in the series, and it's actually more important than most other shows' pilot episodes are. There's no doubt that Pilot is one of the greatest pilot episodes in television history and it's something that any television aficionado should watch - it's a great appetiser for the rest of the series.

Trivia:
Ponyboy Harris (the man selling VCRs) is none other than Max Perlich a Homicide alumni (like the director of this episode Clark Johnson), it's a bit of a blink and you'll miss it cameo role. Sadly he doesn't reprise it.

You can purchase the T-Shirt worn by Vic at the BBQ online, I have a pair of them (one blue, one black) it's a nice design.

It's quite possible that Acevada is responsible for the dog crap in Dutch's desk, not Vic.

Homicide's influence on the show extends quite pervasively, not only is Clark Johnson the director of this episode (and Max's appearance) but Shawn Ryan himself has credited Homicide as one of the key inspirations behind the show.

Claudette is quite accepting of Vic's ways - at least initially, but seeing him act on the interogation room camera with Dr Grady is the start of what becomes a major part of the series.
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The Shield: Urban Jungle

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As I'm sure you're aware I've had a bit of a writing lapse over the past few months. Now I don't know exactly what the cause of this is, but in an effort to push past this I've decided to go back to a few basics, in particular I plan to revisit The Shield (aka my favourite show) in its entirety over the next few months. Now I'm not going to write about every single episode; instead I'm going to pick out key episodes, moments, characters and observations and write about them in this series I've decided to title "Urban Jungle".

For those of you who haven't seen The Shield I can't recommend it enough - it's a dark, brutal, unforgiving walk through a world of corruption, violence and lies. A story that spans eighty eight episodes over seven seasons as it charts the times of a small elite force of policemen and the other officers who surround their lives.

I've cited it as my all time favourite show on many occasions and while I do accept it's not for everyone - the dark nature of the show means some people may find that it's too much, but for those who are willing to step beyond the grim exterior there is a world filled with complicated characters, ambiguous situations and various types of unpleasantness.

My revisit to the series starts on Friday with a look at the Pilot episode, what it tried to achieve, what it brings to the show and why it had such an impact on myself and forced me to re-evaluate all television as a consequence.
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Southland: Season One

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Starring:






Kevin Alejandro
as
Detective Nate Moretta





Arija Bareikis
as
Officer Chickie Brown





Michael Cudlitz
as
Officer John Cooper





Shawn Hatosy
as
Detective Sammy Bryant





Regina King
as
Detective Lydia Adams





Michael McGrady
as
Detective Daniel Salinger





Ben McKenzie
as
Officer Ben Sherman





Tom Everett Scott
as
Detective Russell Clarke

With the second season of Southland returning from the media grave this week I wanted to take a look at the first season - which originally aired on NBC before they foolishly cancelled it. Fortunately the show now has a new home over on TNT and while I wasn't completely aware of the show and it's trials previously I do have good things to report about the show now I've taken the opportunity to catch up.

Now believe it or not (because I do have a slight reputation for marathon TV watching) but it has been quite a while since I've sat and watched a single show for more than two or three episodes on the trot. Southland's first season represents the end of that drought, I watched the pilot episode yesterday and then the rest of the first season (six episodes) today. In case it's not clear from that, the show is gripping and pretty great.

In fact, watching Southland was a lot like buying an awesome new pair of shoes; you're somewhat concerned that they won't fit as well as your old pair - maybe they'll pinch and rub your feet in an unexpected and painful manner before their broken in. Then, when you try them on you find out that they're not only a perfect fit, but also they're oddly familiar - feeling a lot like your favourite old pair did.

OK, daft shoe analogy aside Southland does echo a couple of shows in it's style and depth - specifically Homicide: Life on the Street and The Shield. That alone should immediately tell any regular readers [are there any? Hello? Is this thing on?] just how much I enjoyed Southland and how good I feel it is. Stylistically there's a lot to compare with The Shield, not only are the locations somewhat familiar (both shows are set in LA) but also the camera work has that same "real" documentary feel which brings you closer to the action. Of course Southland departs from The Shield considerably in one aspect; the main character isn't an exceptionally corrupt cop, and that's enough to make the show very distinct. But it feels so close to The Shield in many other aspects that at times I find myself wondering where Dutch, Claudette, Julien, Danny and Billings are. In short Southland feels a lot like The Shield without the Strike Team storyline. You have detectives and plain clothes officers doing their jobs - dealing with the reality of life as a cop in all its grim truth.

This is where the show also starts to feel like an updated version of Homicide (the show which influenced The Shield) as you've got an ensemble style cast rotating around the main story lines and dealing with - dare I say it - gritty crimes that aren't afraid to be grim and sudden. In fact this is one of the reasons that NBC cancelled the show, they were exceptionally short sighted and failed to look back at history. Iconic shows in the style of Southland exist, they're often cited in critic top 10s and have excellent DVD sales due to a high rewatchability. Fortunately TNT has seen the potential in the show and snapped it up, but they have mentioned some changes, so we'll have to hope the second season isn't homogenized into a clone of CSI (from what I've seen, it doesn't look like it has been - phew).

