The Look Back: The Wire’s “Middle Ground”


In The Look Back I will be looking at movies and television series/episodes with fairly recent anniversaries and writing about why I love them so. Basically it’s a desperate attempt to write about things that would normally have very little relevance at all.

Nine years ago today the nominations for the 57th Primetime Emmy Awards were announced. 2005 was a simpler time; Everybody Loves Raymond led the pack with 10 nominations, Angela Lansbury received her 18th nomination, and Desperate Housewives became the second series ever to earn 3 nominations in a lead acting category (the other series? Golden Girls, of course). But not every nomination announced was as standard as expected. A small HBO drama well into its third year earned its first Emmy nomination ever in the Outstanding Writing for a Drama Series category. The series was The Wire, and the episode was “Middle Ground.”

For some reason, “Middle Ground” was The Wire‘s first Emmy nomination ever. (The show would only come to earn one more nomination, for its series finale “–30–” again in Outstanding Writing for a Drama Series.) How is it that the most talked about series of its time took 3 years to earn an Emmy nomination? Well, because the voters who decide the Emmy nominations are a group of asinine dumbfucks. Regardless, “Middle Ground” has good reason for being The Wire‘s first Emmy nomination. It’s a brilliant hour of storytelling (as most episodes of The Wire are) and stands out from every other episode of The Wires 5 year run. This is because “Middle Ground” is something all other episodes of The Wire are not: a stand-alone episode of television.

What makes “Middle Ground” a stand-alone episode is that all of the major stories of Season 3 start to come to a head. McNulty and co. have successfully sold the Barksdale crew tapped phones and are thisclose to catching Stringer Bell. Bunny has given a presentation revealing the existence of Hamsterdam and Rawls and Mayor Royce are scrambling in how to explain it before the story breaks. Cutty is nearing his redemptive end. And there’s Stinger and Avon, whose relationship is the heart of this episode. All of these stories are reaching their ends because “Middle Ground” is the penultimate episode of The Wire‘s 3rd season, but there’s something about the narrative propulsion that brings a unique energy to the episode.

Take “Middle Ground”‘s opening scene, for example, which is one of the greatest scenes in television history.

The scene is impeccably shot by episode director Joe Chappelle, whose blocking of the scene hearkens back to Sergio Leone westerns. But the scene works as well as it does not because of its incredible visual style, but because of the palpable energy that stems from a simple conversation between two characters, Omar and Brother Mouzone. (I’d love to show every Breaking Bad fan who thinks Gus Fring is the best television villain ever Brother Mouzone, who puts Fring to shame.) Every line crackles, and when watching the scene it feels like it’s the most thrilling thing you’ll ever see, even though it’s just two men talking to each other. Immediately, “Middle Ground” finds energy and propulsion by simply trusting its characters, which is something that carries on throughout the entire episode.

Another benchmark sequence in “Middle Ground” is the collection of scenes where Bunny shows off his precinct to Carcetti. The scenes are made up of, again, two men talking to each other, this time about the simplicities of daily life in Baltimore. Bunny’s precinct has turned into a “normal” neighborhood, something its residents haven’t been used to, and the sequence relishes in the beauty that comes from this newfound normalcy. One scene that particularly comes to mind is when Bunny and Carcetti attend a community meeting.

It’s a short scene that just features people talking, but the scene strikes a deeply emotional chord. It’s a meditation on human connection. The collection of these scenes between Bunny and Carcetti feel like if Richard Linklater’s Before trilogy was set in Baltimore, but that feeling comes to a crushing end once Carcetti reaches Hamsterdam. The close up of Carcetti’s face realizing what Hamsterdam is is a shattering moment in a series full of them, but that devastation could not be achieved without the beauty of the scenes that preceded it.

And speaking of devastation: Stringer and Avon. As mentioned before, Stringer and Avon’s relationship is the heart of “Middle Ground.” It’s been crumbling slowly, but in “Middle Ground” it reaches its breaking point. The last scene the two men share together is another hallmark one, as it is just Stringer and Avon reminiscing about where they’ve come from and where they stand now.

The scene is, again, filled with incredible dialogue, every line more loaded as the next. There’s “We ain’t gotta dream no more, man” the episode’s epigraph, and the ending line of “Us, motherfucker.” It’s one of the most rich and textured scenes of television I’ve ever seen in my life, and it’s only made possible by The Wire trusting its characters and believing in the small moments they’re able to produce.

And it’s made even more devastating by Stringer’s death. The act of killing off Stringer Bell is an incredibly shocking, ambitious, and devastating one (I’d also love to show every Game of Thrones fan who thinks that the show’s killing off of characters are the most ambitious in television history what The Wire did in 2004), but the most crushing thing about it is that it’s just a small moment in The Wire‘s gigantic universe. Sure, Stringer’s death causes serious complications for the Major Crimes Unit, but after the season finale The Wire just moves on.

