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Jokari´s wiki provides answers to us asked questions about stripping.

How is the function of that tool?

Our application videos show simply and clearly how to use the tools correctly.

What is stripping?

strippingWhen stripping the task is to remove the insulation of an electrical conductor so that it is possible to get an electrical connection. This is possible, for example, with strippers, Micro Precision Wire Strippers and the special blades of some JOKARI cable strippers.

What is a wire stripper?

wire stripperTraditionally, a Pair of Pliers consists of a pair of grips, which are pivoting around a centered bolt. The one side of the tool form the handles, the other the working head. The working head of JOKARI Stripping Pliers contains a lever construction, which in one move of the user‘s hand presses cutting knives onto the cable sheathing and pulls the sheathing off from the conductors inside. JOKARI has Stripping Pliers that automatically adjust to the cable needs as well as manual adjustment variations.

Why do you need the AS-Interface cable (AS-i)?

AS-Interface cable (AS-i)AS-Interface cable is an Industrial cable with internationally standardized square, step-shaped design and dimensions, made from a very tough PUR or TPE sheating around 2 insulated conductors. It is used in field bus communication, mainly as Actuator / Sensor system based on EN 50295 and IEC62026-2. For stripping the sheathing the JOKARI AS Interface Stripping Plier 20070 is recommended.

What does the abbreviation AWG mean?

AWGAWG means „American Wire Gauge“ and is being used mainly in the USA. Like the metric cross section AWG defines the frontal area of the individual wires of conductors. AWG numbers become smaller, the larger the diameters are. The differ- ences between solid and twisted wires in AWG are larger than in millimeter units, and AWG sizes do not exactly match european metric wires. Therefore our AWG indications are only as near as possible to the basic metric figures.

For what do we need coax cable and how they are stripped?

coax cable strippedCoaxial Cables are consisting of a pair of concentric positioned conductors. The inner conductor can be either solid or stranded. It is covered by a dielectric insulation material, around which the second conductor in form of an aluminium foil or mesh protects the inner conductor against parasitic induction. This shielding is covered by a second insulation sheath. Coax cables are used for a distortion-free transfer of high frequency bandwidth transfer signals , e. g. in cable-TV or ethernet systems. The Secura No. 1 (part no. 30600) strips both, the outer sheathing and shielding as well as the dielectric insulation to prepare a professional connection to coax plugs and connectors.

What is a Outlet Socket-Stripper?

Outlet Socket-StripperJOKARI Cable Strippers provide two half-pipe plastic bodies, which are linked on one long side with hinges. Stripping blades will either be on one or both ends of the cable stripper depending upon the pattern and style. After opening a closing catch, the body opens alongside, and the cable can be inserted by placing the knives at the position, where the insulation has to be cut. Closing the body applies a slight pressure to the knives cutting into the sheathing. After the blades have cut the outer sheathing, simply rotate the body of the cable stripper a quarter turn to the left and right. This prepares the sheathing to be broken and to be pulled off.
Some Cable Strippers offer 2 sets of blades to work on coaxial cables with one tool, and some Cable Strippers offer addi- tional wire stripping notches. Common to all is that there is no need to adjust the tools to cable and wire diameter.

What is Cable stripping?

Round and Flat Cable consist of some insulated conductor wires, which are coated by a plastic or rubber sheathing. To get the conductors ready for an electrical connection, the sheathing has to be taken off the cable end to expose the conductors. For stripping a cable sheathing we recommend JOKARI Cable Knives, Cable Strippers and some Stripping Pliers.

What is ESD?

ESDESD stands for Electro Static Discharge. ESD is the internationally accepted generic term for complex topic "Protection of electronic devices from electrostatic discharge." Numerous production departments of the electronics industry must be protected against electrostatic influences. Among other things, the use of soecial tools is required, the special plastic can derive generated static electricity. JOKARI provides therfore all the ESD Plus Micro Stripper.

What is the difference beween a fine-stranded conductor and a solid, stranded conductor?

According to DIN VDE 0295 / IEC 60228 we distinguish mainly four different conductor classes:

Conductor, solid, Class 1
Made of a single, solid wire, usually copper, which is insulated by a plastic insulation layer. A set of 2 or more conductors form a sheathed multicore cable. Used e. g. in building installation and other surroundings, where a strong and compara- tively rigid cable construction is required.

Conductor, stranded, Class 2
Used for fixed installation purposes, it consists of a number of thinner wires, which are stranded to a string, which is more flexible than a solid conductor.

Conductor, flexible, Class 5
Assembled from a greater number of individual, finer wires, the conductor respectively the final cable are used, whereever the cable needs to be much more flexible, but also a good stability is needed, e. g. to connect fixed equipment like ma- chines, larger household equipment etc to mains.

Conductor, very flexible, Class 6
Built from still finer wires, this conductor type is being used for cables, installed at all movable electrical equipment, e. g. from TV to hair blowers.

What is a JOKARI Knife?

JOKARI KnifeA JOKARI-knife is a Cable Knife which is made by the Company Jokari in Germany. It is a modern cable knife consisting of a plastic handle, a holder for the cable and a knife for cutting the cable sheath by a circular section. The original Jokari Cable Knife was developed and patented by Jokari-founder Josef Krampe more than 40 years ago. Today Jokari knife stands out positively from the numerous copies of its durability (TIN-coated blades), ergonomics and quality from.

What is a conductor?

A conductor consists of one ore more metal wires inside an insulation layer to transport electrical energy. The international standard IEC 60228 defines all criterias around conductors, amongst them the various basic types: class1- solid, class 2 - stranded for fixed installation, Class 5 - flexible and class 6 - very flexible. Conductors can be used alone or assembled from 2 and more inside a sheathing as a cable.

What is the difference between cable diameter and cross section?

diameterThe cable diameter is the outside diameter of a pipe. The size of a cable is about the maximum diameter, measured on the outside insulation, determined (unit: mm).

The size of a conductor is defined by the frontal cross section of the metallic part of the wire, without insulation. Contrary to a solid wire, the cross section of stranded wires is the addition of the individual cross sections of all the fine wires forming the stranded string. As this string also contains some spaces between the fine wires, a stranded wire may be up to 20% larger in diameter than a solid wire with same cross section. In Europe the cross section usually is indicated by „mm2“.

What is a sensor cable?

sensor cableSensor Cable is being used greatly in manufacturing systems engineering. It can be found in the robotics and logistics indus- tries. The operating conditions are often difficult, as the cables are being exposed to dirt, humidity, aggressive materials, hot or cold temperatures and extensive movements. Due to these extremes, the demands to the cable sheathing und conductor insulation materials are extreme as well. These cables can be highly resistant, flexible and tough. They use materials such as PUR, halogen-free PUR, or TPE. These can be stripped by specially designed strippers – a speciality of JOKARI.

What is the correct stripping length?

The correct stripping length is an important ingredient for the perfect contact and is dictated by the nature of the proposed connection. Manufacturers of, for example, terminals, cable lugs or ferrules mention it on the appropriate packaging. In many Jokari wire strippers you can set the desired stripping length.


The Wire

The Wire (2002–2008) is an American television drama set and produced in Baltimore, Maryland. The creator, David Simon, has said that despite its presentation as a crime drama, the show is "really about the American city, and about how we live together. It's about how institutions have an effect on individuals, and how... whether you're a cop, a longshoreman, a drug dealer, a politician, a judge [or] lawyer, you are ultimately compromised and must contend with whatever institution you've committed to."

Season 1[edit]

The Target [1.1][edit]

(opening lines; McNulty is investigating a recent killing)
McNulty: So your boy's name is what?
Man On Stoop: Snot.
McNulty: You call the guy Snot?
Man On Stoop: Snot Boogie.
McNulty': He like the name?
Man On Stoop: What?
McNulty: Snot Boogie. (man shrugs) This kid, whose mamma went to the trouble of christening him Omar Isaiah Betts. You know, he forgets his jacket, so his nose starts running, and some asshole, instead of getting him a Kleenex, he calls him Snot. So he's Snot forever. Doesn't seem fair.
Man On Stoop: Life just be that way, I guess.
McNulty: So, who shot Snot?
Man On Stoop: I ain't goin' to no court. (shakes his head) Motherfucker ain't have to put no cap in him, though.
McNulty: Definitely not.
Man On Stoop: I mean, he could've whopped his ass like we always whoop his ass.
McNulty: I agree with you.
Man On Stoop: He goin' kill Snot, Snot been doin' the same shit I don't know how long. Kill a man over some bullshit. I'm sayin', every Friday night in an alley behind the Cut Rate, we rollin' bones, you know? I mean all them boys, we roll til late.
McNulty: Alley crap game, right?
Man On Stoop: Like every time, Snot, he'd fade a few shooters, play it out til the pot's deep. Snatch and run.
McNulty: What, every time?
Man On Stoop: Couldn't help hisself.
McNulty: Let me understand. Every Friday night, you and your boys are shooting craps, right? And every Friday night, your pal Snot Boogie... he'd wait til there's cash on the ground and he'd grab it and run away? You let him do that?
Man On Stoop: We'd catch him and beat his ass but ain't nobody ever go past that.
McNulty: I gotta ask ya: if every time Snot Boogie would grab the money and run away, why'd you even let him in the game?
Man On Stoop: What?
McNulty: If Snot Boogie always stole the money, why'd you let him play?
Man On Stoop: Got to. This America, man.

McNulty: All I did was answer the guy's questions, he's a fucking judge.
Landsman: And the Deputy's the fucking Deputy, and he, not the judge, has what's left of your be-shitted career in his hot little hands.

Bunk: [to McNulty] That will teach you to give a fuck when it ain't your turn to give a fuck.

Kima: Fighting the war on drugs... one brutality case at a time.
Carver: Girl, you can't even think of calling this shit a war.
Herc: Why not?
Carver: Wars end.

Bunk: [to dead body] You moldering motherfucker don't even think about coming back a murder. Don't even think of that shit.

The Detail [1.2][edit]

Marla Daniels: You cannot lose if you do not play.

McNulty: This is just us talking right? Just you, me, my partner and... what did you say your name was?
Bodie: I didn't say shit.
McNulty: Just you, me, my partner and Mr. Shit here.

Rawls: McNulty! Where in fuck is he?
Landsman: I— uh... he's detailed, Major, to narcotics.
Rawls: I fuckin' know where he's detailed. I fuckin' already know that.

[about chicken nuggets]
Wallace: Man, these shits is right. Yo.
Poot: Mm-hmm.
Wallace: It's good with the hot sauce too, yo.
Poot: Most definite.
Wallace: Yo, D, you want some nuggets?
D’Angelo: Nah, go ahead, man.
Wallace: Man, whoever invented these, yo, he off the hook.
Poot: What?
Wallace: Mm. Motherfucker got the bone all the way out the damn chicken. ‘Til he came along, niggas be chewin' on drumsticks and shit, gettin' they fingers all greasy. He said, Later for the bone, nugget that meat up, make some real money.
Poot: You think the man got paid?
Wallace: Who?
Poot: The man who invented these.
Wallace: Shit, he richer than a motherfucker.
D’Angelo: Why? You think he get a percentage?
Wallace: Why not?
D’Angelo: Nigga, please, the man who invented them things, just some sad-ass down at the basement of McDonald's, thinkin' up some shit to make some money for the real players.
Poot: Naw, man, that ain't right.
D’Angelo: Fuck "right." It ain't about right, it's about money. Now you think Ronald McDonald gonna go down in that basement and say, "Hey, Mr. Nugget, you the bomb. We sellin' chicken faster than you can tear the bone out. So I'm gonna write my clowny-ass name on this fat-ass check for you"?
Wallace: Shit.
D’Angelo: Man, the nigga who invented them things still workin' in that basement for regular wage, thinkin' up some shit to make the fries taste better, some shit like that. Believe.
Wallace: Still had the idea though.

The Buys [1.3][edit]

[D'Angelo is teaching Wallace and Bodie chess]
D'Angelo: A'ight, see this? This the king, and he the man. You get the other dude's king, you got the game. But he trying to get your king too. So your gotta protect it. Now the king move one space in any direction he damn please. Like this, and this, and this. But he ain't got no hustle. So the rest of these motherfuckers on the team, they got his back. And they run so deep, he ain't gotta do shit.
Bodie: Like your uncle.
D'Angelo: Yeah, like my uncle. [picks up a queen] You see this? This the queen; she smart, she fierce. She move anyway she want as far as she want. And she is the go-get-shit-done piece.
Wallace: Remind me of Stringer.
D'Angelo: And this over here is the castle, like the stash. It move like this, or like this. [demonstrates]
Wallace: Yo, stash don't move, man.
D'Angelo: Come on, yo, think, how many times we move the stash house this week. Right? And every time we move the stash, we gotta move a little muscle with it.
Bodie: True. A'ight, what about them little bald-headed bitches?
D'Angelo: These right here, these are the pawns. They're like the soldiers. They move one space forward, only, except when they fight, and it's like-[demonstrates]-or like this. They in the front lines, they be out in the field.
Wallace: So how do you get to be the king?
D'Angelo: It ain't like that. See the king stay the king, alight? Everything stay who he is, 'cept for the pawns. The pawns, they get all the way to the other dude's side, you get to be queen. And like I said, the queen ain't no bitch. She got all the moves.
Bodie: A'ight, so, I make it to the other end, I win?
D'Angelo: If you catch the other dude's king and trap it, then you win.
Bodie: But I make it to the end, I'm top dog?
D'Angelo: Naw, it ain't like that. Look, pawns man, in the game, they get capped quick. They be out the game early.
Bodie: Unless they some smart-ass pawns.

McNulty: [after Sydnor comes out in disguise] Where's ya' mic?
Sydnor: Down at my dick man. I figured they ain't gonna go down there anyway right?
Carver: I don't know Sydnor, the way you twirlin' around, it might be the first place they look.

Pearlman: [after having sex] You're an asshole McNulty.
McNulty: What the fuck did I do?

Daniels: Motherfucker, why didn't you call in sick?
McNulty: I'm not sick.
Daniels: Yeah, you are. Write me up a 95 on why you are physically unable to participate in today's activities.
McNulty: You want me to lie so you can save face?
Daniels: Go on. "I can't jump off with the rest of my unit because my tummy hurts."

Pearlman: Let me understand. You're married and a date is a room at the Best Western with the blinds closed. Now you're single, and a date is you coming over unannounced to learn the legal requisites for a pager intercept.
McNulty: Pretty much.

Old Cases [1.4][edit]

Poot: How can he know where the stash at? The Narcos don't know, but he do, 'cause some nigga snitchin'!
D'Angelo: Man, ain't nobody gotta be snitchin' for Omar, or one of his boys, to creep by and see where the stash at.

Wallace: [to Bodie] How you ain't courtside for bankin' a narco?

Bodie: Man, Boys Village ain't shit! I'm just too bad for that off-brand, lil' boy bullshit, man. It can't hold me.

McNulty: I'm late for soccer practice.
Bubbles: Suck what?


Freamon: I don't wanna go to no dance unless I can rub some tit.

D'Angelo: Yeah, but, Stringer, if you don't pay a nigga, he ain't gonna work for you.
Stringer: What, you think a nigga's gonna get a job? You think it's gonna be like, 'Fuck it, let me quit this game here and go to college'? No, they're gonna buck a little, but they ain't gonna walk. And in the end, you gonna get respect.

Bubbles: [to Kima] How y'all do what y'all do every day and not wanna get high?

Kima: How complex a code can it be if these knuckleheads are usin' it? Then again, what does it say about us if we can't break it?

Omar: [cornering a drug dealer] The cheese stands alone.

The Wire [1.6][edit]

McNulty: [on their way to see Major Rawls] What the fuck can I tell him?
Landsman: Whatever the man wants to hear, Jimmy. Whatever he wants to hear.

Kima: You saw the murder?
Omar: Yeah.
Kima: You can ID this man Bird as the shooter of William Gant? And you ain't afraid to go into court downtown and testify against one of Barksdale's people?
Omar: Omar don't scare.