So I've written about the feel of the show, but what is the actual concept?

The show is a fast paced Police Drama (note, not a procedural) that follows the working and home lives of several police officers working in the LAPD. You have officers John Cooper and his rookie partner Ben Sherman, and the wonderful Chickie Brown; then there are Detectives Russell, Lydia, "Sal", Sammy and Nate. The show follows each partnership not just in the line of duty but in their home life as well - Sammy in particular has a great deal of difficulty with his wife - a woman who seems to have little to no redeeming features at all, but he must see something in her.

It's a show which literally plunges you in at the deep end, expecting you to be able to keep a track of each character/face and follow something which is quite literally 'in progress'. It's not as dense as The Wire can be to follow, the cast isn't that sprawling, but the breakneck speed of the scenes can make it hard to track some of the less familiar faces at first.

The stand out performances from the first seven episodes come from Michael Cudlitz (Band of Brothers), Regina King (227, 24) and Arija Bareikis (Oz, Crossing Jordan) who's fantastic as the hard nosed SWAT-wannabe Chickie Brown. They're the faces I identified with fastest, though it must be said that Shawn Hatosy's performance as Detective Bryant - the man with the completely bizarre and childlike wife - is one which grew on me, his tolerance for her is rather admirable.

So Southland is a show which should appeal to those of you who enjoy police dramas (as opposed to police procedurals) and those of you who enjoy tense action sequences involving alley chases, gun fire and even good old fashioned fisticuffs. There's a lot to enjoy here and it's possible that given time Southland can grow into one of the big shows to watch.

Unfortunately I'm located in the UK so I won't be able to catch up with the second season any time soon. But from the screener footage I've seen it looks like the second season hasn't lost the style and feel which made the first season so enjoyable.

You'll Enjoy Southland if you enjoy shows like:
, , Life,
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DVDs in Review: #104 - Sledge Hammer! Season One

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"Trust me, I know what I'm doing."

The 1980s brought us a host of iconic, memorable moments/shows/films (and in reflection a lot of terrifying and naff ones), many of which are emerging as remakes/relaunches in various levels of quality (BSG, V, The A-Team etc etc.) Now it's entirely debatable if Sledge Hammer! is one of those former shows - there's certainly no signs of anyone rushing to recreate the show at the moment (but given the current trend for leaning on remakes and reality TV instead of working on quality new material, who can tell?) - but it certainly is an iconic example of "an 80s show" in many ways.

Sledge Hammer! is named for it's titular character Detective Sledge Hammer, portrayed by David Rasche - Sledge is a comedic pastiche on Clint Eastwood's Dirty Harry character; with all the dials turned up to 11. A counter-culture dressed nihilist with only two loves in his life, the law and his gun. Considered a stickler for the law he's also something of a contradiction, his version of the law involves exceptional rough justice meted out in an increasingly hypocritical fashion. While he's brutish, lacking in intelligence and generally a pretty poor police officer he does deliver results - mostly through a combination of dumb luck and various levels of brutality.

Sledge's "carefree nature" and enjoyment of the job is threatened when he's partnered up with Doris Doreau (Anne-Marie Martin ) - who's not only a woman, but she's also intelligent and a talented cop who does actually follow the rules. I think you can see where this odd couple pairing is going can't you? And yes, the show does play with the 'mismatched cop buddies' theme as a part of it's satire. It also allows Sledge to display his massive level of ignorant male chauvinism here. ("What, you think all women should be barefoot and pregnant?" - "No, I encourage women to wear shoes") Doris is indeed everything Sledge is not.

Finally there's their supervisor - in a show filled with stereotypes used for comedy you'd expect him to be the loud shouting, high blood pressure "GET IN MY OFFICE NOW!" type. Well, he is! Captain Trunk (Harrison Page) is the archetypal long suffering police captain with an insubordinate, troublesome (but effective) detective. A man, who if events in the last episode of the first season hadn't happened [mysterious hint], would end up dead from high blood pressure causing a stroke.

Sledge Hammer! itself was a sitcom which did well with the critics but struggled to gain it's audience thanks to being placed in the dreaded Friday 9pm slot. But the show did manage to secure a second season on the numbers who watched when it was shifted to a better time slot. (Honestly I don't know why the American networks don't just pick cult shows with low audience numbers and relatively low costs to run on Friday evenings instead of constantly sending shows to die there. Suck it up guys, just air some cheap tat as time filler!)

Sledge Hammer! is something of an odd show; I don't find it laugh out loud funny, clever or exceptionally brilliant in any regard - but I wouldn't call it a shitcom, no not at all. There's something quite hypnotic about the broad characters, cartoonish villains and ridiculous story lines used in the show - it's almost as if the irony and slightly naff nature of everything brings it together in some transcendent form of brilliance. It's not one of the 'so bad it's good' shows, it's more one of the 'so self aware and ironically in tune with it's ridiculousness that it's good' shows - OK I made that type of show up, but it's the only way I can explain just how magnetic Sledge Hammer! can be.

