Not entirely true - first-run stuff like Heroes and Mad Men appears on the iPlayer (though there are all sorts of restrictions, like Mad Men being deleted after a week instead of a month ).most foreign imports don't get onto iplayer
The key principle of Simon's storytelling was encapsulated in a remark that caused raised eyebrows when he uttered it, late last year, on BBC2's Culture Show: "Fuck the average viewer.
the ingenious effect is to leave the viewer with the smugness-inducing sense of being smarter than before. "I love people who get to the end of the first episode and say, 'That's the show they're calling the greatest show in television? What?'" Simon says. "The first season of The Wire was a training exercise. We were training you to watch television differently.
Isn't it arrogant to presume to retrain viewers in the art of watching television? "You know what would feel arrogant to me? What would feel arrogant to me would be asking you to spend 10 or 12 hours of your time a year watching my shit, and delivering something where we didn't hold that time precious. Last year, with The Wire and Generation Kill, HBO gave me 17 hours of uninterrupted film - almost $100m of production value. What would be arrogant would be to waste that - to tell anything less than the most meaningful possible story
The way Simon sees it, The Wire and Generation Kill are, above all else, an exercise in reporting: the pulling back of the curtain on the real America that should have been undertaken by newspapers, transposed instead into the multimillion-dollar world of TV drama. "It's fiction, I'm clear about that. But at its heart it's journalistic." Newspapers, he says, launching into a new tirade, "have been obsessed with what they called 'impact journalism' - take a bite-sized morsel of a problem, make a big noise, win a Pulitzer. It was bullshit! But it was the only thing they knew. But what America needed in the last two decades was not 'impact journalism'. What they needed was somebody explaining what the fuck was happening to the country.
It'll be interesting to see whether I like it as much giving it a second go.
I'm wondering whether I'll get through the second series, too. Everyone I know tells me it's worth sticking with it but I thought it really fell apart. After the great ending of the first it was really boring. I got about 4 episodes in and gave up.
"Fuck the average viewer."
Wouldn't phrase it like that myself, but the man has a point. The real problem might be execs' perception of the "average viewer", which lands us with average dross.
I'm wondering whether I'll get through the second series, too. Everyone I know tells me it's worth sticking with it but I thought it really fell apart. After the great ending of the first it was really boring. I got about 4 episodes in and gave up.
Yep, my theory is S2 is a little misunderstood and therefore under-appreciated (second only to S5 in that sense). People come into it relieved the old Detail is back together – like the Return of the Magnificent Seven – and then it turns out to not be a standard form cops and robbers story. I do think it’s where the challenge with The Wire starts and I suspect some are just a little confused or disorientated as reality dawns that it’s not the format they thought. Hopefully it grows as you stick with it.It was the most difficult for me, the first time round, simply because of the complete change of setting, story, charecters etc. It's also the least easily accessable of all the seasons, in a show that is legendarily unaccessable.
However, on rewatching, its actually extremely good and stands out as solidly as the first (or fourth, imo, but you haven't got that far...) In particular, it is worth watching just for the continued story of the dealers from season 1, omar, bubs etc. A stand out scene is omars court appearance, about halfway through - very funny...
Yep, my theory is S2 is a little misunderstood and therefore under-appreciated (second only to S5 in that sense). People come into it relieved the old Detail is back together – like the Return of the Magnificent Seven – and then it turns out to not be a standard form cops and robbers story. I do think it’s where the challenge with The Wire starts and I suspect some are just a little confused or disorientated as reality dawns that it’s not the format they thought. Hopefully it grows as you stick with it.
It also has possibly my fav character of all, the great Shakespearian tragic-hero. Well, two of them really, male and female.
Sobotka and.....?
she's not a tragic hero
I included her as an after thought in that line achooly. He's the tragic-hero of course, she's heroic.