Handling Stringer’s death in this way brings perspective and gravity to the episode and series as a whole in a way that is, in the macro, uncommon for The Wire. The series has been lauded continuously for its tactfulness in understanding why institutions fail us, and its sweeping weightiness when exhausting the subject. But for my money, The Wire is not recognized enough for its smaller moments and perspective. The most striking thing about the series is how it’s able to craft a gigantic and complex universe while still being able to deliver small and intimate character moments that feel just as weighty as its big picture ideas. This is readily apparent in “Middle Ground,” as the episode is built on small and unique character moments which bring perspective, and is ultimately why the episode works on its own. It’s what I love about The Wire, and it’s why “Middle Ground” is the series’ best episode.


The 65th Primetime Emmys Ask the Question: “Why Do You Care?”

“What the fuck???”

After I finished watching the (DVR-ed) telecast of the 65th Primetime Emmy Awards last night, I was struck with one very distinct and predominant thought: “That was a very interesting episode of Breaking Bad.” It’s kind of amazing how “Granite State,” an episode that had to follow the juggernaut that is “Ozymandias” somehow managed to outshine television’s biggest night of the year. The Emmys were bad this year. Very, very bad.

It’s not just the results that were bad. The actual telecast, which usually manages to be better than The Oscars, Golden Globes, and Grammys was terrible in every way possible. The jokes were not funny, the musical numbers unnecessary and uninspired, and the whole thing felt like it was in a funeral home, where one long three-plus hour eulogy was being given. It shouldn’t be this hard to make an actually entertaining awards show, but somehow it still is. And, oh, those results.

After the first awards were given out, it seemed like the results were actually going to be interesting. Merritt Wever deservedly won the first statue of night, and gave the second best speech of the ceremony. Tony Hale also deservedly won, and it actually seemed like things were going to change. Modern Family‘s stranglehold on the Emmys was going to be over, and it would be the best night ever. But then, the predictable happened. Julia Louis-Dreyfus won the second year in a row for her role in Veep, which is pretty great, but also pretty boring. Other than her awesome speech (with Tony Hale) it seemed like the night would just get more boring and more pointless. And it did.

Some of the big winners of the night included Jim Parsons (who is doing solid work, but come on!), Laura Linney(?), David Fincher (his win over Michelle MacLaren was predictable, but still devastating), and Claire Danes (who is giving the best performance on television). But it wasn’t all boring, because there was a point when the results became just crazy. Bobby Cannavale somehow managed to win Best Supporting Actor for his role in Boardwalk Empire, beating the likes of Jonathan Banks, Aaron Paul, Mandy Patinkin, and Peter Dinklage. Why did that happen? No one really knows. On top of Cannavale’s win was Jeff Daniels for his lead role in The Newsroom. It’s obvious that Daniels won because he’s been portraying Aaron Sorkin’s wet dream vision of what Hollywood would like to see Republicans act like. But still, he beat Jon Hamm, Bryan Cranston, Damian Lewis and Kevin Spacey. Jeff Daniels did. For The Newsroom. Just think about that for a bit…

But the night wasn’t all bad. Anna Gunn finally got her Emmy, having the final say over the vitriolic, disgusting Breaking Bad fanbase. Stephen Colbert somehow managed to beat The Daily Show‘s ten year winning streak. Henry Bromell was recognized for his fantastic Homeland script, “Q&A.” But that’s about it. Three things I was legitimately happy about. THREE THINGS in the entire Emmys.

The telecast seemed like it would never be over, but it finally was. It wasn’t rewarding, though. All of the momentum built up (supporting actor/actress wins, 30 Rock winning writing) culminated in Modern Family winning their fourth consecutive Outstanding Comedy award. It seems like the Academy are the only ones who still find Modern Family funny/still watch Modern Family. The voters showed that change really isn’t possible, and the bad guys always win. And then another bad man won, when Breaking Bad won their first(!) Outstanding Drama award. BB showed us that all you really need is hype to win, and the show was hyped, hyped, hyped!  But, I wasn’t really happy that it won. This may seem surprising, because I am one part of a two-headed beast which has spilled over 10,000 digital words over Breaking Bad, but as I have said before, Season 5A was not Breaking Bad‘s finest. I would’ve been happier seeing the award go to Game of Thrones or Mad Men, but it’s fine. It’s the Emmys!

And the Emmys are stupid. The voters showed us that they really don’t care about quality, and that voting seems to be just a random clusterfuck of madness. Laura Dern didn’t win for what may have been the finest performance of the year, drama or comedy. Louis C.K. only won one out of nine awards. Top of the Lake, one of the year’s best works of art in any medium only managed to win a Cinematography award. But then again, we sometimes fail to realize who these voters are. They’ve never given Steve Carell, Amy Poehler, or television’s greatest show of all time The Wire (among many, many others) any recognition, because that’s just what they do.

So why do we care? It’s just the Emmys, and year after year we see how stupid they are. There’s no point in tuning in and the end it isn’t satisfying at all. It’s a sickness, a plague, something worse than Walter White’s soul. But we keep watching. Not because it’s interesting, or because it’s good, but for unknown reasons. The only thing I really know is that “Granite State” was a really interesting episode of Breaking Bad.