Freamon: We're building something, here, detective, we're building it from scratch. All the pieces matter.

Daniels: Major, I'm asking as a favor.
Rawls: As a favor?
Daniels: Yes, sir. A favor.
Rawls: In that case... no!

Daniels: The murder warrant's on hold. The deputy gave us another month. Also, whoever that was you brought in here today gave himself up as an eyewitness in the Gant murder.
McNulty: Who, Omar?
Daniels: And Greggs said to tell you she'd write it up in the morning.
McNulty: Lieutenant - thanks.
[McNulty leaves]
Freamon: It cost you?
[Daniels says nothing]

One Arrest [1.7][edit]

McNulty: You know why I respect you so much, Bunk?
Bunk: Mm-mmm.
McNulty: It's not 'cause you're good police, 'cause, y'know, fuck that, right?
Bunk: Mm. Fuck that, yeah.
McNulty: It's not 'cause when I came to homicide, you taught me all kinds of cool shit about . . . well, whatever.
Bunk: Mm. Whatever.
McNulty: It's 'cause when it came time for you to fuck me . . . you were very gentle.
Bunk: You damn right.
McNulty: See, 'cause you could have hauled me out of the garage and just bent me over the hood of a radio car, and . . . no, you were, you were very gentle.
Bunk: I knew it was your first time. I wanted to make that shit special.
McNulty: It was, man. It fucking was.

[Omar sits in the back of a police car in front of the towers]
Kima: You worried about being seen?
Omar: Well if anybody got a problem with me spending time with y'all, I'd be much obliged to stick my gun straight in they mouth.

McNulty: [to Pearlman] They're gonna do me, Ronnie. I love this fucking job, and they're gonna do me.

Bunk Moreland: So, you're my eyeball witness, huh? [Omar nods] So, why'd you step up on this?
Omar: Bird triflin', basically. Kill an everyday workin' man and all. I mean, I do some dirt, too, but I ain't never put my gun on nobody that wasn't in the game.
Bunk: A man must have a code.
Omar: Oh, no doubt.

Burrell: [to Daniels] You're not wrong, Lieutenant. In this state, there's a thin line between campaign posters and photo arrays.

Lessons [1.8][edit]

Wallace's Little Brother: Eight?
Wallace: Damn Cyril look! Close your eyes. You workin' a ground stash. 20 tall pinks. Two fiends come up at you and ask for two each, another one cops three. Then Bodie hands you off ten more. But some white guy rolls up in a car, waves you down and pays for eight. How many vials you got left?
Wallace's Little Brother: Fifteen?
Wallace: How the fuck you able to keep the count right and you not be able to do the book problem then?
Wallace's Little Brother: Count be wrong they fuck you up.

Omar: Ayo, lesson here, Bey. You come at the king, you best not miss.

Omar: Look man, I do what I can do to help y'all. But the game is out there, and it's either play or get played.

McNulty: Lester, are we still cops?
Freamon: Technically, I suppose so.
McNulty: OK, I was just checking.

Game Day [1.9][edit]

Freamon: You follow drugs, you get drug addicts and drug dealers. But you start to follow the money, and you don't know where the fuck it's gonna take you.

McNulty: Well, you know what they say: "stupid criminals make stupid cops". I'm proud to be chasing this guy.

Omar: Hey, yo! Y'all need to open this door, man, before I huff and puff. C'mon, now, by the hairs of your chinny-chin-chin.
Terrell: Omar, you best roll out. We up in here with a Mac-10.
Omar: I thinks not, Terrell. I thinks not. Y'all might need to think this through and stop wasting my time. 'Cause Omar can come back tomorrow. And the next day. And the next day. And I will put a bullet in all y'all behind what happen right now, you heard?
[a garbage bag is dropped from the window and Omar inspects the contents]
Omar: Fair enough.

Avon: Ayo what's up playboy? How come you wearin' that suit, B? For real its 85 fuckin' degrees out here and you try'na be like fuckin' Pat Riley
Proposition Joe : Look the part, be the part, motherfucker.

Avon: Yo ref, yo ref, yo ref... what the fuck? The boy was fouled, clear, straight up... how you going to not call that?
Referee: Look, if you want I can put time back on the clock and replay it...
Avon: Are you talking about a do-over, baby? Are you talking about a fucking do-over? That's not how the game is played. You can't do that! Fuck, can you believe this shit? This nigga talkin' about doin' it again!
Referee: Look, I don't want any trouble, okay...
Proposition Joe: Ain't going to be no trouble over no ball...
Avon: Man, you supposed to be the ref, right? Why don't you stand up for your fuckin' self, you pussy! You can't just let any ol' motherfucking nigga get in your face... understand? Now walk away. Walk away. Turn around and walk the fuck away... ignorant motherfucker.
Proposition Joe: We cool?
Avon: Yeah, we cool baby, you tell your people to come up here to the park Saturday at noon. Of course, you come on the West Side again, without a ball, I'm a light your ass up.

The Cost [1.10][edit]

Proposition Joe: He said y'all would be paying my fee rather than his own, so...
Stringer: Your fee?
Proposition Joe: I'm doing like one of them marriage counselors. Charge by the hour to tell some fool he need to bring some flowers home, then charge another hour telling the bitch she oughta suck some cock every little once in a while. You know, keep a marriage strong like that. [Omar arrives] Speaking of cocksuckers... [to Omar] Don't believe we met. Proposition Joe. You ever steal from me, I'll kill your whole family. A'ight, you're both here on my guarantee, so respect that shit and say what you feel. I'm up out of here.
[Joe leaves. Stringer and Omar circle around the fountain]
Stringer: I got a man who say, he gonna give you your life back, yo.
Omar: Who? Barksdale?
Stringer: My man say, "Tell that motherfucker that if he can find a way not to dip in our pockets, we gonna call this shit even."
Omar: Y'all aced Bailey, and what you did to my boy? So y'all think after what you did to Brandon, we supposed to find some even on this, huh?
Stringer: Yo, I don't know shit about shit, alright? I'm just the messenger.
Omar: Whatever, man.
Stringer: You know there's dead on both sides, right? There's gonna be a whole lot more if this beef keep up, but the truth be told? There be more soldiers on one half than the other, y'know what I'm sayin'?
Omar: Hey, look here, son - you tell Barksdale that he's been paid back for what he did to my peoples. As for his product, well... man's gotta earn a living, y'know?
Stringer: I don't know nobody called Barksdale, B. The man I'm talking about can't have his shit taken like that. That won't do.
Omar: A'ight. Tell him to throw me some cash, then, and we'll see: about five or ten thousand. Y'know what I mean, for my retirement, Holmes.
Stringer: Fine, if you can keep quiet about it.
Omar: Send my money through Joe, man.
Stringer: You go through Joe, you're not gonna see two thousand of that. Why don't you tell my man where you at?
Omar: Nah, nah, nah, we gonna figure something else out, you heard? I'll be in touch, Holmes.

Walon: Look, forgiveness from other folks is good, but ain't nothin' but words comin' at you from outside. You want to kick this shit, you got to forgive your own self. Love yourself some, brother. And then drag your sorry ass to some meetings.
Bubbles: Meetings?
Walon: What the fuck do you wanna hear? That you're strong enough to do this by yourself? Gettin' clean's the easy part. And then comes life.

Judge Phelan: McNulty, I hold you in contempt.
McNulty: Who doesn't?

Troy Wiggins: Shakima she's just talking like that 'cause I had her when she was good.
Greggs: Shiiit, you the ugly-ass motherfucker that turned me the other way.

The Hunt [1.11][edit]

Rawls: What do you need?
Jay Landsman: Room to work. I keep ordering people off the scene, and... between Narcotics, DEA, and the two districts, we keep collecting more and more bodies around here.
Rawls: [raising his voice] Nobody move! I said, nobody fucking move! If you have not been assigned a specific task by a homicide detective, you need to step away from this crime scene. Is there anybody doesn't understand a direct order? If you have not specifically been instructed otherwise, then remove your useless, interfering asses from the area. Now! [to Landsman] Slow this thing down to a crawl. Give these bastards no chance to fuck up in a meaningful way.

Rawls: [to McNulty, who is breaking down over Kima being shot] Listen to me, you fuck. You did a lot of shit here. You played a lot of fucking cards. And you made a lot of fucking people do a lot of fucking things they didn't want to do. This is true. We both know this is true. You, McNulty, are a gaping asshole. We both know this. Fuck if everybody in CID doesn't know it. But fuck if I'm gonna stand here and say you did a single fucking thing to get a police shot. You did not do this, you fucking hear me? This is not on you. [McNulty nods] No it isn't, asshole. Believe it or not, everything isn't about you. And the motherfucker saying this, he hates your guts, McNulty. So you know if it was on you, I'd be the son of a bitch to say so. Shit went bad. She took two for the company. That's the only lesson here.

McNulty: If only half you motherfuckers at the district attorney's office didn't want to be judges, didn't want to be partners in some downtown law firm... If half of you had the fucking balls to follow through, you know what would happen? A guy like that would be indicted, tried and convicted. And the rest of 'em would back up enough, so we could push a clean case or two through your courthouse. But no, everybody stays friends. Everybody gets paid. And everybody's got a fucking future.

Wee-Bay: Check it out, Dee. I need you to feed 'em while I'm gone. You gonna give 'em different food for each tank, too, alright? But don't worry, I'm gonna show ya what to do, c'mere. These are my tetras. You got Kimmy, Alex, Aubrey and Jezebel in here somewhere. I don't know, she think she cute. You take two pinches of whatever food I got next to each tank. They set for the day. You see, they ain't no problems. Just beautiful as hell, Dee. I'm gonna go upstairs, and pack some shit.

Daniels: [leaving Burrell's office] Dope on the damn table.

Cleaning Up [1.12][edit]

D'Angelo: If anybody asks you if in you in this game, you tell 'em you in it for life, a'ight?. You play it hard, you play it tight, and you make sure niggas know you gonn' stand by your people. No loose talk, no second thoughts and no snitching. Play it like that.

Clay: Erv, will you explain to this motherfucker just what the fuck it is he's doing here?
Burrell: Lieutenant Dan-...
Daniels: [interrupting] Excuse me, sir, but it's pretty basic. If the senator isn't involved in anything illegal, then he doesn't need to worry. I can't be any clearer than that.
Clay Davis: Fool, what do you think? That we know anything about who gives money? That we give a damn about who they are or what they want? We have no way of running down them or their stories. We don't care. We just cash the damn checks, count the votes and move on.
Daniels: [stands] Anything else, Deputy Burrell? [leaves]

Bodie: [on killing Wallace] Look, the man gave the word, so we either step up or we step the fuck off. That's the game, yo.

D'Angelo: Where's Wallace at? ... Where's the boy, String?
Stringer: D'Angelo, shut your mouth.
D'Angelo: Where's Wallace? That's all I wanna know.
Levy: Kid, you better think...
D'Angelo: Where's Wallace? Where the fuck is Wallace? Huh? Huh? String? String? Look at me! Where the fuck is Wallace? HUH!? I don't want this Payless-wearing motherfucker representing me. I'ma get my own man. So just get back in your car and get the fuck back down south.
Stringer: A'ight, you stupid motherfucker, you made your decision.
D'Angelo: Yeah, I made my decision. Where's Wallace at? Where the fuck is Wallace? Where's Wallace, String? String! Where the fuck is Wallace? Huh? Stringer?!

Burrell: You came into a lot of money quick. You can go to jail just as quick if I start asking the right questions. This case ends, or you are done. Hell, I don't even need you to lock up Barksdale. I can have your major debrief the detectives and type the warrants himself. This case is done.
Daniels: You do what you feel. You wanna pull Avon in on half a case, you go ahead. You wanna put my shit in the street, feel free. But the Eastern had a lot of stories - mine ain't the only one. A lot of people came through that district. If you were gonna do me, I'd already be done. But there ain't nothin' you fear more than a bad headline, is there? You'd rather live in shit than let the world see you work a shovel. You can order warrants, and I'll serve 'em. But as long as I have days left on those dead wires, this case goes on.

Sentencing [1.13][edit]

Carver: [observing Bodie beat a competing dealer with a bat] See, that's why we can't win.
Herc: Why not?
Carver:They fuck up, they get beat. We fuck up, they give us pensions.

D'Angelo: All my people, man, my father, my uncles, It's just what we do. You just live with this shit, until you can't breathe no more. I swear to God, I was courtside for eight months, and I was freer in jail than I was at home.
Rhonda: What are you looking for?
D'Angelo: I want it to go away.
Rhonda: I can't...
D'Angelo: I want what Wallace wanted. I want to start over. That's what I want. I don't care where. Anywhere. I don't give a fuck. I just want to go somewhere, where I can breathe like regular folk. You give me that... And I'll give you them.

Daniels: [To Carver] Couple weeks from now, you're gonna be in some district somewhere with 11 or 12 uniforms looking to you for everything. And some of them are gonna be good police. Some of them are gonna be young and stupid. A few are gonna be pieces of shit. But all of them will take their cue from you. You show loyalty, they learn loyalty. You show them it's about the work, it'll be about the work. You show them some other kinda game, then that's the game they'll play. I came on in the Eastern, and there was a piece-of-shit lieutenant hoping to be a captain, piece-of-shit sergeants hoping to be lieutenants. Pretty soon we had piece-of-shit patrolmen trying to figure the job for themselves. And some of what happens then is hard as hell to live down. Comes a day you're gonna have to decide whether it's about you or about the work.

Rawls: [To McNulty] Great work you all did. And the number of clearances I'm looking at here? I mean, Christ, for the first time this year, we got the clearance rate up over 40%. That's on the one hand. On the other hand, I know the Deputy Ops got a call from the First Deputy U.S. Attorney this morning asking whether an asshole such as yourself really works for us. And, of course, this is the first the deputy hears his troops are creeping behind his back, trying to take a case federal when they've already been told the case is closed. You're a good detective. And I've got to admit you got some stones on you. Did you actually call the first deputy an empty suit? [Chuckles] I want to see you land okay, Jimmy. So, tell me, where don't you wanna go?

Omar: All in the game yo... [laughs]All in the game.

Season 2[edit]

Ebb Tide [2.1][edit]

Rawls: Sergeant! Your floater's come back. County boards are puttin' her on our side of the bridge.
Landsman: No fuckin' way.
Rawls: Yeah, some useless fuck in our marine unit faxed 'em a report on the early morning tides and wind currents. Shows the body went into the water west of the bridge and drifted out.
Landsman: McNulty.
Rawls: [laughs] Fuckin' Jimmy. Fuckin' with us for the fun of it. I gotta give the son of a bitch some credit for wit on this one. [laughs] Cocksucker.
Landsman: Motherfucker.

Herc: Fucking white boys, I love 'em. I fucking love 'em.
Kima: Yeah?
Herc: Dumb as a box of rocks.
Kima: Who?
Herc: White boys. Talking about the brain-deads in my Kane Street case. I call him up, I tell him I wanna buy some drugs. You know what he says? Says "Okay, I'll sell you the drugs. How much drugs do you want?" I swear to God, Kima, they don't code it, they don't ask for a meet, nothin'. And then when you make the deal, there's no runner, no bullshit. It's the guy himself walking up to you in the parking lot, saying: "I brought the drugs. Did you bring the money?" [Kima chuckles] I'm not kidding. I have much respect for black people after working with these idiots for two weeks. Seriously, white boys wanna sell drugs in Baltimore, they'll have to make different laws for it. Like even it out for them.
Kima: Affirmative action.
Herc: Leave no white man behind.

Herc: How about you come on the raids tomorrow? Take a few doors for ol' time sake.
Kima: You takin' doors?
Herc: Yeah. Two houses an' a bar on Kane Street. C'mon Kima, mount up wit' us. I know you miss it.
Kima: I'm done rollin' around the gutter. I am inside now.
Herc: Oh, you're a house cat now, huh?
Kima: I made a promise.
Herc: I gotta say Kima, if you were a guy, and actually in some ways you're better than most of the guys I know. But if you were a guy, friends would buy you a beer and let you know.
Kima: Let me know what?
Herc: You're fuckin' whipped.
Kima: Whipped?
Herc: Pussy whipped within an inch of your life. I kid you not.

