The Wire

The quiet end of the Golden Age of television

This week's finale of AMC's Better Call Saul represented a quiet end to the Golden Age of Television. It's a fitting end for Prestige TV — marked by lavish sets, sex, violence and episodes as expensive as feature films — to end with a small black-and-white ode to a spin-off. Bob Odenkirk's performance as Jimmy McGill/Saul Goodman, a pivotal bit character in Breaking Bad a decade ago, was marked by over-the-top colorful courtroom flair, but it ends with somber black-and-white drama and a quiet prison cell, serving almost as a muted on-screen act of penance for all that came before.

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You come at the Trump, you best not miss

The third presidential impeachment in US history has now reached the Senate. Like the first two, this one is almost certainly going to lead to presidential acquittal. An old saying given definitive expression by Ralph Waldo Emerson (and recently adapted by The Wire) warns that you should 'never strike a king unless you are sure that you shall kill him'. Congress may not be risking royal reprisal here, but it is teaching all Americans — including all future presidents — a fateful lesson in institutional impotence. After this, who is ever again going to take the threat of impeachment seriously? Congress has called its own bluff.

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Top Boy wins the turf war

This article is in The Spectator’s November 2019 US edition. Subscribe here. I couldn’t stand The Wire. Everyone mumbled unintelligibly, the pace — inexcusably in a series about drugs and violence — was often glacially slow, and I found some of its characterization too transparent, like, ‘Ooh, I know. We’ll make the wise old black guy have the unlikely hobby that he repairs dolls’ houses, so that viewers will appreciate the nuance and hinterland.’ Top Boy (new on Netflix), on the other hand, is pacy, plausible and deliciously ruthless. It’s like The Wire, relocated to London with a much cooler soundtrack and with all the boring bits removed.

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