Also, this season coined the phrase "Hammer Time!" three years before MC Hammer would use it and at least one of Sledge's lines is (unintentionally?) ripped off and used by Frank Drebin in The Naked Gun. Two pretty reasonable impacts on pop culture for a rather obscure show - one of which is still going strong today.

Now the thing is, it's very hard to recommend Sledge Hammer! because it's appeal is difficult to define. It's not got exceptionally clever things to say, it's not cripplingly funny and the action in the show is pretty ropey at times. But it does feel like it's relevant and that it has a strong message of satire at it's core, as such it's for these reasons and a few other intangible ones I do own the first season of the show and enjoy watching it on occasion. Perhaps it's because Sledge reminds me of Stephen Colbert, I don't know.
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Southland on TNT

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SOUTHLAND

Southland - NBC's cancelled cop drama, will be returning from the grave on the 2nd of March over at TNT. It's a show which has gotten onto my radar because of it's resurrection and the reason for it's original cancellation. NBC felt it was too dark for the time slot it was in. It was pulling between four and six million viewers at the time it got canned.

Dark television is something I have a great deal of time for; Millenium, Homicide: Life on the Street, The Shield, The Wire. These are all shows which are exceptionally dark and as such right up my street.

And so because TNT have decided to revive Southland it's something I've become willing to invest time in.

The first series of Southland had just seven episodes, dealing with an ensamble cast and serialised stories. Now the second series is looking to focus more around two of the characters and head a little more towards the procedural in it's nature. Not exactly what I personally want from a television show, but it is something that appeals to a wider audience - still, I'm reserving judgement until I've seen episodes from the second season. So there's a review of the show to come in the next few weeks.

Until then, here are a couple of teaser videos to let you decide if Southland is going to be for you.

Preview of the second Season
Behind the Scenes: The Overview
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Procedural Shows

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Procedurals are something which I have a rather torn opinion on, there is no doubt in my mind that the style of show in general is frankly lazy television which appeals to the laziest and lowest common denominator of television viewer. Many of the shows in the genre seem to follow the old maxim which was best stated in Futurama by Fry (ironically) - "At the end of the episode, everything's always right back to normal."

Looking back at earlier shows in the history of television we can see this maxim being applied over and over, especially in the genres of drama and situation comedy. The two genres I prefer over any other. Now I couldn't say with certainty when the procedural was spawned, but the 1950s seem to be a likely spot - at least in the medium of television.

Now fine, it is important for an episode to hold self contained moments in it - or at least it seems important - as this makes it easy for the casual viewer to dip into an episode at almost any point in the series and enjoy it. That makes it easy to captivate channel flickers and hold them until the end of the show. Sprinkle in a few occasional two or three parters and you have something which fills up time and entertains without ever breaking outside of it's own boundaries.

There is a place for the procedural, in truth there are some exceptional shows which have used the format - many sitcoms hold up well with this structure (Seinfeld for example), because their relatively short episode length leaves little room for anything else. But is it really an acceptable standard to be used for dramas? I'm not convinced at all, especially not the the area of police procedurals - a sub-genre which has spiraled out of control so far that it's managed to spawn a sub-genre of it's own, the medical procedural (House - which is a great show, but that's in spite of it's procedural nature).

Looking at our screens and schedules these days reveals an absolute glut of these shows; we have the CSI and
Law & Order franchises, Bones, House, Psych, Lie to Me, Cold Case, Criminal Minds, NCIS and The Closer to mention just a few. And the past is even more damning, with a huge swathe of these shows running all the way back to Dragnet (and perhaps even before). Is there really a need for this many shows in the genre? What on earth distinguishes one from the next? The characters I suppose, that's certainly the appeal in Bones and House. Or perhaps it's the identical structure of the episodes, watching a procedural is like putting on a comfy pair of slippers, you know exactly what to expect from them and exactly what they'll do (keep your feet warm, rubbish to wear in the rain, fall off when climbing up stairs).

Maybe that's it, that's the big secret. Perhaps I'm barking up the wrong tree when I go watching clever shows that employ an ongoing storyline like The Wire. Perhaps even the hybrid shows I adore - shows with self contained episodes AND ongoing story lines (like The Shield, The Sopranos and Arrested Development). Perhaps I should just forget about these kind of shows, because it's clear that the viewing public has become conditioned towards receiving their stories in neat self contained packages, all wrapped up in a bow and fuzzy edges. Maybe it's to much to expect that viewers want to be challenged by what they're watching - it's clearly too much effort and discomfort to try and remember what happened from one week to the next isn't it?

I think that my main gripe with the Procedural is not exactly it's existence, but the sheer quantity of them. It just feels so lazy, here we have this incredible method of performing one of the oldest ways of human socialisation - storytelling - and instead of using it to explore new directions and challenge humanity the networks are taking the same framework and slapping different paint on it before feeding it to us. And the worst part is we just lap this shit up like it's gravy. We just can't get enough of it, and the networks can't get enough of our adoration.

