David Simon shows up at Matt Y’s place to argue about “The Wire” with him. My two inclinations about the show from the beginning were a) that it’s wildly influenced by existentialist thought and b) that it’s built on the observation that individuals are the product of their environments are both touched on by his comment. Here’s the quote:

Writing to affirm what people are saying about my faith in individuals to rebel against rigged systems and exert for dignity, while at the same time doubtful that the institutions of a capital-obsessed oligarchy will reform themselves short of outright economic depression (New Deal, the rise of collective bargaining) or systemic moral failure that actually threatens middle-class lives (Vietnam and the resulting, though brief commitment to rethinking our brutal foreign-policy footprints around the world). The Wire is dissent; it argues that our systems are no longer viable for the greater good of the most, that America is no longer operating as a utilitarian and democratic experiment. If you are not comfortable with that notion, you won’t agree with some of the tonalities of the show. I would argue that people comfortable with the economic and political trends in the United States right now — and thinking that the nation and its institutions are equipped to respond meaningfully to the problems depicted with some care and accuracy on The Wire (we reported each season fresh, we did not write solely from memory) — well, perhaps they’re playing with the tuning knobs when the back of the appliance is in flames.

Does that mean The Wire is without humanist affection for its characters? Or that it doesn’t admire characters who act in a selfless or benign fashion? Camus rightly argues that to commit to a just cause against overwhelming odds is absurd. He further argues that not to commit is equally absurd. Only one choice, however, offers the slightest chance for dignity. And dignity matters.

All that said, I am the product of a C-average GPA and a general studies degree from a state university and thirteen years of careful reporting about one rustbelt city. Hell do I know. Maybe my head is up my ass.

If The Wire is too pessimistic about the future of the American empire — and I’ve read my Toynbee and Chomsky, so I actually think a darker vision could be credibly argued — no one will be more pleased than me as I am, well, American. Right now, though, I’m just proud to see serious people arguing about a television drama; there’s some pride in that. Thanks.

There was some interesting discussion in the prior thread about how the show really focuses on the difference between craft/dedication and mediocrity as the real moral grounds the show is working. Freamon’s dedication to his toys is a good example, but it permeates the show. (Plenty of examples here.) The concept of “natural police” is best described as this willingness to do the job right, to find meaning in what’s basically an uphill battle against crime by being very good at what you do. The detective wakes are a powerful thing; the songs and the ritual emphasize the point that these people contextualize the beauty of American citizenship as the right to struggle.

I wish I’d seen that before I wrote my review of season 4. So very cool.