Horseface: Damn, Frank.
Union Member: We just sat here and watched Nat Coxson take a shit all over you.
Horseface: And the shrivelled dick motherfucker that you are, you take it.
Sobotka: For your information, I wake up every morning with an angry blue vein diamond cutter. I was gonna enlighten the President of the local 47 on this particular point, and he chose to depart. Blue steel gentlemen. Three and a half inches of hard blue steel.

Shamrock: We done gone so far from Baltimore, we're losing the station. Yo', try a Philly station or some shit like that.
Bodie: The radio in Philly is different?
Shamrock: Nigga, please. You gotta be fucking with me, right? You ain't never heard a station outside of Baltimore?
Bodie: Yo' man, I ain't never left Baltimore except that Boys Village shit one day, and I wasn't tryin' to hear no radio up in that bitch.

Landsman: It's all about self-preservation, Jimmy. Something you never learned.

Collateral Damage [2.2][edit]

[Bunk and McNulty secretly eating crabs in the interrogation room]
Bunk: You got these off the boat?
McNulty: What, in winter? In a couple of months... fringe benefit. Can't catch crabs in homicide, right?
Bunk: Uh-uh... except maybe the occasional emergency room nurse every now and then.

Sobotka: Why the fuck didn't you tell me what was in that motherfucking can?
Spiros: Now you wanna know what's in the cans? Before you wanted to know nothing. Now you ask. Guns, OK? Drugs, whore, vodka, BMWs. Beluga caviar, or bombs, maybe? Bad terrorists with big nuclear bombs. I'm kidding you, Frank, it's a joke. But you don't ask ... because you don't wanna know.

Bunk: Jimmy, the look on Jay Landsman's face, he nearly cried!
[McNulty, Freamon and Bunk all laugh]
Lester: And Rawls! I swear to God the man stayed in his office all day! All afternoon, he just stays in his office with the door closed.
McNulty: Careful, you're giving me an erection!

McNulty: Fuck it, they chew you up, they gotta spit you back out.

[Ziggy is trying to get White Mike to front him a package.]
Ziggy: Mike, I thought we was friends.
White Mike: Did you fuck up the last two packages?
Ziggy: ...sorta.
White Mike: And are you beat to shit?
Ziggy: No?
White Mike: Take a walk, my friend.

Hot Shots [2.3][edit]

Lester: [to "Non-English" speaking crewman] You cannot travel halfway around the world and not speak any motherfuckin' English.

Country: Yo, uh, String, why are you so down on the phone companies, man?
Stringer: While back, I took a stroll through the pit, I saw that kid we got running things down there, uh, Poot. Now, he got the cell phone I gave him for the business, right there on his hip. But, the nigga got another cell phone that only rang when the pussy called. Now, if this no-count nigga got two cell phones, how the fuck you gonna sell any more of them motherfuckers? That's market saturation.

Landsman: There is some charm to a woman in uniform. But the fact remains we work plain clothes in Homicide. Not to say that the clothes need be plain. For you, l would suggest some pantsuits muted in colour. Something to offset Detective Moreland's pinstriped, lawyerly affectations and the brash, tweedy impertinence of Detective Freamon.

Omar: Look, Dante, what's it gonna take for you to be convinced, man? I don't bed no babies. [pauses] Huh?
Dante: What you think?
[Omar and Dante start making out]
Dante: You gonna have to do better than that.
Omar: Oh, indeed.

McNulty: You see the preliminary? Positives for oral, vaginal, anal. No IDs, no passports, no visas, no real money - and the girls are coming across the water like that.
Bunk: Yeah.
Lester: McNulty has a theory...
Bunk: Does he now?
Lester: You deductive motherfucker, you.
Bunk: So he's gonna wander in here with some johnny-come-lately bullshit about how all these girls must be coming over here as prostitutes. Talking about how if they ain't got the cash to travel better than a container ship, then they sure as shit don't got the money to pay a plastic surgeon.
Lester: Then he's gonna go past that. And say something about that one found dead in the water - being tossed off the ship after she's already dead from a beat-down?
Bunk: But why did she get beat? He's gonna ask us that like we don't know.
Lester: Then he's gonna answer his own question, and say her swabs are negative, right? Fuck or fight with all them sailor boys - and she fought.
Bunk: So, it got a little rough, she got banged around, she comes up dead. And then, somebody panics and tosses her in the harbour overnight before the ship ties up.
Beadie: But the other girls saw.
Bunk: So now the other girls, they get told to get back in that can. And our man, to cover this shit up, he gets up on top and bangs down the airpipe. [stands up, sighs dramatically] Anything else you wanna tell us?

Hard Cases [2.4][edit]

Rawls: Do you even know what this detail's about Lieutenant?
Daniels: Some kinda beef that Valchek has.
Rawls: Two fuckin' Polacks pissin' on each other's leg.

Prison Warden: Hell, if you can't win the war on drugs in a prison, where the hell you gonna win it?

Stringer: Yo', Rock.
Shamrock: Huh?
Stringer: Be subtle with it, man. You know what subtle means?
Shamrock: Laid back and shit.

Daniels: Where are the detectives who were first assigned?
Valchek: Dead. To me, anyway. I shipped them humps back to Burrell as fast as I could.

Kima: [to Daniels, about joining the new detail] I'll tell your wife if you tell mine.

Undertow [2.5][edit]

McNulty: [about Omar] He play you hard?
Bubbles: I go at him respectable. He put that goddamn shotgun in my face, man. I’m looking at two goddamn tubes of the Harbor Tunnel staring right at me. [McNulty laughs] Each one about yea-big. I damn near piss my pants.

Lester: Colonel, respectfully, did you just fuck me over without giving me half a chance to clear this case?
Rawls: Let’s be clear, Detective Freamon. When I fuck you over, you’ll know it. You’ll be so goddamn certain, you won’t need to ask the question.

Kima: Cool Lester Smooth... hey, what's happenin'?
Lester: Same fuck-ups in the same shit detail, workin’ out of the same shithouse kind of office. You people lack for personal growth, you know that?

[after the Stevedores' Union members testified in front of the Grand Jury]
Bunk: How'd we do, Charlie?
Charlie: I almost got one to swear that the docks are actually near the water.

Sobotka: What do you say, Johnny? What do you say to any question?
Johnny Fifty: I take the Fifth Commandment.

All Prologue [2.6][edit]

D'Angelo Barksdale: The past is always with us. Where we come from, what we go through, how we go through it; all this shit matters. Like at the end of the book, ya' know, boats and tides and all. It's like you can change up, right, you can say you're somebody new, you can give yourself a whole new story. But, what came first is who you really are and what happened before is what really happened. It don't matter that some fool say he different 'cause the things that make you different is what you really do, what you really go through. Like, ya' know, all those books in his library. He frontin' with all them books, but if you pull one down off the shelf, none of the pages have ever been opened. He got all them books, and he hasn't read nearly one of them. Gatsby, he was who he was, and he did what he did. And 'cause he wasn't willing to get real with the story, that shit caught up to him.

[At Bird's trial]
Ilene: And what is your occupation?
Omar: Occupation?
Ilene: What exactly do you do for a living, Mr. Little?
Omar: I rip and run.
Ilene: You...
Omar: I robs drug dealers.
Ilene: And exactly how long has this been your occupation, Mr. Little?
Omar: Well, I don't know exactly. I venture to say maybe 'bout eight or nine years.
Ilene: Mr. Little, how does a man rob drug dealers for eight or nine years and live to tell about it?
Omar: Day at a time, I suppose.

Levy: You are amoral, are you not? You are feeding off the violence and the despair of the drug trade. You're stealing from those who themselves are stealing the lifeblood from our city. You are a parasite who leeches off--
Omar: Just like you, man.
Levy: --the culture of drugs... Excuse me, what?
Omar: I got the shotgun. You got the briefcase. It's all in the game, though, right?

Omar: That wasn’t no attempt murder.
Levy: Then what was it, Mr. Little?
Omar: I shot the boy Mike-Mike in his hind parts, that all. [jury members laugh] Fixed it up so he couldn’t sit right. [Judge Phelan chuckles]
Levy: Why’d you shoot Mike-Mike in his, um... hind parts, Mr. Little?
Omar: Let’s say we had a disagreement.
Levy: A disagreement over?
Omar: Well, you see, Mike-Mike thought he should keep that cocaine he was slingin’ and the money he was makin’ from slingin’ it. I thought otherwise.

Sergei: Family cannot be helped.
Proposition Joe: Who you tellin’? I got motherfuckin’ nephews and in-laws fucking all my shit up all the time and it ain’t like I can pop a cap in their ass and not hear about it Thanksgivin’ time. For real, I’m livin’ life with some burdensome niggers.
Nick: Thanks for bein’ straight on this.
Proposition Joe: Fool, if it wasn’t for Sergei here, you and your cuz' both would be cadaverous motherfuckers.

Backwash [2.7][edit]

D.C. Guy: [about D'Angelo's death] But did your man Avon even knew about it? [Stringer shakes his head] You on your own here huh?
Stringer: You right, it ain't none of your business. And if I were you, I wouldn't let a word of this mess end up in Avon's ear.
D.C. Guy: Baltimore niggas off the hook, I swear. All ya'll.

Prez: What if they're not sneaking anything off this time? What then?
Lester: Ah then, tragically, you will have wasted yet another day in a life you've already misspent in the service of the City of Baltimore.

Carver: [about Herc, modeling sunglasses] His name is Head. Dick Head.

Bunk: It’s you Lester, it’s gotta be you.
Lester: Me, huh?
Bunk: We need to bring in the Lieutenant, his detail and all of the manpower and toys that go with it. Daniels listens when you talk. You got the smell of wisdom on you brother. Now look, we all got roles to play.
Lester: What’s your role?
Bunk: I’m just a humble motherfucker with a big ass dick.
Lester: You give yourself too much credit
Bunk: OK then, I ain’t all that humble.

Duck and Cover [2.8][edit]

Bunk: The thing of it is, Lieutenant... Jimmy McNulty, when he ain't policing he's a picture postcard of a drunken, self-destructive fuck-up. And when he is policing... he's pretty much the same motherfucker. But on a good case, he runnin' in front of the pack. That's as close as the man comes to bein' right.

Daniels: [about McNulty] You ever see how a dog gets when he smells a bone buried in the yard?
Rawls: Yeah, and I seen one take a shit on my carpet, too. And don't give me that he's-got-that-fire-in-the-belly garbage, either. The answer is no.

Rhonda: [reading an affadavit] You all cannot spell for shit.
Bunk: Well, would we be police if we could?

Horseface: [to Frank, while looking at a porn mag] Let me ask you something important. You like fake tits? I can't decide. Thus far, I'm undecided on fake tits.

[Bunk comes into detail room wearing lacrosse sweats]
Herc: Lacrosse?
Bunk: What, a brother can't run with a stick? Jim Brown was an All-American midfielder at Syracuse.
Lester: You putting yourself beside Jim Brown?
Bunk: Lester, um, I'm, I'm just saying...
Daniels: I thought you were born in pinstripes!
Bunk: Lieutenant, I was under the impression that, uh, when detailed against his will to some backwards-ass, no-count, out-in-the-district, lost ball/tall-grass drug investigation, a veteran police of means and talent can wear whatever the fuck he damn well pleases.

Stray Rounds [2.9][edit]

Stringer: [to Bodie] This here game is more than the rep you carry, the corner you hold. You gotta be fierce, I know that, but more than that, you gotta show some flex, give and take on both sides.

Proposition Joe: [about Brother Mouzone] You don't think I'm gonna send any of my people up against Brotha? Shit, That nigga got more bodies on him than a Chinese cemetery.

Valchek: Now the votes are in, and you're movin' your damn golf trophies upstairs to the Commissioner's office, now you're freezin' me out, huh? Fuckin' rat-fucker's, all of ya'. This is my case, mine! And now you're gonna tell me who the target is? Well not fuckin' likely.

[during extended surveillance detail, Herc takes a picture of Carver]
Carver: Hey, don't waste film.
Herc: We've been here so fucking long that you're startin' to look good to me.

McNulty[about the two hookers in the sting operation] There were two of them. I was outnumbered.

Storm Warnings [2.10][edit]

Brother Mouzone: Lamar, where's my Harper's?
Lamar: Say wha'?
Brother Mouzone: Harper's. The new issue.
Lamar: You didn't say that one. You said The New Republic, and Atlantic, and a new somethin' else.
Brother Mouzone: I did not forget to tell you Harper's. Every week I tell you the same shit, and every week you forget half of what I say. Tomorrow first thing, you go down to the newsstand, and you get Harper's. And the Nation, too, which you also managed to forget. You know what the most dangerous thing in America is, right? Nigga with a library card.

Stringer: You see these east-side motherfucker's over here? I want'chu to extend to these motherfucker's all the hospitality west Baltimore is famous for.
Bodie: Yeah, you want us to fuck 'em up.

Cheese: You mean to tell me there's a west-side nigga that know how to sell shit without stickin' a pistol in a fiends face?
Bodie: Yeah dog, and you better get used it, 'cause ya'll ain't sellin shit, until we bone-ass dry!

Brother Mouzone: [to Cheese, after shooting him] Pellets in plastic. Rat shot. What you need to be concerned about is what’s seated in the chamber now: a copper-jacketed, hollow point 120-grain hot street load of my own creation. So you need to think for just a moment and ask yourself: what do I have to do before this man raise up his gun again?

Ziggy: It pays to go with the union card every time.

Bad Dreams [2.11][edit]

Amanda Reese: Name names, and come clean. You help yourself, and your union.
Sobotka: Help my union? For 25 years we've been dyin' slow down there. Dry dock's rustin', piers standin' empty. My friends and their kids like we got the cancer. No life-line got thrown all that time, nothin' from nobody, and now you wanna help us? Help me?

Spiros: [about Nick Sobotka] You don't have to worry about Nicko...
The Greek: You are fond of him Spiros. You should have had a son.
Spiros: But then I would have had a wife.

Bunk: A different look for our boy.
McNulty: Yeah, Perry Ellis, or something.
Bunk: Now, how would a just-rolled-out-of-bed-looking motherfucker like you, know the designer?
McNulty: [pauses] Okay, I'm guessing.
Bunk: It's a Joseph Abboud. He puts dark buttons instead of brass on his blazers. That's the Abboud signature.
McNulty: You know what they call a guy who pays that much attention to his clothes, don't you?
Bunk: Mm-hmm, a grown-up.

Sobotka: You know what the trouble is, Brucey? We used to make shit in this country, build shit. Now we just put our hand in the next guy's pocket.

Bunk: Boy, them Greeks and those twisted-ass names.
McNulty: Man, back off the Greeks. They invented civilization.
Bunk: Yeah? Ass-fucking, too.

The Greek: [To Spiros] Your way, it won't work.

Port in a Storm [2.12][edit]

Daniels: I'll tell you the truth Major. Everyone who saw the punch wrote on it. And they've all got Prez throwing the punch, no question. They've also got you addressing a subordinate officer as uh, what was it? A shit-bird?
Valchek: Fuck you. This is the Baltimore Police Department, not the Roland Park Ladies Tea.

Nick: Seniority sucks.
La La: If you ain't a senior.

Spiros: He knows my name, but my name is not my name. And you... to them you're only "The Greek."
The Greek: And, of course, I'm not even Greek.

Clerk: Business or pleasure for you?
The Greek: Business. Always business.

Bunk: I bet you there's a fucking police detective somewheres else looking at a table full of heads right now.

Beadie: World keeps turning.

Season 3[edit]

Time After Time [3.1][edit]

Burrell: What makes you think they'll promote the wrong man?
Daniels: We do it all the time.

Shamrock: Yo. Chair ain't recognized your ass.