I often picture how pitches must go for new shows, the creator of the show turns up for the meeting and after sitting down and engaging in a little small talk he begins his pitch. Painting a picture of a show with a sweeping story arc that runs across the entire season and builds up into a climax which leaves the viewers amazed and asking questions. The network exes nod sagely and ask "but is it going to get them off their tractors?" The creator defends his work for a while and then realises that it's a lost cause. The exes ask him if he has anything else and he replies "how about a police show with a detective who solves a different crime each exes are more interested in this and "ask what's the hook?" The creator mugs for a moment before responding he's blind and his partner is deaf. I call it 'See No Evil, Hear No Evil'.

Instant hit.

Bleah.

On the flip side though I do have to admit that there are some exceptional procedural shows out there, shows which manage to transcend the rather pathetic design of the procedural and give us something which is genuinely special. The strongest example for myself is the 1990s show Homicide: Life on the Street - a show which was definitely a procedural show in structure but managed to play around with it's format and result in something which was a little less predictable. This wasn't a show which always delivered easy answers at the end of each episode, at times there would be hanging cases left unsolved or the criminals would get away with their crime. This uncertainty makes the show more enjoyable for myself because it's the outcome isn't a forgone conclusion, there was always a little doubt when watching each episode that everything would turn out OK in the end. This, added to the generally dark and pessimistic tone of the show resulted in a rather unique experience - many procedurals like to shock with visual "darkness" (autopsies, violent deaths and so forth), but Homicide went with a bleak tone that just made everything feel more real and more hopeless.

But the greatest triumph of Homicide lays in the two shows it spawned; both of which are the two shows I hold dearest to my heart. Shows which are the kind of innovation in the procedural I wish was more prevalent. The first is Homicide's direct descendant, the other Baltimore Cop Show - The Wire. Spinning the procedural show out by basing an entire case over a season rather than an episode. Allowing for a (more) realistic portrayal of the work involved in building a case against high level criminals. If you look at the ebb and flow of the episodes in each of The Wire's seasons they are structured like a procedural (and a novel), but the time line of events is played out in a more natural, less condensed (and less condescending) fashion.

It results in an experience which can be difficult to 'get into' and is impossible to pick up partway through a season, but it's a rewarding show which challenges the viewer and rarely offers the easy way out.

And if you're willing to buy into that theory it's also part of the Dreams of Tommy Westphall. But that's a discussion for a different time and place - so just enjoy this visual depiction of all the shows caught in Tommy's dream and note how incestuous the world of police procedurals actually is.

The second show Homicide spawned was The Shield; but in this case the show was partially inspired by Homicide rather than being directly descended from it. (As long as Clark Johnson's character "Handsome Marshall" wasn't actually Meldrick Lewis - which is a vague possibility). The Shield also perverts the nature of the procedural, this time by blending multiple story lines into the show - some of which take place over the entire season and many of which span just the one episode. While Vic and the Strike Team provided the main ongoing continuity it was Dutch and Claudette who gave us the 'crime of the week' story lines. This makes The Shield an easier show to dip into for the casual viewer (if you can stomach the material, which it seems many weak willed people can't), while still maintaining the 88 episodes combined into movie style of the show.

I raise The Shield here for two reasons, first - I unashamedly adore the show, enough said there. Second, and more significantly, The Shield offers a medium between the serial procedural and The Wire. You can have a show with contained story lines within the episodes and still provide an over arcing storyline. But you need to build it in from the start (Bones has attempted to do this - but falls a little short) and even if you don't know exactly where the story is going to end up you should at least be content that some plot threads will dangle for a while and get picked up later on in the shows run.

So I've meandered my way along in this and I've not really hit any genuine conclusion about procedurals, I do know that I feel they are a lazy way out for both television and the people who watch it. But there is also no doubt that the style of show has spawned some fantastic television as well.

I think I'd settle for less standard format procedural shows and more shows which attempted to push the boat out and take it in unusual directions. True these attempts might fail but there is uncharted territory out there and that could result in the unique shows I want to see on our screens.

Failing that I'll settle for less David Caruso, a lot less.

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Watching the Wire: Season Three: Episode One - "Time After Time"



"Don't matter how many times you get burnt, you just keep doin' the same."
-- Bodie


Teleplay by David Simon
Directed by Ed Bianchi

Starring:
Dominic West as Det. James "Jimmy" McNulty, Jim True-Frost as Det. Roland "Prez" Pryzbylewski, Wendell Pierce as Det. William "Bunk" Moreland, Clarke Peters as Det. Lester Freamon, Sonja Sohn as Det. Shakima "Kima" Greggs, Lance Reddick as Lt. Cedric Daniels, Corey Parker Robinson as Det. Leander Sydnor, Frankie Faison as Police Comm. Ervin H. Burrell, Domenick Lombardozzi as Det. Thomas R. "Herc" Hauk, Andre Royo as Bubbles, J.D. Williams as Preston "Bodie" Broadus, Deirdre Lovejoy as Asst. States Attorney Rhonda Pearlman, John Doman as Deputy Ops. William A. Rawls, Wood Harris as Avon Barksdale, Idris Elba as Russell "Stringer" Bell, Aidan Gillen as Councilman Thomas "Tommy" Carcetti, and Robert Wisdom as Major Howard "Bunny" Colvin

