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Unzip and Attack posted:I'll throw out True Detective as well - I think it's the best TV since The Wire. For me, Breaking Bad was really good, but not Great. For the poster saying they were thinking about The Sopranos, do yourself a favor and start today. The modern TV golden age we're experiencing is largely due to The Sopranos achieving such popular acclaim and like The Wire, it gets better with every re-watch. The Wire, True Detective, Breaking Bad, The Sopranos, Mad Men: shows attentive people with critical eyes and a hard on for character development, theme exploration, and continuity will appreciate.
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Aug 21, 2014 22:35
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To hammer home this And what this guy said: MrBling posted:Most likely because David Simon doesn't want it. So to be clear, it's possible to have the show be 4:3 and also HD. It probably won't be widescreen/16:9. (Although most technically, it will be 16:9 with black bars on the sides.) And FYI, syndicated HD Seinfeld is not cropped, they simply took the original 35mm and left in the cropped sides of the screen. This is why watching these episodes feels so loving weird, because all the actors are always jumbled in the middle of the frame with a bunch of empty space on the left and right. It also has the added effect of making the stock establishing shots, which already looked lovely compared to the actual scenes, even more lovely to look at.
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Sep 2, 2014 23:08
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Looks like we're both right, buddy.
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Sep 5, 2014 04:19
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Each season tries to focus in on a specific area of life, so it's only natural different people get more emotionally invested in different seasons. As someone who's worked in newsrooms, I'll defend season 5 despite its flaws.
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Nov 19, 2014 16:15
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Murder police demand respect of both street poo poo and the fed. The suit is the first step.
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Dec 2, 2014 01:52
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That's commonplace. My big takeaway from this piece is Bob Colesberry seems like a dope rear end dude and Simon is a lot more even-keel about this than the various headlines about his post claim.
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Dec 3, 2014 18:10
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dreffen posted:Here read stuff that David Simon wrote about the HD re-release
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Dec 26, 2014 14:51
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dreffen posted:Here read stuff that David Simon wrote about the HD re-release
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Dec 26, 2014 20:34
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Yeah man it's bad enough my TV is a black frame surrounded by the various colors and junk on my entertainment system. I don't need no more plain uniform black. That's the line.
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Dec 30, 2014 00:45
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Feel free to browse the last couple pages for opinions about it. Spoiler: it's mostly pretty great. There are a handful of shots that were very framed for 4:3 that look weird (especially in the pilot), but that's it. The rest is nice and comes down to weird personal preferences. See: the scene being discussed above.
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Jan 7, 2015 01:46
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Jerusalem nailed it, McNulty's lightbulb has gone off. I love this show.
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Jan 15, 2015 16:06
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To be completely fair, they're hard to convince because they follow the law.
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Jan 31, 2015 00:24
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This concludes today's exciting episode of Where The gently caress Is Wallace At?
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Mar 2, 2015 02:04
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Specifically that mentality is related to blue collar unions, and definitely still exists. Season 2 is probably a very eye-opening and strange thing for people who've always lived in Right To Work states.
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Mar 10, 2015 22:59
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Landsman is an exceptional middle manager who earned the seat and is smart enough to know to stay put. I'm slowly reading Homicide and Simon very quickly and repeatedly shows the reader that knowing when to stop climbing the ladder is as important a skill as any. Like knowing how to stay on your rung.
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Mar 13, 2015 06:47
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That was my first major takeaway in my unavoidable comparison of the Homicide novel to The Wire. Simon almost immediately spends pages and pages on human kind's greatest defense mechanism: inappropriate humor.
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Mar 14, 2015 14:38
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forever whatever posted:McNulty and Freamon's serial killer scheme was probably (nah, definitely) the least believable subplot on the entire show, but I guess it does serve to highlight how completely hosed the department was after five years of McNulty's petulant bitching about it. Remember, the show is a series of 9/11 metaphors.
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Apr 12, 2015 19:36
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There is actually dialogue that says a version of the above post.
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Jun 11, 2015 03:23
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Any show would be better if influenced by this one. Are you sure you weren't trying to post in the Lost thread? Or do you mean this show is so good that it's set a standard for you that most other shows can't meet? Edit: The latter is exactly what you mean. Yes. Yes it has. Dialogue in particular has always been a pet peeve of mine and this show has rendered plenty of others unbearable. grilldos fucked around with this message at 12:43 on Jun 20, 2015 |
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Jun 20, 2015 12:39
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L&O's Munch cameo'd in The Wire's season 5 as well. I don't mind dragging this back out.
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Jan 5, 2016 19:38
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Jerusalem posted:
 Clark Kent is Superman???
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Mar 1, 2016 22:04
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A show full of well written characters will result in each viewer hating and loving their own sets of them.
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Jul 7, 2016 19:02
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Jerusalem posted:I actually felt like this was a pretty good look at the liberating sensation Michael was feeling once freed from all the constraints and expectations being piled on him by such a wide variety of people. When we first meet the character it's during school holidays and he's far happier and quite often wisecracks or make jokes ("You heard about that boy Deez? Yeah... Deez Nuts!"). But as the show progresses and he's back in school, his stepdad is back in the picture, Cutty is creeping him out, Randy is being called a snitch, Namond is getting in too deep to the drugs, Dukie needs a home to live, Marlo has taken an interest in him, Chris and Snoop are training him etc.... well you see him clamming up and becoming emotionally guarded. Once Chris is in prison, his friends are out of his life, his little brother is taken care off, Snoop and his stepdad are dead etc.... he's basically free. Sure he's on the run and has nothing, but he no longer has any of that relentless pressure on him and he actually becomes happier/more carefree like he was during the Summer holidays he no longer remembers. There is a circular, poetic flair to Michael's arc that I think works very well, bookended by his happiness, in this case evidenced through his humor. If you choose to really read into things, Michael is left with the possibility of having one less weakness than Omar -- specifically, a family member he regularly sees. If he can leave his brother behind, the world, however small his is, is his oyster. Which is particularly depressing.
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Jan 10, 2017 04:47
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How many seconds does a word need to be spoken before it constitutes a phrase.
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Apr 23, 2017 15:53
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Orange Devil posted:What feels off about Namond is that he's basically hood royalty growing up, and out of all the kids to get a happy ending, it's the relatively privileged and spoiled one that gets it. When you look at Namond as just Namond, it's a happy story about a guy born in a hosed up family and life who manages to escape it and get a real shot at something better because of the selfless efforts of a no poo poo good guy cop. When you look at it in the context of the whole group of kids, even this arc of salvation is mired in classism. You are correct. Many adoptions involve parents picking out the child with the best "potential*" which only furthers class issues. In this case it's the bittersweet cherry on Colvin's story. I bet if you pull up the scenes of Namond with Colvin, they're juxtaposed with Randy's dealings with the orphan system. *The word "pedigree" floats to mind, with all of its racial tension.
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Apr 26, 2017 13:46
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