Slim Charles: But what if they don't cop our re-up, though?
Stringer: Well, I'ma worry about that when it happen. Until then, Mr. Charles, we're going to handle this shit like businessmen, sell the shit, make the profit and later for that gangsta bullshit. [Poot raises his hand.] Yeah.
Poot: Do the chair know we gonna look like some punk-ass bitches out there-
Stringer: Motherfucker, I will punk your ass for sayin such shit!
Shamrock: Yo, String, String!
Stringer: What?!
Shamrock: Poot did have the floor, man.
Stringer: Shut the fuck up, this nigga too ignorant to have the fuckin' floor!

Prez: If that idiot worked for us, he'd be a deputy commissioner by now.

Herc: [cuing up the theme from "Shaft"] Carv. He's a complicated man, and the only one that understands him is his woman.
Carver: Seek therapy.

All Due Respect [3.2][edit]

Sapper: Yo, Omar, this right here, is a Barksdale joint.
Omar: [nonchalant] Do tell!

Herc: Anybody I want?
Carver: Anybody.
Herc: I want more than one. I want the Olsen Twins.
Carver: You got 'em. Slaves. All they live for is to get you off. But so now who are you gonna do for 'em? One guy, one act, one time.
Herc: Right, and the minute I name a guy, you're gonna be like, "I knew you're a cocksucker from the first time I laid eyes on you. Steve McQueen? Huh, that's your fantasy? You fucking closet case motherfucker."
Carver: Steve McQueen?
Herc: Fuck you. It's a setup.
Carver: Both Olson twins. Ashley. Kate...
Herc: Mary-Kate. And yeah, I admire her body of work.
Carver: They're yours. All you gotta do is name a guy.
Herc: I'm not catching, I'm pitching.
Carver: No problem.

Valchek: So, what's my role in your little drama?
Carcetti: I thought you might broker a meeting, you know... help your fearless leader see the light about his new friend on the council.
Valchek: And I should tell him, what? Make nice or invest heavily in petroleum jelly?
Carcetti: Hey, his ass, his choice.

Colvin: Somewhere back in the beginning of time, this district had itself a civic dilemma of epic proportions. The city council had just passed a law that forbade alcoholic consumption in public areas; on the streets and on the corners. But the corner is, it was and it always will be the poorman's lounge. It's where a man wants to be on a hot summer's night. It's cheaper than a bar. Catch a nice breeze and watch the girls go on by. But the law is the law so what are the western cops gonna do? They arrest every dude for tipping back a High Life, there'd be no time for any other kind of police work. And if they look the other way, they open themselves up to all kinds of flaunting, all kinds of disrespect. Now, this is before my time but somewhere back in the 50's or the 60's, there was a moment of goddamn genius by some nameless smokehound who comes out the Cut-Rate one day and on his way to the corner he slips that just bought pint of elderberry into a paper bag. A great moment of civic compromise. That small wrinkled ass paper bag allowed the corner boys to have their drink in peace and gave us permission to go and do police work. The kind of police work that's actually worth the effort, that's actually worth taking a bullet for. Dozerman got shot last night buying three vials. Three. There's never been a paper bag for drugs. Until now.

Dead Soldiers [3.3][edit]

Burrell: If the Gods are fucking you, you find a way to fuck them back. It's Baltimore, gentlemen; the Gods will not save you.

Stringer: That's good. That's like a forty degree day. Ain't nobody got nuttin' to say about a forty degree day. Fifty? Bring a smile to your face. Sixty? Shit, niggas are damn near barbecuing that mothafucka. Go down to twenty? Niggas get they bitch on. Get they blood complainin... but forty? Nobody give a FUCK about forty. Nobody remember forty, and ya'll niggas is giving me way too many forty degree days. What the fuck?!

Kima: [to McNulty] How come they know you're police when they hook up with you. And they know you're police when they move in. And they know you're police when they decide to start a family with you. And all that shit is just fine until one day it ain't no more. One day, it's 'You should have a regular job.' and 'You need to be home at five o'clock'.
McNulty: "You need to call more. You need to stop fucking waitresses."

Landsman: [to Bunk] Rawls and Foerster have crawled up my backside and they're gonna stay there until you find Dozerman's gun. Now, I would like it very much if I could unclench my ample ass cheeks, if you don't mind, and rid myself of that discomfort.

Bunk: [types in "Peanut" in database] 89? And that's just the ones with Westside addresses.
Vernon: Man, you got to narrow that shit down. Find some way to work with all them "Peanuts."
Bunk: Motherfucker, do I look like George Washington Carver?

Hamsterdam [3.4][edit]

Lester: From the looks of things, Stringer Bell's worse than a drug dealer.
Prez: He's a developer.

Bubbles: This pay how much?
Kima: Let's treat it like a real job. Say $5 an hour, $30 on a day, max.
Bubbles: That's less than minimum wage.
McNulty: But there's no withholding, Bubs. It's tax-free.

Slim Charles: Man, that's him right there in the G35, man.
Cutty: Wearing it retro.
Sapper: That shit is tight!
Slim Charles: For $130, it better be.
Sapper: Hell yeah! I'mma get me one of those motherfuckers!
Gerard: (snort) You must be going to get that Muggsy Bogues, then. Your Mini-Me ass gonna be swimmin' in that Unseld.
Slim Charles: As usual, man, y'all fools are missing my point. That boy came up short on that money last week, and y'all see he out here grinding. So where that money at?
Cutty: You need to look beyond what he drivin' or wearing on his back. That boy got a girlfriend?
Gerard: He run with this little freak up at the high school.
Cutty: She wearing ice?
Gerard: She wearing an onion. (high-fives Sapper) That's about all I can remember!
Sapper: (laughing) Hell yeah.
Cutty: Yo, check out the girl. High school girl with platinum around her neck? Only one place it came from.
Slim Charles: Give my man his thing.
[Sapper hands Cutty a pistol]
Slim Charles: Sig Sauer. That ain't no Lorcin, dawg.
Cutty: I'm used to revolvers, man. .38 don't jam.
Slim Charles: Don't hold 15, neither.
Cutty: ...The game done changed.
Slim Charles: Game the same, just got more fierce.

Straight and True [3.5][edit]

McNulty: [to Stringer] I had such fuckin' hopes for us.

Proposition Joe: For a cold-ass crew of gangstaz, y'all carried it like Republicans and shit.

Stringer: Yo. Motherfucker, what is that?
Shamrock: Robert Rules say we got to have minutes for the meeting, right? These the minutes.
Stringer: Nigga, is you taking notes on a criminal fucking conspiracy? [Grabs notepad from Shamrock] What the fuck is you thinking? [Tears out minutes and crumples them]

Colvin: Middle management means that you got just enough responsibility to listen when people talk, but not so much you can't tell anybody to go fuck themselves.

Colvin: I swear to God, I have over 200 sworn personnel and I will free them all up to brutalize every one of you they can. If you're on a corner in my district, it will not be just a humble or a loitering charge. It will be some Biblical shit that happens to you on the way into that jail wagon. You understand? We will not be playing by any rules that you recognize.

Homecoming [3.6][edit]

Avon: [to Stringer] I ain't no suit-wearin' businessman like you. You know, I'm just a gangster, I suppose. And I want my corners.

Avon: How'd it go?
Slim Charles: We got one out of two of the motherfuckers, y'know?
Avon: You mean you motherfuckers come strollin' in here, all walking tall and shit-
Slim Charles: Yo, B. I'm saying man, we was blazing on them dudes, you know what I'm sayin'? Just got in the heat, man. We was blazing, though, it was like-
Avon: Alright, alright, relax, man. I already heard, go sit down. I'm not tweaking behind none of this - that's one less motherfucker that's breathing than there was yesterday, you know what I'm sayin'? So we all good. [to Cutty] But I'm surprised at you though, man. Shit didn't get by you, back when.
Slim Charles: Wasn't my man's fault, man. I unloaded on the young'un too soon, gave him enough room to buck and run, man. I fucked up that shit up myself, y'know-
Cutty: Hold on... it's on me. I had that kid in my sights, close enough to take off his Kangol and half his dome with it... couldn't squeeze the trigger. Couldn't do it, man.
Avon: Hmm. Why not?
Cutty: ...Wasn't in me, I guess. You know, whatever it is in you, that lets you flow like you flowing? Do that thang? It ain't in me no more.
Avon: ...A'ight. So you done soldiering, but you ain't done; could use you for what you got in your head. We gonna put you on a corner, you could be inside-
Cutty: No, man. I ain't making myself clear... the game ain't in me no more. None of it.
Avon: But you ain't done shit else, y'know what I'm saying? So what you gonna do?
Cutty: I don't know. But it can't be this.
Avon: ...A'ight, then. We straight.
[Avon and Slim Charles hug him. Cutty leaves]
Slim Charles: B, he was a man in his time, you know?
Avon: Yeah... he a man today. He a man.

Dealer: [while being thrown in the police truck] Hey, we in America!
Officer Santangelo: Nuh-uh, West Baltimore.

Omar: Shoot, the way y'all looking at things, ain't no victim to even speak on.
Bunk: Bullshit, boy. No victim? I just came from Tosha's people, remember? All this death, you don't think it ripples out? You don't even know what the fuck I'm talking about. I was a few years ahead of you at Edmondson, but I know you remember the neighborhood, how it was. We had some bad boys, for real. Wasn't about guns so much as knowing what to do with your hands. Those boys could really rack. My father had me on the straight, but like any young man, I wanted to be hard too, so I'd turn up at all the house parties where the tough boys hung. Shit, they knew I wasn't one of them. Them hard cases would come up to me and say, "Go home, schoolboy, you don't belong here." Didn't realize at the time what they were doing for me. As rough as that neighborhood could be, we had us a community. Nobody, no victim, who didn't matter. And now all we got is bodies, and predatory motherfuckers like you. And out where that girl fell, I saw kids acting like Omar, calling you by name, glorifying your ass. Makes me sick, motherfucker, how far we done fell.

Back Burners [3.7][edit]

Butchie: Conscience do cost.

Herc: It's like one of those nature shows. You mess with the environment, some species get fucked out of their habitat.
Carver: Did you just use the word 'habitat' in a sentence?
Herc: I did.

Daniels: Detective McNulty,... when the cuffs go on Stringer you need to find a new home. You're done in this unit.

Moral Midgetry [3.8][edit]

Clay: [to Stringer] Crawl, walk, and then run.

Brianna Barksdale: [On McNulty telling Donette about D'Angelo's possible murder] Why go to her? Why not go to me first?
McNulty: Honestly? I was looking for someone who cared about the kid.

Avon: You know the difference between me and you? I bleed red and you bleed green. I look at you these days, String, you know what I see? I see a man without a country. Not hard enough for this right here and maybe, just maybe, not smart enough for them out there.

Runner: Yo, I just rolled for peanut butter. You got anything else?
Colicchio: The fuck I look like, Chef Boyardee?
Runner: Who?

Rawls: Amazing. Crime is down and no one wants to take any credit. What is wrong with this picture?

Slapstick [3.9][edit]

Lester: Tell me something, Jimmy. How exactly do you think it all ends?
McNulty: What do you mean?
Lester: A parade? A gold watch? A shining Jimmy-McNulty-day moment, when you bring in a case sooooo sweet everybody gets together and says, "Aw, shit! He was right all along. Should've listened to the man." The job will not save you, Jimmy. It won't make you whole, it won't fill your ass up.
McNulty: I dunno, a good case—
Lester: Ends. They all end. The handcuffs go click and it's over. The next morning, it's just you in your room with yourself.
McNulty: Until the next case.
Lester: Boooooy, you need something else outside of this here.
McNulty: Like what, dollhouse miniatures?
Lester: Hey, hey, hey, a life. A life, Jimmy. You know what that is? It's the shit that happens while you're waiting for moments that never come.

Avon: [to Stringer] Sunday truce been there as long as the game itself ..... I mean, you can do some shit and be like what the fuck, but hey, never on no Sunday.

McNulty: We're good at this Lester. In this town, we're as good as it gets.
Lester: Natural police.
McNulty: Fuck yes. Natural police.
McNulty: You know something, Lester? I do believe there aren't five swinging dicks in the entire department who can do what we do.

Colvin: What I'm sayin' is, come tomorrow, if I don't have a shooter in bracelets, the Hamsterdam thing is over, finished. It's back to the corners for all of us and fuck y'all any way we can. You hear me? It was good while it lasted. For y'all it was cash on the barrel and no one needs no bail money. For me, I had clean corners damn near everywhere I looked. But that's all gone tomorrow unless y'all bring me my shooter.

Avon: [after Brianna confronts him about D'Angelo's suspicious suicide in prison] The fuck you even thinking? That I had something to do with it? That I could do that to my own kin? Is that what you think? The fuck is in your head Brie? I ain't do nothing to Dee. I ain't have shit to do with it.
Brianna: To do with what?

Reformation [3.10][edit]

Colvin: This drug thing, this ain't police work. I mean, I can send any fool with a badge and a gun to a corner to jack a crew and grab vials. But policing? I mean you call something a war, and pretty soon everyone is going to be running around acting like warriors. They gonna be running around on a damn crusade, storming corners, racking up body counts. And when you at war, you need a fucking enemy. And pretty soon, damn near everybody on every corner is your fucking enemy. And soon, the neighborhood you're supposed to be policing, that's just occupied territory. You follow this?
Carver: Think so.
Colvin: Okay The point I'm making is this: Soldiering and policing, they ain't the same thing. And before we went and took the wrong turn and start up with these war games, the cop walked a beat, and he learned that post. And if there were things that happened on that post, where there be a rape, a robbery, or a shooting, he had people out there helping him, feeding him information. But every time I came to you, my DEU sergeant, for information, to find out what's going on out on them streets... all that came back was some bullshit. You had your stats, your arrests, your seizures, but don't none of that amount to shit when it comes to protecting the neighborhood, now do it? [sighs] You know, he worst thing about this, so-called drug war, to my just, it ruined this job.

Proposition Joe: [to Stringer] The feeling is it ain't right for you to be at the head of our table, when you can't call off your dog. Call it a crisis of leadership.

Stringer: Yo, make it short, man, I got a meet to make.
Fatface Rick: Oh, fuck the meet! You're harder to get at than my fat wife's cunt, nigga.

Stringer: You know, Avon, you gotta think about what we got in this game for, man. Huh? Was it the rep? Was it so our names could ring out on some fucking ghetto streetcorner, man? Naw, man. There's games beyond the fucking game.

Rawls: Bunny, you cocksucker, I got to give it to you, a brilliant idea. Insane and illegal, but stone fuckin' brilliant nonetheless. After all my puttin' my foot up people's asses to get the numbers down, he comes along and in one stroke, gets a 14 fuckin' percent decrease. Fuckin' shame it's gonna end our careers, but still.

McNulty: I feel like I don't even belong to any world that even fucking matters.
Kima: 'Cause you're a cop?
McNulty: Nah, it's not just that. It's like, I went to meet her once; she was in a hotel room on the top floor. I punched the button on the elevator and it doesn't even go there. You gotta have some kind of special key to even get to that special fucking floor. So I go to the front desk, some sneering fuck calls upstairs, gives me permission to go and get laid. I listen to the shit she talks about and it's the first time in my life I feel like a fucking doormat. Like anyone else with any smarts would do something else with his life, you know? Earn money, or ... get elected. Like I'm just a breathing machine for my fucking dick. I'm serious; I'm the smartest asshole in three districts and she looks at me like I'm some stupid fuck playing some stupid game for stupid penny-ante stakes. She fucking looks through me, Kima.

Middle Ground [3.11][edit]

Stringer: We ain't gotta dream no more, man.

Levy: [to Stringer] A guy says if you pay him, he can make it rain. You pay him. If and when it rains, he takes the credit. If and when it doesn't, he comes up with reasons for you to pay more. Clay Davis rainmade you ...... It's an old game in this town, and Clay Davis? That goniff was born with his hand in someone's pocket.