With:
Glynn Turman as Mayor Clarence Royce, Callie Thorne as Elena McNulty, Chad L. Coleman as Dennis "Cutty" Wise, Jamie Hector as Marlo Stanfield, Tray Chaney as Malik "Poot" Carr, Hassan Johnson as Roland "Wee-Bey" Brice, Method Man as Melvin "Cheese" Wagstaff, Maria Broom as Marla Daniels, Leo Fitzpatrick as Johnny, Joilet F. Harris as Officer Caroline Massey, Al Brown as Major Stanislaus Valchek, Jay Landsman as Lieutenant Dennis Mello, Ed Norris as Ed Norris, Richard Burton as Shaun "Shamrock" McGinty, Brandon Fobbs as Fruit, Anwan Glover as Slim Charles, De'Rodd Hearns as Puddin, DeJuan Anderson as Bunk Junior, Anthony Cordova as Sean McNulty, Eric G. Ryan as Michael McNulty, Tony D. Head as Major Bobby Reed, Benjamin Busch as Officer Anthony Colicchio, Christopher Mann as Councilman Tony Gray, Frederick Strother as State Delegate Odell Watkins, Cleo Reginald Pizana as Chief of Staff Coleman Parker, Justin Burley as Justin, Lee E. Cox as Aaron Castor, Richard DeAngelis as Colonel Raymond Foerster, Nakia Dillard as Lambert, Mustafa Harris as Lavell Mann, Derek Horton as Brian Baker, Barnett Lloyd as Major Marvin Taylor, Robert Neal Marshall as Comstat Police Major, Keith Moyer as Junk Man, Rick Otto as Kenneth Dozerman, Melvin T Russell as Jamal, Ryan Sands as Truck, Rico Sterling as Tyrell, Addison Switzer as Country, Rico Whelchel as Rico and Jonathan D. Wray as Tank

The Summary:

The Franklin Terrace public housing towers are razed, forcing the Barksdale drug crew to find a new home on the streets of West Baltimore. Stringer Bell sets up shop using a new sales strategy for Bodie, Poot, Puddin and the rest of the gang, as he awaits the return of Avon from prison. McNulty, Greggs and the detail look to make a case against Stringer with a wiretap on a drug ring run by his ally, Proposition Joe. Assigned to the Western District drug unit, Carver and Herc notch up the pressure on street dealers. Burrell is caught in a power play by First District Councilman Tommy Carcetti. Mayor Clarence Royce, facing re-election next year, puts Burrell on notice that murders must go down. Rawl's Comsat meetings begin to look like the McCarthy hearings. Daniels' promotion to major appears to be derailed because of his estranged wife's political ambitions. A rash of murders cuts short Bunk's day at the ballpark, as Bubbles and Johnny lose big in their latest caper for cash. On the eve of his parole, Cutty Wise is offered a new start on the outside by Avon, but after being released, he finds the drug life has changed.

Read about old friends, new faces and the evolution of the game beyond the link...

The Recap

Open with Boadie, Poot and Puddin walking down towards the Franklin Terrace housing, talking about the place while Mayor Royce gives his speech to an appreciative crowd about the planned improvements and residences which will replace the ill reputed Towers. The boys reminisce about the past while the politician talks of the future.

The biggest issue for the lads is the loss of territory, which is what this change represents and as the crowd count down we see the end of an era for Baltimore. An end heralded by a dust storm which for a brief moment makes the place look like the end of the world.

Cue the new credits. These credits depict the change in focus for the show, while the drugs and crime are still front and central there are also new elements, including drugs, property development, boxing, politics and a large slice of sex depicted alongside the crime and police themes.

Sydnor and McNulty are in a disused apartment, the place is a sty but it’s essential for their work. The target, one Cheese Wagstaff is outside. Elsewhere, in the new offices for the Major Crimes Unit (previously known as the Detail), Freamon and Prez are listening to an wiretap. Unlike the previous seasons, where the story took around six episodes before electronic surveillance was on the cards it’s here from the get go. It’s not just their offices which have improved, everything has. But some problems never change, one of which is the difficulty Prez and Freamon are having with the dialog recorded. (Ironically reflecting the difficulty some viewers, especially British ones, are reputed to have when watching the show. Of course, to watch it with subtitles is considered to be reducing the show from serious drama into comedy. And if you’re not sure, that’s scorn I’m heaping on George Pecalonos’s statement there) Fortunately for them they have the assistance of Caroline who translates for them both with clarity.

The phone rings again, there is a short conversation with Cheese’s number two and then Cheese heads off. While the phones help, the important information is kept in face to face conversations, as Freamon comments it’s been three months work and they haven’t yet heard Cheese’s voice on tape.

