The events of the last two weeks, however, have changed my view of The Wire in a very fundamental way. I have spent most of my time listening to people in Baltimore speak about how this uprising came to be and why the anger runs so deep. I’ve been primarily speaking to black Baltimoreans in grassroots organizations who have, in a state of MSM invisibility, been building movements for years to fight poverty, end street violence, and challenge police brutality. This is humbling to admit, but this experience has made me reassess my favorite show, as if a very dim light bulb was being switched on above my head.
The idea that David Simon, praised as someone with an ear to these Charm City streets like no one since H.L. Mencken, could look at what was happening in the Baltimore of 2015 and not see the social movements and organization beneath the anger, makes me wonder how much he truly “saw” when producing the show.
Now, I cannot help but recall all my favorite Wire moments through a lens that has me wondering if the show was both too soft on the police and incredibly dismissive of people’s ability to organize for real change. In the season that took place in the public schools, where were the student organizers, the urban debaters, and teacher activists I’ve met this past month? In the season about unions, where were the black trade unionists like the UNITE/HERE marchers who were—in utterly unpublicized fashion—at the heart of last Saturday’s march? In the season about the drug war and “Hamsterdam,” where were the people actually fighting for legalization? In the stories about the police, where were the people who died at their hands? It all reveals the audacity—and frankly the luxury—of David Simon’s pessimism.
I am not saying that art should conform to a utopian political vision of struggle like some dreck from the Stalinist culture mills. But I am asking a question that I wasn’t before: Why were those fighting for a better Baltimore invisible to David Simon? I don’t mean those fighting on behalf of Baltimore—the (often white) teachers, the social workers, and the good-natured cops who are at the heart of The Wire—but those fighting for their own liberation? Why was The Wire big on failed saviors and short on those trying to save themselves? And if these forces were invisible to David Simon, shouldn’t we dial down the praise of the show as this “Great American Novel of television” (Variety!) and instead see it for what it is: just a cop show?
In the wake of the Baltimore uprising, The Wire’s pessimism seems childish to me, and I’m going to put it away for a while. I could see myself revisiting it in the future, maybe amidst a more dreary political moment. But that moment isn’t now.