Stringer: Where Avon at?
Slim Charles: He'll be along shortly.
Stringer: That's good, 'cuz I came to see you anyway.
Slim Charles: What'chu need?
Stringer: ...I need you to hit somebody.
Slim Charles: Who we hittin'?
Stringer: Clay Davis.
Slim Charles: The Clay Davis? Downtown Clay Davis?
Stringer: That supposed to mean something to me, man? That nigga need to be got.
Slim Charles: Shit, String, murder ain't no thing... but this here is some assassination shit, man!
Stringer: Listen, I tell you you getting somebody, you getting them. I ain't asking!
Slim Charles: Damn, String, I don't know-
Stringer: Nigga, I gotta remind you who the fuck you work for?!
Avon: Ayo. I think Slim gonna have to sit this one out, boss. So you finna go hit a state senator now, huh? Yo, you kill a downtown nigga like that, the whole world gonna stand up and take notice. I'm talking about the state police, federals, all of that! You need a Day of the Jackal type motherfucker, basically, to do some shit like that, not a rumble-tumble nigga like Slim.
Stringer: That nigga took our money, man.
Avon: I seen it coming.
Stringer: Well, heh... he gotta go.
Avon: Nah, you a fucking businessman! You wanna handle it like that, you don't wanna get all gangsta wild and shit with it, right? What'd I tell you about playing them fucking away games? Yeah. They saw your ghetto ass coming from miles away, nigga. You got a fucking beef with them?! That shit is on you!

Avon: You look healthy.
Brother Mouzone: For a man who was gutshot. You reached out to a third party, who engaged me in the purpose of holding your towers. That third person's word was your word, as he represented you.
Avon: That's right.
Brother Mouzone: And I ran those east Baltimore gentlemen off. I held up my end of the agreement... at least, for as long as I as physically able.
Avon: You did.
Brother Mouzone: Your man then set up a meet at Butchie's bar. Your man told Omar Little that I was responsible for the torture of a young boy who was close to Mr. Little's heart. Your man, in effect, sought to have me hit.
Avon: Omar told you that and you believe that motherfucker?
Brother Mouzone: He doesn't strike me as a man who tells stories - even at the point of dying.
Avon: [muttering] Shit... Proposition Joe, package-
Brother Mouzone: The inner workings of your organization don't concern me.
Avon: If there's a way- I mean, if my man... if he made a mistake here, then I'm willing to pay the cost.
Avon: How can we fix it? You want money?
Brother Mouzone: Money?
Avon: Yeah. This is business.
Brother Mouzone: Business is where you are now, but what got you here is your word and your reputation. With that alone, you've still got an open line to New York. Without it? You're done.

[Omar and Brother Mouzone have trapped Stringer]
Stringer: I ain't strapped. I ain't involved, yo. I ain't involved in none of that gangster bullshit.
[Both gunmen are silent, Stringer is breathing hard from running]
Stringer: What y'all niggers want, man? Huh? Money?
Stringer: IS THAT IT? Cause if it is, I can be a better friend to y'all alive.
Omar: You still don't get it, do you? This ain't about your money, bro. Your boy gave you up. That's right. And we ain't had to torture his ass neither!
[Stringer is silent, realizing both men have come for retribution]
Stringer: [ruefully] Well it seem like... I can't say nuttin' to change y'all minds.
[long silence]
Stringer: Well, get on with it, motherfu...
[Omar and Mouzone shoot him to death]

Mission Accomplished [3.12][edit]

Slim Charles: Don't matter who did what to who at this point. Fact is, we went to war and now there ain't no goin' back. I mean, shit, it's what war is, you know? Once you in it, you in it. If it's a lie, then we fight on that lie. But we gotta fight.

Andy Krawcyzk: I saw only the one of them. He was black, big I thought. With a large weapon.
Bunk: BNBG.
Vernon: [laughing] Big Negro, Big Gun.

McNulty: [standing over Stringer's body, talking to Bunk] I caught him, Bunk. On the wire. I caught him. He doesn't fuckin' know it.

[Pearlman and McNulty are interrogating Bodie.]
McNulty: You heard the tapes.
Bodie: Look, he came to me and said we can sell drugs if we moved down to Vincent Street. And that's where I moved my crew. And you know I did! Because you the one that popped me with a G-pack on my way to the spot and let me go, remember?
Pearlman: You were selling drugs in Major Colvin's free zone? You can prove that?
Bodie: [motioning to McNulty] Ask him, he know... Man, this-this must be one of them contrapment things!
Pearlman: You mean "entrapment"?
McNulty: [amused and impressed] Kid's gotta point...

Bunk: All night you been drinkin' like your ass is candy.

Season 4[edit]

Boys of Summer [4.1][edit]

Carver: Okay, so let's try this again. I say, "Have a good evening, Mr. Broadus!"
Bodie: And a good evening to you, Sgt. Carver.
Carver: See.
Bodie: And a VERY good evening to you, Officer Collichio!
Colicchio: Fuck yourself with a 40, shit-breath.

Snoop: God-dayumn.
Salesman: I see you’ve got the DeWalt cordless. [pause] Your nailgun. DeWalt four-ten.
Snoop: Yeah. Trouble is, ya leave it in the truck for a while, and need to step up and use da bitch, da battery don’t hold up, ya know?
Salesman: Yeah. Cordless'll do that. You might want to consider the powder-actuated tool. The Hilti DX460MX or the Simpson PTP. These two are my Cadillacs. Everything else on this board is second best, sorry to say. Are you contracting or just doing some work around the house?
Snoop: Nah, we work all over.
Salesman: Full time?
Snoop: Nah, we had about five jobs last month.
Salesman: At that rate, the cost of the powder actuated gun justifies itself.
Snoop: You say ‘power’?
Salesman: Powder.
Snoop: Like gunpowder.
Salesman: Yeah. The DX460 is fully automatic, with a 27 caliber charge. Wood, concrete, steel to steel, she’ll throw a fastener into anything. And for my money, she handles recoil better than the Simpson or the P3500. You understand what I mean by recoil?
Snoop: Yeah. The kickback. I’m wit cha.
Salesman: That’s right.
Snoop: 27 caliber, huh?
Salesman: Not large ballistically, but for driving nails, its enough. Any more and you’d add to the recoil.
Snoop: Aw shit, I seen a tiny ass .22 round nose drop a nigga plenty a days, man. Motherfuckers get up in ya like a pinball, rip your ass up. Big joints though? Most the time they just break a bone and they just say “fuck it.” I’ma go with this right here, man. How much do I owe you?
Salesman: Six-sixty-nine, plus tax.
[Snoop counts out money]
Salesman: No no, just pay at the register.
Snoop: No man you handle that for me, and keep the rest for your time.
Salesman: This is $800.
Snoop: So what man? You earned that bump like a motherfucker, man. Keep that shit.

Chris: We good?
Snoop: Yeah, man. Man say if you wanna shoot nails, this here the Cadillac, man. Meant Lexus but he ain’t know it.
Chris: Hold a charge better?
Snoop: Man, fuck a charge, this here’s a gun powder activated, 27 caliber, full auto, no kickback, nail-throwing mayhem man. Shit right here’s tight.
[Chris laughs]
Snoop: Word. Fuck this nailin' up boards, we could kill a couple mother fuckers with this right here.

Bodie: [to Namond] What you need school clothes for anyway? Yo ass stay suspended. If it wasn't for social promotion, yo ass would still be in Pre-k nigga...Prolly day care out this bitch.

Carcetti: FUCK ME…..Where am I going again?
Norman: One of those neighborhoods between Oliver and Middle East.
Carcetti: Middle East…that’s a good name for it…fucking Fallujah.

Soft Eyes [4.2][edit]

Carcetti: I still wake up white in a city that ain't.

Bunk: Better to be lucky than to be good.

Clay Davis: Because if some federal motherfucker comes through the door, I say hey, it's all in the game. But a city police? Baltimore city?! Hell no, can't be happenin', because I have raised too much goddamn money for the mayor and his ticket. Hell no! Ain't no soul in the world that fuckin' ungrateful!
Clarence: Calm down, Clay-
Clay: Money-launderin'? They gonna come talk to me about money-launderin'?! In West Baltimore?! Sheeeeeeeeeit. Where do you think I'm going to raise cash for the whole ticket? From laundromats and shit? From some tiny-ass Korean groceries? You think I have time to ask a man why he giving me money? Or where he gets his money from? I'll take any motherfucker's money if he givin' it away!

Namond: Shit, I'll take any motherfucker's money if he givin' it away!

Home Rooms [4.3][edit]

Namond: I love the first day, man. Everybody all friendly an' shit.

Omar: How you expect to run with the wolves come night, when you spend all day sparring wit' the puppies?

Omar: It ain't what you takin', it's who you takin' it from.

Slim Charles: Yeah, now, well, the thing about the old days: they the old days.

Refugees [4.4][edit]

Security Guard: You think I dream of comin' to work up in this shit on a Sunday mornin'. Tell all my friends what a good job I got. I'm workin' to support a family, man. Pretend I ain't talking to you. Pretend like I ain't even on this Earth. I know what you are, and I ain't steppin' to, but I am a man, and you just clip that shit and act like you don't even know I'm there.
Marlo: I don't.
Security Guard: I'm here. [Marlo moves closer] Look, I told you I wasn't steppin' to. I ain't disrespectin' you, son.
Marlo: You want it to be one way.
Security Guard: What?
Marlo: You want it to be one way.
Security Guard: Man, I don't...
Marlo: You want it to be one way.
Security Guard: Man, STOP! Stop, sayin' that.
Marlo: But it's the other way.

Cutty: [to the Deacon] You hang around and you can see me preach on some young-uns. Solemn left and sanctified right.

The Deacon: A good church man is always up in everybody's shit. It's how we do.

Proposition Joe: Business men, such as myself, does not believe in bad blood with a man such as yourself. Disturbs the sleep.
Omar: Oh, I bet it do.

Marlo: That's my money.
Omar: Man, money ain't got no owners. Only spenders.
Omar: [to Marlo] I like that ring too. [pause] Boy, you got me confused with a man who repeat himself.

Alliances [4.5][edit]

Norman: I'm a devious motherfucker once I get goin'.

Chris: [to Michael] Yo' we always in the market for a good soldier. We see one we like, we take care of his situation. Take him in, school him, make him family. And if you with us, you with us. Just like we be with you, All the way.

Dukie: There ain't no special dead. There's just dead.

Lester: Remember when I was a cadet, I was up here on a cadaver search. Instructor gets on the radio to say "We're looking for one body in particular. If you go grabbing every one you see, we'll be here all day."

Margin of Error [4.6][edit]

Carcetti: Did you vote for me Norman?
Norman: [laughing] The sanctity of the voting booth is a cornerstone of American democracy.

Norman: A vote's a vote, and I never throw one back.

Clay: Politics is a good thing, partner.
Carcetti: That's a minority opinion.

Unto Others [4.7][edit]

Prez: Trick them into thinking they aren't learning, and they do.

Norris: You know what we use the polygraph for? Leverage. To get them in here and fuck with them.
Kima: No wonder this shit's inadmissible.

Omar: I've got a bounty on my head man. Five figures! If I'd known I'd be sharing quarters with all these boys - I'd probably wouldn't have robbed so many of them.
Bunk: Aww, yeah, that golden rule.

Omar: A man gotta have a code.

Omar: [in a lockup room] Come on now, when have you ever known me to out my gun on someone thats not in the game?
Bunk: [laughing] Omar...

Corner Boys [4.8][edit]

Namond: We do the same thing as y’all. ‘Cept when we do it, it’s "Oh, my God, these kids is animals!" Like it’s the end of the world comin’. Man, that’s bullshit, aight? This is like, what’s it, hypocrite--hypocritical.
Zenobia: We got our thing, but it's just part of the big thing.

Snoop: Let us pray. Here we lay a couple New York boys who came too far south for their own fuckin' good. Where ya fuckin' Yankee pride at now, fuckin' bitches? Let's get the fuck outta here.

Norman: Did you hear that naked ass appeal to racial solidarity? I'd like to kick his pale entitled ass.

Marlo: [to Herc] But you know cameras. Kinda like pigeons in the storm. You know what I'm saying? Sometimes they come back, sometimes... but I'll keep an ear out on it.

Know Your Place [4.9][edit]

Michael: Thought maybe I could get with Chris... I--I've got a problem I can't bring to no one else.

Omar: [as he is leaving prison] You my ride?
Bunk: I'm your mother fucking savior is what I am.

Carver: I like to think that until the handcuffs actually fit, there's still talking to be done.

Proposition Joe (To Andre) You know the problem with these here machines? They too cheap to begin with. Some people think for what it's worth to fix it, make the shit work right, you might as well dump 'em and get another.

Rawls: Mr. Mayor, about Ervin — if you don't mind me asking — why keep him as a puppet commissioner when you can just fire the guy?
[Carcetti & Norman look at each other]
Norman: We mind you asking.

Omar: Man gotta live what he know, right?

Misgivings [4.10][edit]

Colvin: You put a textbook in front of these kids, put a problem on the blackboard, teach them every problem in some statewide test, it won't matter. None of it. 'Cause they're not learning for our world; they're learning for theirs. They know exactly what it is they're training for and what it is everyone expects them to be. It's not about you or us or the test or the system. It's what they expect of themselves. Every single one of them know they're headed back to the corners. Their brothers and sisters, shit, their parents. They came through these same classrooms. We pretended to teach them, they pretended to learn and where'd they end up? Same damn corners. They're not fools, these kids. They don't know our world but they know their own. They see right through us.

Namond: Bunny?
Colvin: Only my friends call me Bunny.
Namond: Yeah, but why?
Colvin: You don't need to know. And if you tell anybody, I'll cut your balls off.

Snoop: [after Chris beats a man to death] Damn... you ain't even wait to get the motherfucker in the house!

Carver: The young man seems to think highly of you boss. He invoked your name with a measure of respect.
Colvin: It wasn't but a few weeks ago when I was in a room with him being called everything but a child of God. "Mr. Colvin sir. Fuck you."
Namond: Yo' at least I said mister.

Bodie: [about Marlo] He's a cold motherfucker.
Poot: It's a cold world Bodie.
Bodie: Thought you said it was getting warmer.
Poot: The world goin' one way, people another yo'.

A New Day [4.11][edit]

Omar: Now Joe, you been so busy being devious, you done messed around and got yourself caught up in a web.

Bunk: The Bunk is strictly a suit-and-tie motherfucker.

Daniels: Detective Freamon, you have carte blanche in picking your squad. In fact, you can pick your supervisor, for all I care. Motherfucker, as far as I'm concerned, you are the Major Crimes Unit. It's morning in Baltimore, Lester. Wake up and smell the coffee.

Proposition Joe: [after making a deal with Omar] Omar on the one side holding a spade. And maybe Marlo to the other holding a shovel. And just at this moment... I managed to crawl out my own damn grave. No way do I crawl back in.

Norman: A wise man does not burn his bridges until he first knows he can part the waters.

That's Got His Own [4.12][edit]

Cheese: Omar had one of them commando squads with him, man. I mean, he had this one ho' pulling guns out her pussy, unc! The shit was unseemly, man.

Landsman: [to Lester] We do not go looking for bodies. Especially moldering fucking John Does!

Carver: [about Namond] His mother... [shakes head]
Colvin: Lovely lady. What she say?
Carver: "Put that bitch in baby booking where he belong. Let him learn something."

Carver: I'm sorry, son. I'm gonna talk to Social Services. We'll get you some help. Randy.
[Carver tries to put his hand on Randy's shoulder, but Randy pushes him away]
[After sitting silently for a little while, Carver gets up and starts to walk away]
Randy: [as Carver walks away] You gonn' help, huh? You gonna look out for me? You gonna look out for me, Sergeant Carver? You mean it? You gonna look out for me? You promise?! You got my back, huh?!

Final Grades [4.13][edit]

Landsman: All that from overnight?
Det. Ed Norris: All that from Freamon. He's out early today rooting through empties.
Landsman: You know what he is? He is a vandal. He is vandalizing the board. He is vandalizing this unit. He is a Hun, a Visigoth, a barbarian at the gate clamoring for noble Roman blood and what's left of our clearance rate.