Herc and Carver are talking with some fellow officers, they discuss a plan for busting some hoppers, the most notable element is to ignore the runner and pick up everyone else instead. They’ve learnt from their time with Kima and the Detail previously, even if they weren’t happy with the way they were treated. Herc rolls out to the Shaft theme.

They arrive and the strains of the theme play out while the lads are arrested, Carver waves to the runner but his amused snark is cut short when the boy picks up a bag and runs. They realise he’s not just making a break for it to distract the cops, he’s running with the stash. Everyone scrambles, leaving the others standing, one lad picks up another bag. It seems that the runner is a decoy after all.

But Herc and Carver are unaware of this and as they head out (with Shaft blaring) it’s Herc who picks up the lad in his car while Carver runs on foot. Carver calls for back up and the black and whites arrive with helicopter support. Herc picks up Carver and they arrive at the block where the lad went to ground. Carver stands on the roof of the car and gives a long speech, posturing in an attempt to flush the lad out (and assert his authority). There’s no response and he’s left looking a little foolish.

At the funeral home Stringer is holding a meeting with his lieutenants, Boadie is keen to move on some territory but Stringer explains the game is now about product not location. The Barksdales have the best product and that means people will come to them. Slim Charles points out that without territory it’s going to be difficult to sell, you can’t sell if people can’t come to you. Stringer explains how things worked out when they gave up some of their territory in exchange for product with Prop Joe (see season two), they made more profit. But Boadie wants to know where they will stand, Stringer explains the plan is to bring the competition in by selling to the competition. The only issue (as pointed out by Slim Charles) is if the competition doesn’t want their product.

Poot is upset about this, but Stringer lays down the line, it’s time to start thinking like businessmen not hoods.

Sydnor and McNulty return to the Office, much to the amusement of Kima, Ronnie and Freamon they’re an absolute state. McNulty is resigned to the mocking amusement, he’s more frustrated about how hard it is to pin Cheese down to a phone. Ronnie and Daniels talk about closing down the wiretaps now and trying to roll up some of Cheese’s lieutenants.

They may have had good intel as a result of the port investigation, but it’s lead them almost nowhere. McNulty is convinced with a little more work they’ll hit Prop Joe and then reach Stringer. But Daniels points out that they have little time left.

Major Howard “Bunny” Colvin is in his office, he’s talking with two of his men about the importance of directions, he explains how the numbering of the city streets work and throws the pair some compasses before welcoming them to the west. As the two officers head out Carver and Herc rib them a little before Bunny comes out. They caught the runner, (and delivered the promised beatdown on him) but the boy didn’t have any drugs on him in the bag.

Bubs and Johnny are out on the street, they’re back collecting scrap, moving it in a shopping trolley. But suddenly it gets away from them and the stuff spills, hitting a car and seriously upsetting the owner of the car who produces a gun and puts it to Johnny’s head. A few moments later another man steps out and asks “what’s up”, the first explains to the second and he tells the guy to either do it or don’t. As the second, one Marlo climbs into the car his lieutenant demands some dime. Bubs and Johnny don’t have any money, so he takes their pants.

(Note: If you look carefully here you can see that Andre Royo [Bubs]’s legs are far too healthy and strong for his role as a perpetual drug addict, but the scene is kept short and he moves fast to try and conceal this fact.)

Burrell and Rawls are at city hall, they’re being grilled by one Tommy Carcetti over the increase in shootings during recent times. Burrell passes the issue to Rawls, who – as the stat obsessed individual he is – already has the answers. Carcetti closes the meeting and heads out to talk with Burrell in order to arrange a lunch meeting later today.

McNulty, Kima and Freamon are out in a car; they’re watching their last, best hope at getting a crack at Cheese, Prop Joe and Stringer. One Drac, the “talkingest motherfucker” Freamon has ever heard on a wiretap. He’s a small fish who re-ups from Lavell Mann, but if they eliminate Lavell from the equation it’s Drac who’s most likely to be promoted into the space.

In a scene which should be familiar to those of you who’ve watched the corner, Johnny and Bubs collect the money for their scrap metal. They’re reminded that they’re missing pants by the scrap collector. Neither man looks amused.

Carcetti and Burrell have lunch and Carcetti tells Burrell a story about Jimmy Carter and one Dominic DiPetro. Carcetti’s point is that he wants to be more than he is, and his problems are schools and crime. He offers his services to Burrell to help the man in any budget shortfalls. Burrell isn’t interested though, he’s determined to follow the chain of command rather than circumvent Mayor Royce and risk any backlash.

Wee-bay is in the prison yard, he’s meeting with one Dennis ‘Cutty’ Wise, a long term inmate who’s about to be released tomorrow. Avon walks across the baseball yard, prompting a time out from the prisoners, just another example of his power inside the jail. Avon joins Cutty and Wee-Bay and they talk about the changes outside, the changes and the things which have remained constant. Avon wants someone outside to be his man, he’s keen to have Cutty back in the game and sweetens the deal with a little ‘coming home gift’. Cutty heads off and Avon wonders if Cutty has been broken by his time in prison, Wee-Bay doubts it. Cutty was a hard soldier in his time.