Bodie: I ain't no snitch.
McNulty: Didn't say you were.
Bodie: I been doin' this a long time. I ain't never said nothin' to no cop. [Bodie sighs] I feel old... I been out there since I was 13. I ain't never fucked up a count, never stole off a package, never did some shit that I wasn't told to do. I've been straight up. But what come back? Hmm? You think if I get jammed up on some shit, they be like, "All right, yeah. Bodie been there. Bodie hang tough. We got to his pay lawyer. We got a bail". They want me to stand with them, right? Where the fuck they at when they supposed to be standin' by us? I mean, when shit goes bad and there's hell to pay, where they at? This game is rigged, man... we like them little bitches on the chessboard.
McNulty: ... Pawns.
Bodie: Yo, I'm not snitchin' on none of my boys. Not my corner, and not no Barksdale people. Well, what's left of 'em. But, Marlo, this nigga and his kind, man, they gotta fall. They gotta.
McNulty: Well, for that to happen, somebody's gotta step up.
Bodie: I'll do what I gotta. I don't give a fuck! Just don't ask me to live on my fuckin' knees, you know?
McNulty: You're a soldier, Bodie.
Bodie: Hell yeah.

Dr David Parenti: We get the grant, we study the problem, we propose solutions. If they listen, they listen. If they don't, it still makes for great research. What we publish on this is gonna get a lot of attention.
Colvin: From who?
Dr David Parenti: From other researchers, academics.
Colvin: Academics?! What, they gonn' study your study? [chuckles and shakes head] When do this shit change?

Kima: Bubs got some problems, but insincerity ain't one of them.
Walon: Shame is some tricky shit, ain't it? Makes you feel like you want to change, and then beats you back down when you think you can't.

Chris: [To Michael, after he kills someone for the first time] You can look him in the eye now. It don't matter who he is, or what he's done, you can look him right in the eye.

Season 5[edit]

More With Less [5.01][edit]

Bunk: He’s tellin’ it like a bitch. We even went to Mickey D’s for him because he was so motherfuckin’ helpful. Two quarterpounders. Big fries. MacDonaldland cookies. Dr. Pepper... That’s how your boy roll, right?

Bunk: The bigger the lie, the more they believe.

Daniels: So, one thieving politician trumps twenty-two bodies? Good to know.

McNulty: Wonder what it feels like to work in a real fuckin' police department.

Unconfirmed Reports [5.02][edit]

Snoop: Back to business, I say.
Chris: She ain't had any work in a few months. She's somewhat eager.
Snoop: God damn, right? Too much fuckin' talkin' around here lately, man. Niggas need to shut the fuck up, for real.

Avon: Surprise. Heh. My man Sergei thought we should talk first.
Marlo: Talk about what?
Avon: That's on you, young'un. Whatever business you trying to do through the Russian, you gotta go through me first.
Marlo: Yeah?
Avon: Yeah. 'Cuz up in this bitch here, I'm- I'm what you might consider... an authority figure. Y'know, everybody gotta get my help or ask my advice, like, all kinds of shit. Sergei stepped to me the other day, saying this nigga Marlo, who he don't even know, just be sending him cash money to get on his visiting list. So then he asked me if I knew Marlo; I told him "Hell yeah, I know Marlo real well." Y'know, over in the west-side, everybody know everybody, right?
Avon: Let me help you find your tongue - you trying to get to the Russian so you can get a line to his people. You trying to get to the Greek motherfuckers... because if you can, you wanna cut Proposition Joe and all them other east-side bitches out the connect. I mean, you a natural businessman, right? (Marlo chuckles) But this is the thing, though. And I mean, y'know, I'm wit'chu on all that as far as it goes, you know? West-side definitely need to stick together, you know what I mean, and all the fuss about you coming at me? I say let bygones be bygones, but fuck all them east-side bitches. That's just the way I feel about it; I got nothing but love in my heart for west-side niggas, nothing but love. Of course... I mean, y'know, I got to have my taste, too.
Marlo: Figured that.
Avon: So send my sister a hundred large... and the next time you come in Jessup, it won't be my grill talking at you. My word on that.
Marlo: A hundred large, huh?
Avon: ...So wassup, man? Wassup wit'chu otherwise, y'know?
Marlo: Ah, the game is the game.
Avon: Always.

Chris: Y'all gonna pop out and pop off. Drop who you can.
O-Dog: Yo, let's go all west coast with this.
Snoop: [laughing] Say what?
O-Dog: Drive-by. That's how they do. Drop a motherfucker and not slow down. Like Boyz n the Hood. Shit was tight, remember?

Snoop: Fuck them west coast niggas. 'Cuz in B-more, we aim to hit a nigga, ya heard.

Not For Attribution [5.03][edit]

Bunk: You're going to jail behind this shit. Yes, you are. You know what they do to police in jail? Pretty police like yourself? Motherfucker, we have kids. Houses. Car payments. Furniture--Jimmy, I just bought brand new lawn chairs and a glass patio table. Now you don't buy no shit like that if you planning to lose your job and go to prison. You won't even get past the ME.
McNulty: Watch me.
Bunk: You're dumpin' murders on us that we can't solve, you're fucking the squad's clearance rate.
McNulty: Fuck the fucking numbers already! The fucking numbers destroyed this fucking department. Landsman and his clearance rate can suck a hairy asshole.
Bunk: Marlo ain't worth it, man. Nobody is.
McNulty: Marlo's an asshole. He does not get to win. WE get to win!

Norman: Daniels isn't ready. He's only been colonel for a year.
Carcetti: A year will do in a pinch. You float it with one of your bunkies on Calvert Street. See how it plays.
Norman: Burrell reads that, he'll shit melons.
Carcetti: I fucking hope so. It's Baltimore; no one lives forever.

Michael: Everything so serious now.

Proposition Joe: [on Marlo] It ain't easy civilizin' this motherfucker.

Butchie: Ain't no other way. I can see that.

Transitions [5.04][edit]

Proposition Joe: Marlo is Marlo, man. He weren't the one that put me in this trick bag. The motherfucker who snuggled up and whispered in Marlo's ear did that.

The Greek: The young man makes a point. You're right. These are volatile times. It is not unreasonable to carry insurance. Who can say what tomorrow will show us?

Burrell: You might think it'll be different... when you sit here... but it won't. You will eat their shit. Daniels, too, when he gets here.

Proposition Joe: I treated you like a son.
Marlo: I wasn't made to play the son.
Proposition Joe: Proposition, then--I just step out the way. You never hear from me again. I just disappear.
Marlo: Joe, you'd be up into mischief in no time. Truth is, you wouldn't be able to change up any more than me.

Omar: How you still alive yo'?
Donnie: They needed to send a message. (motions to Big Guy) Tell him.
Big Guy: They said 'Tell Omar he put his hand in the wrong pocket'.
Donnie: And you need to know, Marlo's dogs didn't let Butchie go easy.
Omar: Oh, I'm gon' work them. Sweet Jesus, I'm gon' work them.
Donnie: I want in.
Omar: Nah this one on me, yo'.
Donnie: But you don't know them people.
(Donnie tosses Omar a shotgun)

React Quotes [5.05][edit]

Spiros: In business...Life...What you learn to appreciate is a dependable man...One day same as the next...

Marlo: Man, I don't talk on no cell phones.
Spiros: Here. To call for lunch, you can talk. To call your girl, you can talk. To call your lawyer even, you can talk--the law says that is between you and the lawyer. Alright? To find out what movie is playing down the street, you can talk. All of that is good because all of that tells them... there is nothing good to hear.

Cutty: I guess what I'm tryin' to say is... not everything comes down to how you carry it in the street. I mean, it do come down to that if you gonna be in the street. But that ain't the only way to be.
Dukie: Round here it is.
Cutty: Yeah. Round here it is. World is bigger than that, at least, that's what they tell me.
Dukie: Like... how do you get from here to the rest of the world?
Cutty: I wish I knew.

Gus: Just because they're in the street doesn't mean they lack opinions.
Templeton: Where am I going to find homeless people?
Gus: Not at home, I imagine.

Bunk: You've lost your fucking mind, Jimmy. Look at you. Half-lit every third night, dead drunk every second. Nut deep in random pussy. What little time you are sober and limp-dicked, you're working murders that don't even exist!

Walon: You're disappointed. Shit, this ain't about the bug, is it? This is you trying to make the past be everything, mean everything. You don't even want to think about the here and now. Sorry, Bubs. Shame ain't worth as much as you think. Let it go.

McNulty: Explain it to me again, because I tell ya, I think I'm a smart guy, but this shit makes my head hurt.
Freeman: They think they're up on your killer's cellphone, but they'll never catch a call because this goes nowhere. And meanwhile, using the same court authorization, I'm up on the live wire down at the detail office, listening to Marlo. Every day, you file office and court reports saying there's been no further contact with the serial killer. I file exactly nothing, but use what I hear to rig the case on our real target. - And when it goes to court -
McNulty: There's no mention of a wiretap - It's all based on a C.I.

The Dickensian Aspect [5.06][edit]

Bunk: I'm a murder police. I work murders. I don't fuck with no make-believe. I don't jerk shit around. I catch a murder, and I work it.

Freamon: When they took us off Marlo this last time, when they said they couldn't pay for further investigation... I regarded that decision as illegitimate.
Sydnor: Illegitimate?
Freamon: And so... I'm responding in kind. I'm going to press a case against Marlo Stanfield without regard to the usual rules. I'm running an illegal wiretap on Marlo Stanfield's cellphone.
Sydnor: Fuck. Lester?
Freamon: If you have a problem with this, I understand completely, and I urge you to get as far fucking away from me as you can.

Omar: Now you make sure you tell old Marlo I burned the money. 'Cause it ain't about that paper. It's about me hurtin' his people and messin' with his world. Tell that boy he ain't man enough to come down to the street with Omar. You tell him that!

Bunk: You called the reporter huh?
McNulty: No, actually. That asshole's making up his own shit. Brass called a press conference for this afternoon. They'll be shovellin' so much money at my bullshit it'll make your head spin.

Marlo: [after finding out Omar jumped from a 5th floor balcony] Don't seem possible.
Chris: It don't.
Marlo: That's some Spiderman shit there. We missed our shot. Now he goin' be at us.

Took [5.07][edit]

Rupert Bond: What the fuck just happened?
Rhonda: Whatever it is, they don't teach it in law school.

Phelan: Gets himself elected on law and order ticket, crime doesn't go down much, and then uh, couple o' weeks before he starts gearing up for Governor, some wing-nut starts killin' people, takin' photographs, sendin' 'em to the newspaper. You know something, you might wanna check up on the governor's alibi's.

Clarifications [5.08][edit]

Terry Hanning: A lie ain't a side of a story. It's just a lie.

Beadie: All the guys at the bar, Jimmy, all the girls; they don't show up at your wake. Not because they don't like you. But because, they never knew your last name. Then a month later, someone tells them, "Oh, Jimmy died." "Jimmy who?" "Jimmy the Cop." "Ohhh," they say, "him". And all the people on the job, all those people you spent all the hours in the radio cars with, the guys with their feet up on the desk, tellin' stories, who shorted you on your food runs, who signed your overtime slips. In the end, they're not gonna be there either. Family, that's it. Family, and if you're lucky, one or two friends who are the same as family. That's all the best of us get. Everything else is just...

McNulty: You start to tell the story, you think you're the hero, and then when you get done talking...

McNulty: You miss what you had though?
Kima: I still got too much dog in me to be settled like that.

Omar: You workin' a Stanfield corner, which means you workin' for a straight up punk! Ya' feel me? I'm out here in these streets every day, me and my lonesome, and where he at? Huh? A'yo, ya'll put it in his ear, Marlo Stanfield is not a man for this town, ya' digg?

Rawls: Bad news gentlemen, as we're actually gonna have to catch this motherfucker. Good news is that our Mayor finally needs a police department more than he needs a school system.

Late Editions [5.09][edit]

Landsman: [To McNulty] From everything we've given you, fire should be shootin' outta your ass. But there you sit, like a genital wart.

Carcetti: You know, I always wanted to say how sorry I am about how things turned out. There wasn't anything I could have done with your experiment in the Western District, there wasn't anything that anyone could have done with that.
Colvin: Yeah, well, I guess, Mr. Mayor, there's nothing to be done.

Bubbles: Ain't no shame in holdin' on to grief, as long as you make room for other things too.

Michael: Why? What I do wrong?
Snoop: Chris locked up behind somethin' he done for you. And you downtown wit' the police.
Michael: I ain't say a word.
Snoop: Yeah, that's what you say. But it's how you carry yourself. Always apart. Always aksin', "Why?". When you should be doin' what you're told. You was never one of us. And you never could be [...] How my hair look, Mike?
Michael: You look good girl. [gunshot]

Chris: Omar tried calling you out by name, but shit, no one --
Marlo: What he say about me?
Chris: Nothing, man. Just talking shit.
Marlo: He used my name? In the street?
Marlo: Talk, motherfucker!
Monk: He just, you know, say that you need to step to and that . . . I don't know. He just running his mouth some.
Marlo: He call me a punk?!
Chris: It was bullshit, man. You ain't need that on your mind.
Marlo: What the fuck you know about what I need on my mind, motherfucker?! My name was on the street?! When we bounce from this shit here, y'all going to go down on them corners and let the people know: Word did not get back to me! Let them know Marlo step to any motherfucker -- Omar, Barksdale, whoever. My name is my name!

-30- [5.10][edit]

(NOTE to editors: This episode is an hour and a half long)

Norman: I wished I was still at the newspaper so I could write on this mess. It's too fucking good.

Prez: I can do it, if that's what you want. And I don't even care about the money. But understand I'm gonna go down to B.C.C.C. in a few days and find out if you're enrolled. And if you are, I'm gonna say, 'Great. Duquan can come past with his certificate when he gets it and we're still friends. And he can still rely on me.' But if you aren't enrolled, then... well, I imagine I'm not gonna see you again, am I?

Gus: You ever notice that the guys who do that, the Blairs, the Glasses, the Kelleys, they all start with something small, you know. Just a little quote that they clean up. And then it's a whole anecdote. And pretty soon, they're seeing some amazing shit. They're the lucky ones who just happen to be standing on the right street corner in Tel Aviv when the pizza joint blows up and the human head rolls down the street with the eyes still blinking!
Klebanow: The pictures were sent to him. The police have confirmed...
Gus: It always starts with something true, something confirmed.

Fat Face Rick: Shit, nigga, we was good when your uncle had it. You had to go ahead and put up with Marlo...
[Cheese pulls a gun on Rick]
Cheese: See that? See now, that's just the wrong way to look at it. 'Cause Joe had his time and Omar put an end to that. Then Marlo had his time, short as it was, and the police put an end to that. And now, motherfucker, it's our time. Mines and yours. But instead of just shutting up and kicking in, you gon' stand there, crying that back in the day shit.
Fat Face Rick: Cheese...
Cheese: There ain't no back in the day, nigga! Ain't no nostalgia to this shit here. There's just the street, the game, and what happen here today.
Fat Face Rick: You right.
[Cheese lowers the gun]]
Cheese: When it was my uncle, I was with my uncle. When it was Marlo, I was with him. But now, nigga--
[Slim Charles shoots Cheese in the head]
Clinton "Shorty" Buise: What the fuck you do that for?! Now we short the nine!
Slim Charles: That was for Joe.
Gangster: Motherfucker had it comin'.
Clinton "Shorty" Buise: This sentimental motherfucker just cost us money!

McNulty: You lying motherfucker, you're as full of shit as I am. And you've got to live with it and play it out as far as it goes, right? Trapped in the same lie. Only difference is, I know why I did it. But fuck if I can figure out what it gets you in the end. But, hey, I'm not part of your tribe.
Templeton: You're not serious?
McNulty: No, no, I'm a fucking joke. And so are you.