Bubs and Johnny; a little short now they had to purchase replacement pants, attempt to pick up a pair of vials for sixteen, which is four dollars less than the street price. The hoppers aren’t having anything of it though and turn the duo down.

Burrell and Daniels are talking about where to go now on the Major Crimes Unit. Daniels explains the plan concerning Lavell and Drac. When Burrell asks why the dealers would promote the wrong man, a man who could endanger their institution, Daniels pauses for a moment before admitting “We do it all the time.” Burrell laughs and then talks about Daniels’ impending promotion, a promotion which is being held back because of Daniels’ wife. Daniels isn’t happy about the situation as their deal was for the Major Crimes Unit and promotion to Major. Burrell believes he’s honoured his part as far as he can.

Bunk and McNulty are at the ball game, talking about McNulty’s kids while looking after Bunks. McNulty spots his two sons with Elena and some guy, a man who’s clearly involved with Elena from his body language. The four people are sat in the front row of seats with an amazing view of the field. McNulty isn’t pleased about the suit, Bunk is amused.

Bubs and Johnny are in their den, talking about the failure of the day. Johnny is optimistic about tomorrow, Bubs is realistic. He’s tired about things, half a shot isn’t enough to get him high. Shots ring outside.

McNulty meets with his lads, Elena chats a little about her ‘friend’ Dennis. McNulty goes to take them both up to the mezzanine and the lads aren’t pleased about the idea of sitting there. Dennis arrives and attempts to integrate himself with McNulty, but of course Jimmy isn’t interested in making friends with the man who’s sleeping with his ex-wife and winning over his kids with his money. McNulty takes his two boys off, cut into silence by the situation.

In West Baltimore the shootings are on the rise, Detective Cole is supposed to be up, but he’s working a case off Belvedere. The shooting will either go to Crutchfield or Bunk, needless to say the Bunk man will not be happy if he’s called in on his off day.

Bunk himself is still enjoying the ball game, but McNulty is now engrossed in watching Elena and Dennis together and is barely paying attention. Bunk’s phone rings and its bad news. He’s up for the shooting and has to head in. So Bunk leaves his son in McNulty’s capable hands and heads off.

It’s the following day and Cutty is out walking, free at long last and just revelling in the sounds and sights of the world outside the walls. It’s clear he’s looking at places he used to remember, most of them now boarded up, but not the home of one E. Wise. Cutty’s mother.

Rawls and Burrell are in a meeting regarding the overview of police work in the city. Burrell is talking aside about Carcetti while Rawls roasts the officer (Marvin) over his decisions. The bottom line here is that all of the robberies are linked and the homicides are out of control. Stats, stats, stats.

Sydnor is strapping up, ready to head out with a wire. Ronnie heads in to talk with Daniels and realises that the man is living out of his office. Daniels dismisses his men, sending them out to sting Lavell in order to get Drac promoted. Ronnie looks at Daniels for a moment afterwards before the two part.

Sydnor talks with Lavell, getting the agreement on the deal before the rest of the force push in. Arresting Lavell and Sydnor together. Sydnor puts on a little show, shouting at Kima while he’s dragged off in cuffs.

Elsewhere in Baltimroe Cutty picks up a payphone and calls the number he was given. He arranges a meet at the Oxbow before hanging up, looks like Cutty is back in the game.

At the Major Crimes Office Drac is all over the wire, mouthing off about what’s happened to Lavell.

Cutty arrives at the Oxbow, he’s greeted by an SUV, the two rollers inside tell him to head over to the shorty and pick up a little help. When he’s ready for big action he’s to get back in touch with them. Cutty walks over to the lad who stands up and wals away, leaving behind a package. Cutty exclaims when he picks it up.

Daniels returns back to his home, his wife is having a meeting with Delegate Watkins about Marla’s run at her office. Daniels then heads upstairs.

Following morning, Burrell and Rawls arrive at city hall and they’re greeted by a host of camera men. The pair look concerned as they sit down in front of a stern looking Carcetti.

At the Major Crimes Unit it turns out that Cheese has been promoted into Lavell’s position, not Drac.

Carcetti opens up his broadside at Burrell and Rawls; he’s refusing any extra money for the police department. By bringing up the various expenses which are being incurred by the higher ups in the department, he humiliates the pair publicly and sends a strong message to Burrell.

Daniels is woken up by Marla from his nap on the sofa. Daniels is willing to help her out as best he can, he admits as much before leaving the house.

Burrell meets with Mayor Royce about Carcetti’s move, they’re not sure exactly what Carcetti’s planning, but they want Burrell to keep the murder rate down under 275 for the year. It’s at 232 right now, which means it’s going to be tough.

Cutty stares at the package, it’s filled with vials.

Burrell and Rawls pass on the good news to the Majors and Foerester is more than a little concerned about the number required. Rawls blasts him and then lays down the bottom line. Bunny speaks up, asking how to make bodies disappear. Rawls looks set to strangle him, but Burrell places a hand on the man and stands up. Reminding everyone about the precarious nature of their positions before leaving. Rawls eyeballs Bunny as he dismisses the men. Valchek is incredulous about Bunny’s outburst. Bunny explains he’s close to retirement and just doesn’t care.

Cutty sits on a stoop, watching a few young hoppers deal. Observing the process.

Ronnie wants to know if anyone has any more ideas now that the Drac angle has come up dry. McNulty suggests bugging a few corners. Daniels points out how weak and expensive the whole thing would be. It’s time to wrap things up. McNulty is not happy about this, revealing just how personal this is when he exclaims “We’re just gonna let that same son of a bitch [Stringer] beat me again?” McNulty is obsessed with Stringer, but that doesn’t mean he’s wrong. Stringer is the big fish in the pond here, but McNulty has once again offended his co-workers with his outbursts.

Cutty approaches one of the lads, the one who runs the corner. He offers to sell his goods to the lad. The guy offers an even split on the drugs, Cutty haggles to a 60-40 split and is told to hand on his goods.

The Western District troops are debriefed, Bunny is planning to head out and ride the district for a while. He’s seeking a solution to the problem of bodies. As he heads out he finds Herc and Carver with another batch of young lads – this time charged with loitering and being ‘assholes’.

McNulty is alone in the Major Crimes Unit, the wire blurts into life and he pulls out one of the old boxes containing the case file from the Barksdales.

Bunny drives out in the streets, watching the people on the stoops. He’s marked as an officer quickly.

Prez arrives at the MCUO and sees McNulty flicking through the old file. His look is enough and it’s Caroline who vocalises to McNulty. McNulty claims that it’s important to look at what went before. History doomed to repeat itself. He lingers on a picture of D’Angelo before heading to the computer to look him up. Lights out as he leaves.

Cutty heads up the corner and goes to meet with the lad he made the deal with. It turns out that the stash was snatched up. Cutty asks if the boy has a number for the police report. He knows he’s being sold a story, but there’s little he can do as the boy produces a pistol and shoves it in his face.

Cutty crosses the road in front of Bunny. He rolls up next to a group of lads and one of them attempts to sell him some drugs. Bunny puts on his cap, almost incredulous that the lad couldn’t identify him from the police radio and uniform. The boy's friends mock him and Bunny drives off…

The Review:

Well compared to the previous two seasons the third one hops up with quite a lot in full swing. There's a wiretap up, the Major Crimes Unit is up and running and compared to the first episode of both previous seasons it's almost filled with events and movement. It's also considerably expanded it's cast, bringing the political side of policing more to the front by encompassing City Hall in it's scope. This means that we get to see more of Burrell and Rawls than previously and also we get to meet the politicians who influence and effectively control the pair (Rawls now being promoted to Deputy of Operations thanks to his slavish devotion to stats).

There's also new faces in the game at street level, Marlo and his crew provide a lot of new people to keep a track of - which can be difficult when they're not mentioned by name too often, there's also Dennis 'Cutty' Wise returning to the streets and Major Colvin as well. So it's impressive that the show manages to bring so many new characters onto the screen without losing it's focus. The Wire is a show with a lot of characters already, but it's almost bursting at the seams now.

Still, all of this hustle and bustle - especially around the MCU - isn't all progress and light. In fact, as things unfold we've seen that the promising looking investigation into Prop Joe and Stringer is struggling. They can't even get as far as Cheese Wagstaff, let alone Prop Joe. So they're around four (or more) rungs away from reaching the key players they need.

This is because the dealers have learnt from their previous experiences, once bitten, twice shy. And this is something I appreciate about The Wire's scope and characterisation. The "villains" (and I use that term loosely) learn and evolve, they're not one dimensional cut-outs who are a single step away from wearing a cape and twiddling their moustaches. They're rounded, understandable individuals - they're human - at least, the ones we get to know are, but that paints the rest in a strong light also.

Much like Homicide, the police in The Wire are driven by statistics. While "the wall" (the whiteboard where names of homicide victims go up) isn't front and centre in The Wire - the bodies and their linked statistics are. They had a growing focus the second season - the sheer quantity of names up in red from those Jane Does just dominated a lot of conversations involving Rawls and Landsman. But the third season has taken the scope and widened it further - across the city now the stats need to show a drop of 5% in crime rates and no more than 275 bodies for the rest of the year.

Which if you think about it is an incredible idea, policing is not normally an excercise in preventation - it's about solving after the fact. Especially when you're talking about murders, the only way to directly prevent crime is by increasing police presence, but no city has enough police for an act like that - in part because of the cost and in part because of "police state" fears from the public. So what's being asked is nothing short of impossible, as Colvin himself notes in the episode - you can reclassify crimes to fix the stats, but how do you make bodies disappear? You can't and shouldn't, because the problem isn't caused by the police force - it's caused by society.

And that's the kicker.


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