Landsman: [At McNulty's "wake"] He was natural po-lice. Yes, he was. And I don't say that about many people. Even when they're out here on the felt. I don't give that one up unless it happens to be true. Natural po-lice. ... [pretends to choke up] ... But, Christ, what an asshole!
Landsman: Jimmy, I say this seriously. If I was laying there dead on some Baltimore street corner, I'd want you standing over me, catching the case. Because, brother, when you were good, you were the best we had.
Bunk: Shit, if you were lying there dead on some corner, it probably was Jimmy that done ya.
Landsman: [as the other cops laugh] If you caught the case, you'd be down there pissing in my ear!

Daniels: I'll swallow a lie when I have to; I've swallowed a few big ones lately. But the stat games? That lie? It's what ruined this department. Shining up shit and calling it gold so majors become colonels and mayors become governors. Pretending to do policework while one generation fucking trains the next how not to do the job. And then-[catches himself, and sighs] I looked Carcetti in the eye, I shook his hand, I asked him if he was for real. Well, this is the lie I can't live with.

[Michael breaks into Vinson's rim shop with a partner]
Vinson: Do you know who I am?!
Michael Lee: Name's Vinson. Used to be Marlo's bank. But, Marlo ain't around no more, and you're still moving money for other players, so, I'm thinkin' some of that money need to be mine.
Vinson: Shit, you just a boy! [Michael kneecaps Vinson] AH!
Michael: That's just your knee.
Vinson: That motherfucker shot me!
[Michael's partner grabs the cash]
Michael: Nice doin' business with you, gentlemen. [leaves]

(final line of the series)
McNulty: Let's go home.


External links[edit]

  1. Sperry slip on boots
  2. Lego power functions cars
  3. Motorhome thailand


See also:Wire



From Middle Englishwir, wyr, from Old Englishwīr(“wire, metal thread, wire-ornament”), from Proto-Germanic*wīraz(“wire”), from Proto-Indo-European*weh₁iros(“a twist, thread, cord, wire”), from *weh₁y-(“to turn, twist, weave, plait”).



wire (countable and uncountable, pluralwires)

  1. (uncountable) Metal formed into a thin, even thread, now usually by being drawn through a hole in a steel die.
    • 2013 June 8, “The new masters and commanders”, in The Economist, volume 407, number 8839, page 52:

      From the ground, Colombo’s port does not look like much. Those entering it are greeted by wire fences, walls dating back to colonial times and security posts. For mariners leaving the port after lonely nights on the high seas, the delights of the B52 Night Club and Stallion Pub lie a stumble away.

  2. A piece of such material; a thread or slender rod of metal, a cable.
  3. A metal conductor that carries electricity.
    • 2020 December 2, Paul Bigland, “My weirdest and wackiest Rover yet”, in Rail, page 68:

      Time is running out, so I renounce a spin on a Class 387 for a fast run to Paddington on another Class 800 - a shame as the weather was perfect for pictures. Even so, it's enjoyable - boy, can those trains shift under the wires.

  4. A fence made of usually barbed wire.
  5. (sports) A finish line of a racetrack.
  6. (informal) A telecommunication wire or cable.
    • 1926, Sir Arthur Conan Doyle, The Land of Mist[1]:

      The episode began by a telephone ring in the morning and the voice of Algernon Mailey at the far end of the wire.

  7. (by extension) An electrictelegraph; a telegram.
  8. (slang) A hidden listening device on the person of an undercover operative for the purposes of obtaining incriminating spoken evidence.
  9. (informal) A deadline or critical endpoint.

    This election is going to go right to the wire

  10. (billiards) A wire strung with beads and hung horizontally above or near the table which is used to keep score.
  11. (usually in the plural) Any of the system of wires used to operate the puppets in a puppet show; hence, the network of hidden influences controlling the action of a person or organization; strings.
    to pull the wires for office
  12. (archaic, thieves' slang) A pickpocket who targets women.
  13. (slang) A covertsignal sent between people cheating in a card game.
  14. (Scotland) A knitting needle.
  15. The slender shaft of the plumage of certain birds.



Derived terms[edit]


fence made of usually barbed wire

sports: finish line of a racetrack

informal: telegraph — seetelegraph

informal: message transmitted by telegraph — seetelegram

slang: hidden listening device on the person

device used to keep the score in billiards — seescore string

The translations below need to be checked and inserted above into the appropriate translation tables, removing any numbers. Numbers do not necessarily match those in definitions. See instructions at Wiktionary:Entry layout § Translations.

Translations to be checked


  • → Gulf Arabic: واير‎ (wāyir)

See also[edit]


wire (third-person singular simple presentwires, present participlewiring, simple past and past participlewired)

  1. To fasten with wire, especially with reference to wine bottles, corks, or fencing.

    We need to wire that hole in the fence.

    • 1934, Rex Stout, Fer-de-Lance, 1992 Bantam edition, →ISBN, page 222:
      I could see him in his plane flying low over the river or a reservoir, dropping the club out with a chunk of lead wired to the shaft.
  2. To string on a wire.

    wire beads

  3. To equip with wires for use with electricity.
    Do you know how to wire a plug?
    • 2020 April 8, “Network News: MML still on electrification agenda”, in Rail, page 23:

      Replying on March 20 to a Commons Written Question from Alberto Costa (Conservative, South Leicestershire) about plans to wire to Leicester, Rail Minister Chris Heaton-Harris said: "We are currently investing in the biggest upgrade of the Midland Main Line since it was completed in 1870. [...]

  4. To add something into an electrical system by means of wiring; to incorporate or include something.
    I'll just wire your camera to the computer screen.
  5. (figuratively, usually passive) To fix or predetermine (someone's personality or behaviour) in a particular way.
    There's no use trying to get Sarah to be less excitable. That's just the way she's wired.
  6. To send a message or monetaryfunds to another person through a telecommunications system, formerly predominantly by telegraph.

    Urgent: please wire me another 100 pounds sterling.

    The detective wired ahead, hoping that the fugitive would be caught at the railway station.

  7. (slang) To make someone tense or psyched up. See also adjective wired.

    Coffee late at night wires me good and proper.

  8. (slang) To install eavesdropping equipment.

    We wired the suspect's house.

  9. To snare by means of a wire or wires.
  10. (transitive, croquet) To place (a ball) so that the wire of a wicket prevents a successful shot.


  • (equip for use with electricity):electrify
  • (informal: send a message or funds by telecommunications):cable, telegraph



  • (to fasten with wire):rewire
  • (equip for use with electricity):rewire

Derived terms[edit]


to equip with wires for use with electricity

to add something into an electrical system by means of wiring

informal: to send a message or a money value to another person through a telecommunications system

to make someone tense or psyched-up

slang: to install eavesdropping equipment





  1. Romanization of ꦮꦶꦫꦺ

Norwegian Bokmål[edit]


wire m (definite singularwiren, indefinite pluralwirer, definite pluralwirene)

  1. Alternative spelling of vaier

Norwegian Nynorsk[edit]


wire m (definite singularwiren, indefinite pluralwirar, definite pluralwirane)

  1. Alternative spelling of vaier

Package Summary

  Show EOL distros: 

EOL distros:  

Documentation Status

  • electric:Documentation generated on March 05, 2013 at 12:25 PM

  • fuerte:Documentation generated on January 07, 2014 at 11:40 AM

  • kinetic:Documentation generated on April 16, 2021 at 10:27 AM (doc job).

wire: armadillo_matrix | problib | wire_core | wire_msgs | wire_state_estimators | wire_tutorials | wire_viz


The wire meta package is implements a framework that generates and maintains one consistent world state estimate based on object detections. It solves the data association problem by maintaining multiple hypotheses and facilitates tracking of various object attributes. The state estimators used for estimation and the probabilistic models used for association can be configured.


Wire generates and maintains one consistent world state estimate based on object detections. It solves the data association problem by maintaining multiple hypotheses and facilitates tracking of various object attributes. The state estimators used for estimation and the probabilistic models used for association can be configured. Technical details can be found in this paper:

J. Elfring, S. van den Dries, M.J.G. van de Molengraft, M. Steinbuch, Semantic world modeling using probabilistic multiple hypothesis anchoring, Robotics and Autonomous Systems, Volume 61, Issue 2, February 2013, Pages 95-105, (pdf)

which also includes a more detailed explanation of the algorithm


To install the wire software, clone the source into your workspace:

git clone

Then compile the workspace:



We have created a set of tutorials explaining how to use, tune and interpret the world model and the resulting world state estimate.

Beginner tutorials: demos and visualization

  1. Fusing multiple measurements originating from the same object

    One object can generate multiple measurements at one time step. This can be the result of a poor object detection, but is also common in scenarios including multiple sensors or robots. This tutorial demonstrates the world model's ability to fuse multiple measurements with the same time stamp originating from the same object.

  2. Data association exploiting multiple object attributes

    If a world model object contains different attributes, the data association might simplify, e.g., a red blob is most likely to originate from a red world model object. This tutorial demonstrates the exploitation of multiple attributes per object during data association.

  3. Tracking an unknown number of objects

    Multiple object can have the same visual appearance. Occlusions and unpredictable movements can complicate the data association is such scenarios. This tutorial shows how the world model solves the game of cups.

  4. Visualizing the world model

    This tutorial shows how the wire_viz package can be used an configured..

Intermediate tutorials: using the world model

  1. Feeding detections to the world model

    This tutorial shows the input message type of the wire stack. It in addition explains how any detector can be adapted to publish its results to the world model in the appropriate format.

  2. Using the estimated world state

    This tutorial explains how to interpret and access the world model output by means of a minimal example.

Advanced tutorials: tuning the world model

  1. Tuning the world model: new objects

    The probability of new objects entering the scene is varied. As a result, new object appear sooner or later. This tutorial demonstrates the effect of the probability.

  2. Tuning the world model: object propagation models

    The models used for object propagation determine the probability of associations between predicted object positions and measured object positions. This tutorial shows how changing the model influences the world state estimate.

Report a Bug



Wire wiki the

The Wire

American crime drama television series

For other uses, see Wire (disambiguation).

The Wire is an American crime dramatelevision series created and primarily written by author and former police reporter David Simon. The series was broadcast by the cable network HBO in the United States. The Wire premiered on June 2, 2002, and ended on March 9, 2008, comprising 60 episodes over five seasons. The idea for the show started out as a police drama loosely based on the experiences of his writing partner Ed Burns, a former homicide detective and public school teacher.[4]

Set and produced in Baltimore, Maryland, The Wire introduces a different institution of the city and its relationship to law enforcement in each season, while retaining characters and advancing storylines from previous seasons. The five subjects are, in chronological order: the illegal drug trade, the port system, the city government and bureaucracy, education and schools, and the print news medium. Simon chose to set the show in Baltimore because of his familiarity with the city.[4]

The large cast consists mainly of actors who are little known for their other roles, as well as numerous real-life Baltimore and Maryland figures in guest and recurring roles. Simon has said that despite its framing as a crime drama, the show is "really about the American city, and about how we live together. It's about how institutions have an effect on individuals. Whether one is a cop, a longshoreman, a drug dealer, a politician, a judge or a lawyer, all are ultimately compromised and must contend with whatever institution to which they are committed."[5]

The Wire is lauded for its literary themes, its uncommonly accurate exploration of society and politics, and its realistic portrayal of urban life. During its original run, the series received only average ratings and never won any major television awards, but it is now often termed one of the greatest shows in television history.[6]



Simon has stated that he originally set out to create a police drama loosely based on the experiences of his writing partner Ed Burns, a former homicidedetective and public school teacher who had worked with Simon on projects including The Corner (2000). Burns, when working on protracted investigations of violent drug dealers using surveillance technology, had often been frustrated by the bureaucracy of the Baltimore Police Department; Simon saw similarities with his own ordeals as a police reporter for The Baltimore Sun.

Simon chose to set the show in Baltimore because of his familiarity with the city. During his time as a writer and producer for the NBC program Homicide: Life on the Street, based on his book Homicide: A Year on the Killing Streets (1991), also set in Baltimore, Simon had come into conflict with NBC network executives who were displeased by the show's pessimism. Simon wanted to avoid a repeat of these conflicts and chose to take The Wire to HBO, because of their working relationship from the miniseriesThe Corner. HBO was initially doubtful about including a police drama in its lineup but agreed to produce the pilot episode.[7][8] Simon approached the mayor of Baltimore, telling him that he wanted to give a bleak portrayal of certain aspects of the city; Simon was welcomed to work there again. He hoped the show would change the opinions of some viewers but said that it was unlikely to affect the issues it portrays.[7]


Main article: List of The Wire characters

The casting of the show has been praised for avoiding big-name stars and using character actors who appear natural in their roles.[9] The looks of the cast as a whole have been described as defying TV expectations by presenting a true range of humanity on screen.[10] Most of the cast is black, consistent with the demographics of Baltimore.

Wendell Pierce, who plays Detective Bunk Moreland, was the first actor to be cast. Dominic West, who won the ostensible lead role of Detective Jimmy McNulty, sent in a tape he recorded the night before the audition's deadline of him playing out a scene by himself.[11]Lance Reddick received the role of Cedric Daniels after auditioning for the roles of Bunk and heroin addict Bubbles.[12]Michael K. Williams got the part of Omar Little after only a single audition.[13] Williams himself recommended Felicia Pearson for the role of Snoop after meeting her at a local Baltimore bar, shortly after she had served prison time for a second degree murder conviction.[14]

Several prominent real-life Baltimore figures, including former Maryland Governor Robert L. Ehrlich Jr.; Rev. Frank M. Reid III; radio personality Marc Steiner; former police chief, and radio personality Ed Norris; Virginia Delegate Rob Bell; Baltimore Sun reporter and editor David Ettlin; Howard County Executive Ken Ulman; and former mayor Kurt Schmoke have appeared in minor roles despite not being professional actors.[15][16]

"Little Melvin" Williams, a Baltimore drug lord arrested in the 1980s by an investigation that Burns had been part of, had a recurring role as a deacon beginning in the third season. Jay Landsman, a longtime police officer who inspired the character of the same name,[17] played Lieutenant Dennis Mello.[18] Baltimore police commander Gary D'Addario served as the series technical advisor for the first two seasons[19][20] and has a recurring role as prosecutor Gary DiPasquale.[21] Simon shadowed D'Addario's shift when researching his book Homicide: A Year on the Killing Streets and both D'Addario and Landsman are subjects of the book.[22]

More than a dozen cast members previously appeared on HBO's first hour-long drama Oz. J. D. Williams, Seth Gilliam, Lance Reddick, and Reg E. Cathey were featured in very prominent roles in Oz, while a number of other notable stars of The Wire, including Wood Harris, Frankie Faison, John Doman, Clarke Peters, Domenick Lombardozzi, Michael Hyatt, Michael Potts, and Method Man appeared in at least one episode of Oz.[23] Cast members Erik Dellums, Peter Gerety, Clark Johnson, Clayton LeBouef, Toni Lewis and Callie Thorne also appeared on Homicide: Life on the Street, the earlier and award-winning network television series also based on Simon's book; Lewis appeared on Oz as well.[24][25][26][27][28] A number of cast members, as well as crew members, also appeared in the preceding HBO miniseries The Corner including Clarke Peters, Reg E. Cathey, Lance Reddick, Corey Parker Robinson, Robert F. Chew, Delaney Williams, and Benay Berger.


Alongside Simon, the show's creator, head writer, showrunner, and executive producer, much of the creative team behind The Wire were alumni of Homicide and Primetime Emmy Award-winning miniseries The Corner. The Corner veteran, Robert F. Colesberry, was executive producer for the first two seasons and directed the season 2 finale before dying from complications from heart surgery in 2004. He is credited by the rest of the creative team as having a large creative role for a producer, and Simon credits him for achieving the show's realistic visual feel.[5] He also had a small recurring role as Detective Ray Cole.[29] Colesberry's wife Karen L. Thorson joined him on the production staff.[19] A third producer on The Corner, Nina Kostroff Noble also stayed with the production staff for The Wire rounding out the initial four-person team.[19] Following Colesberry's death, she became the show's second executive producer alongside Simon.[30]

Stories for the show were often co-written by Burns, who also became a producer in the show's fourth season.[31] Other writers include three acclaimed crime fiction writers from outside of Baltimore: George Pelecanos from Washington, Richard Price from the Bronx and Dennis Lehane from Boston.[32] Reviewers drew comparisons between Price's works (particularly Clockers) and The Wire even before he joined.[33] In addition to writing, Pelecanos served as a producer for the third season.[34] Pelecanos has commented that he was attracted to the project because of the opportunity to work with Simon.[34]

Staff writer Rafael Alvarez penned several episodes' scripts, as well as the series guidebook The Wire: Truth Be Told. Alvarez is a colleague of Simon's from The Baltimore Sun and a Baltimore native with working experience in the port area.[35] Another city native and independent filmmaker, Joy Lusco, also wrote for the show in each of its first three seasons.[36]Baltimore Sun writer and political journalist William F. Zorzi joined the writing staff in the third season and brought a wealth of experience to the show's examination of Baltimore politics.[35]

Playwright and television writer/producer Eric Overmyer joined the crew of The Wire in the show's fourth season as a consulting producer and writer.[31] He had also previously worked on Homicide. Overmyer was brought into the full-time production staff to replace Pelecanos who scaled back his involvement to concentrate on his next book and worked on the fourth season solely as a writer.[37]Primetime Emmy Award winner, Homicide and The Corner, writer and college friend of Simon, David Mills also joined the writing staff in the fourth season.[31]

Directors include Homicide alumnus Clark Johnson,[38] who directed several acclaimed episodes of The Shield,[39] and Tim Van Patten, a Primetime Emmy Award winner who has worked on every season of The Sopranos. The directing has been praised for its uncomplicated and subtle style.[9] Following the death of Colesberry, director Joe Chappelle joined the production staff as a co-executive producer and continued to regularly direct episodes.[40]

Episode structure[edit]

Each episode begins with a cold open that seldom contains a dramatic juncture. The screen then fades or cuts to black while the intro music fades in. The show's opening title sequence then plays; a series of shots, mainly close-ups, concerning the show's subject matter that changes from season to season, separated by fast cutting (a technique rarely used in the show itself). The opening credits are superimposed on the sequence, and consist only of actors' names without identifying which actors play which roles. In addition, actors' faces are rarely seen in the title sequence.

At the end of the sequence, a quotation (epigraph) is shown on-screen that is spoken by a character during the episode. The three exceptions were the first season finale which uses the phrase "All in the game", attributed to "Traditional West Baltimore", a phrase used frequently throughout all five seasons including that episode; the fourth season finale which uses the words "If animal trapped call 410-844-6286" written on boarded up vacant homes attributed to "Baltimore, traditional" and the series finale, which started with a quote from H. L. Mencken that is shown on a wall at The Baltimore Sun in one scene, neither quote being spoken by a character. Progressive story arcs often unfold in different locations at the same time. Episodes rarely end with a cliffhanger, and close with a fade or cut to black with the closing music fading in.

When broadcast on HBO and on some international networks, the episodes are preceded by a recap of events that have a bearing upon the upcoming narrative, using clips from previous episodes.


Rather than overlaying songs on the soundtrack, or employing a score, The Wire primarily uses pieces of music that emanate from a source within the scene, such as a jukebox or car radio. This kind of music is known as diegetic or source cue. This practice is rarely breached, notably for the end-of-season montages and occasionally with a brief overlap of the closing theme and the final shot.[41]

The opening theme is "Way Down in the Hole," a gospel-and-blues-inspired song, written by Tom Waits for his 1987 album Franks Wild Years. Each season uses a different recording and a different opening sequence, with the theme being performed by The Blind Boys of Alabama, Waits, The Neville Brothers, DoMaJe and Steve Earle. The season four version of "Way Down in the Hole" was arranged and recorded for the show and is performed by five Baltimore teenagers: Ivan Ashford, Markel Steele, Cameron Brown, Tariq Al-Sabir and Avery Bargasse.[42] Earle, who performed the fifth season version, is also a member of the cast, playing the recovering drug addict Walon.[43] The closing theme is "The Fall," composed by Blake Leyh, who is also the music supervisor of the show.

During season finales, a song is played before the closing scene in a montage showing the lives of the protagonists in the aftermath of the narrative. The first season montage is played over "Step by Step" by Jesse Winchester, the second "I Feel Alright" by Steve Earle, the third "Fast Train" written by Van Morrison and performed by Solomon Burke, the fourth "I Walk on Gilded Splinters" written by Dr. John and performed by Paul Weller and the fifth uses an extended version of "Way Down In The Hole" by the Blind Boys of Alabama, the same version of the song used as the opening theme for the first season.[33]

While the songs reflect the mood of the sequence, their lyrics are usually only loosely tied to the visual shots. In the commentary track to episode 37, "Mission Accomplished", executive producer David Simon said: "I hate it when somebody purposely tries to have the lyrics match the visual. It brutalizes the visual in a way to have the lyrics dead on point. ... Yet at the same time it can't be totally off point. It has to glance at what you're trying to say."[33]

Two soundtrack albums, called The Wire: And All the Pieces Matter—Five Years of Music from The Wire and Beyond Hamsterdam, were released on January 8, 2008, on Nonesuch Records.[44] The former features music from all five seasons of the series and the latter includes local Baltimore artists exclusively.[44]



The writers strove to create a realistic vision of an American city based on their own experiences.[45] Simon, originally a reporter for The Baltimore Sun, spent a year researching a Homicide Police Department for his book Homicide: A Year on the Killing Streets, where he met Burns. Burns served in the Baltimore Police Department for 20 years and later became a teacher in an inner-city school. The two of them spent a year researching the drug culture and poverty in Baltimore for their book The Corner: A Year in the Life of an Inner-City Neighborhood. Their combined experiences were used in many storylines of The Wire.

Central to the show's aim for realism was the creation of truthful characters. Simon has stated that most of them are composites of real-life Baltimore figures.[46] For instance, Donnie Andrews served as the main inspiration of Omar Little.[47]Martin O'Malley served as "one of the inspirations" for Tommy Carcetti.[48] The show often cast non-professional actors in minor roles, distinguishing itself from other television series by showing the "faces and voices of the real city" it depicts.[3] The writing also uses contemporary slang to enhance the immersive viewing experience.[3]

In distinguishing the police characters from other television detectives, Simon makes the point that even the best police of The Wire are motivated not by a desire to protect and serve, but by the intellectual vanity of believing they are smarter than the criminals they are chasing. While many of the police do exhibit altruistic qualities, many officers portrayed on the show are incompetent, brutal, self-aggrandizing, or hamstrung by bureaucracy and politics. The criminals are not always motivated by profit or a desire to harm others; many are trapped in their existence and all have human qualities. Even so, The Wire does not minimize or gloss over the horrific effects of their actions.[5]

The show is realistic in depicting the processes of both police work and criminal activity. There have even been reports of real-life criminals watching the show to learn how to counter police investigation techniques.[49][50] The fifth season portrayed a working newsroom at The Baltimore Sun and was described by Brian Lowry of Variety magazine in 2007 as the most realistic portrayal of the media in film and television.[51]

In a December 2006 Washington Post article, local black students said that the show had "hit a nerve" with the black community and that they themselves knew real-life counterparts of many of the characters. The article expressed great sadness at the toll drugs and violence are taking on the black community.[52]

Visual novel[edit]

Many important events occur off-camera and there is no artificial exposition in the form of voice-over or flashbacks, with the exceptions of two flashbacks – one at the end of the pilot episode that replays a moment from earlier in the same episode and one at the end of the fourth season finale that shows a short clip of a character tutoring his younger brother earlier in the season. Thus, the viewer needs to follow every conversation closely to understand the ongoing story arc and the relevance of each character to it. Salon has described the show as novelistic in structure, with a greater depth of writing and plotting than other crime shows.[32]

Each season of The Wire consists of 10 to 13 episodes that form several multi-layered narratives. Simon chose this structure with an eye towards long story arcs that draw in viewers, resulting in a more satisfying payoff. He uses the metaphor of a visual novel in several interviews,[7][53] describing each episode as a chapter, and has also commented that this allows a fuller exploration of the show's themes in time not spent on plot development.[5]


"Murderland Alley" is both realistically and bleakly portrayed.

Simon described the second season as "a meditation on the death of work and the betrayal of the American working class ... it is a deliberate argument that unencumbered capitalism is not a substitute for social policy; that on its own, without a social compact, raw capitalism is destined to serve the few at the expense of the many."[46] He added that season 3 "reflects on the nature of reform and reformers, and whether there is any possibility that political processes, long calcified, can mitigate against the forces currently arrayed against individuals." The third season is also an allegory that draws explicit parallels between the Iraq War and drug prohibition,[46] which in Simon's view has failed in its aims[50] and has become a war against America's underclass.[54] This is portrayed by Major Colvin, imparting to Carver his view that policing has been allowed to become a war and thus will never succeed in its aims.[citation needed]

Writer Ed Burns, who worked as a public school teacher after retiring from the Baltimore police force shortly before going to work with Simon, has called education the theme of the fourth season. Rather than focusing solely on the school system, the fourth season looks at schools as a porous part of the community that are affected by problems outside of their boundaries. Burns states that education comes from many sources other than schools and that children can be educated by other means, including contact with the drug dealers they work for.[55] Burns and Simon see the theme as an opportunity to explore how individuals end up like the show's criminal characters, and to dramatize the notion that hard work is not always justly rewarded.[56]


Institutional dysfunction[edit]

Barack Obamaand David Simondiscuss Simon's inspiration for The Wire, including the breakdown of effective policing in the War on Drugs

Simon has identified the organizations featured in the show—the Baltimore Police Department, City Hall, the Baltimore public school system, the Barksdale drug trafficking operation, The Baltimore Sun, and the stevedores' union—as comparable institutions. All are dysfunctional in some way, and the characters are typically betrayed by the institutions that they accept in their lives.[5] There is also a sentiment echoed by a detective in Narcotics—"Shit rolls downhill"—which describes how superiors, especially in the higher tiers of the Police Department in the series, will attempt to use subordinates as scapegoats for any major scandals. Simon described the show as "cynical about institutions"[50] while taking a humanistic approach toward its characters.[50] A central theme developed throughout the show is the struggle between individual desires and subordination to the group's goals.


Central to the structure and plot of the show is the use of electronic surveillance and wiretap technologies by the police—hence the title The Wire.Salon described the title as a metaphor for the viewer's experience: the wiretaps provide the police with access to a secret world, just as the show does for the viewer.[32] Simon has discussed the use of camera shots of surveillance equipment, or shots that appear to be taken from the equipment itself, to emphasize the volume of surveillance in modern life and the characters' need to sift through this information.[5]

Cast and characters[edit]

Main article: List of The Wire characters

The Wire employs a broad ensemble cast, supplemented by many recurring guest stars who populate the institutions featured in the show. The majority of the cast is black, which accurately reflects the demographics of Baltimore.

The show's creators are also willing to kill off major characters, so that viewers cannot assume that a given character will survive simply because of a starring role or popularity among fans. In response to a question on why a certain character had to die, David Simon said,

We are not selling hope, or audience gratification, or cheap victories with this show. The Wire is making an argument about what institutions—bureaucracies, criminal enterprises, the cultures of addiction, raw capitalism even—do to individuals. It is not designed purely as an entertainment. It is, I'm afraid, a somewhat angry show.[57]

Main cast[edit]

Dominic West (pictured here in 2014) starred throughout the series as Jimmy McNulty.

The major characters of the first season were divided between those on the side of the law and those involved in drug-related crime. The investigating detail was launched by the actions of Detective Jimmy McNulty (Dominic West), whose insubordinate tendencies and personal problems played counterpoint to his ability as a criminal investigator. The detail was led by Lieutenant Cedric Daniels (Lance Reddick) who faced challenges balancing his career aspirations with his desire to produce a good case. Kima Greggs (Sonja Sohn) was a capable lead detective who faced jealousy from colleagues and worry about the dangers of her job from her domestic partner. Her investigative work was greatly helped by her confidential informant, a drug addict known as Bubbles (Andre Royo).

Like Greggs, partners Thomas "Herc" Hauk (Domenick Lombardozzi) and Ellis Carver (Seth Gilliam) were reassigned to the detail from the narcotics unit. The duo's initially violent nature was eventually subdued as they proved useful in grunt work, and sometimes served as comic relief for the viewer.[32] Rounding out the temporary unit were detectives Lester Freamon (Clarke Peters) and Roland "Prez" Pryzbylewski (Jim True-Frost). Freamon, seen as a quiet "house cat", soon proved to be one of the unit's most methodical and experienced investigators, with a knack for noticing important details and a deep knowledge of public records and paper trails. Prez faced sanction early on and was forced into office duty, but this setback quickly became a boon as he demonstrated natural skill at deciphering the communication codes used by the Barksdale organization.

These investigators were overseen by two commanding officers more concerned with politics and their own careers than the case, Deputy Commissioner Ervin Burrell (Frankie Faison) and Major William Rawls (John Doman). Assistant state's attorney Rhonda Pearlman (Deirdre Lovejoy) acted as the legal liaison between the detail and the courthouse and also had a sexual relationship with McNulty. In the homicide division, Bunk Moreland (Wendell Pierce) was a gifted, dry-witted, hard-drinking detective partnered with McNulty under Sergeant Jay Landsman (Delaney Williams), the sarcastic, sharp-tongued squad supervisor. Peter Gerety had a recurring role as Judge Phelan, the official who started the case moving.[32]

On the other side of the investigation was Avon Barksdale's drug empire. The driven, ruthless Barksdale (Wood Harris) was aided by business-minded Stringer Bell (Idris Elba). Avon's nephew D'Angelo Barksdale (Larry Gilliard Jr.) ran some of his uncle's territory, but also possessed a guilty conscience, while loyal Wee-Bey Brice (Hassan Johnson) was responsible for multiple homicides carried out on Avon's orders. Working under D'Angelo were Poot (Tray Chaney), Bodie (J. D. Williams), and Wallace (Michael B. Jordan), all street-level drug dealers.[32] Wallace was an intelligent but naive youth trapped in the drug trade,[32] and Poot a randy young man happy to follow rather than lead. Omar Little (Michael K. Williams), a renowned Baltimore stick-up man robbing drug dealers for a living, was a frequent thorn in the side of the Barksdale clan.

The second season introduced a new group of characters working in the Baltimore port area, including Spiros "Vondas" Vondopoulos (Paul Ben-Victor), Beadie Russell (Amy Ryan), and Frank Sobotka (Chris Bauer). Vondas was the underboss of a global smuggling operation, Russell an inexperienced port authority officer and single mother thrown in at the deep end of a multiple homicide investigation, and Frank Sobotka a union leader who turned to crime to raise funds to save his union. Also joining the show in season 2 were Nick Sobotka (Pablo Schreiber), Frank's nephew; Ziggy Sobotka (James Ransone), Frank's troubled son; and "The Greek" (Bill Raymond), Vondas' mysterious boss. As the second season ended, the focus shifted away from the ports, leaving the new characters behind.

The third season saw several previously recurring characters assuming larger starring roles, including Detective Leander Sydnor (Corey Parker Robinson), Bodie (J.D. Williams), Omar (Michael K. Williams), Proposition Joe (Robert F. Chew), and Major Howard "Bunny" Colvin (Robert Wisdom). Colvin commanded the Western district where the Barksdale organization operated, and nearing retirement, he came up with a radical new method of dealing with the drug problem. Proposition Joe, the East Side's cautious drug kingpin, became more cooperative with the Barksdale Organization. Sydnor, a rising young star in the Police Department in season 1, returned to the cast as part of the major crimes unit. Bodie had been seen gradually rising in the Barksdale organization since the first episode; he was born to their trade and showed a fierce aptitude for it. Omar had a vendetta against the Barksdale organization and gave them all of his lethal attention.

New additions in the third season included Tommy Carcetti (Aidan Gillen), an ambitious city councilman; Mayor Clarence Royce (Glynn Turman), the incumbent whom Carcetti planned to unseat; Marlo Stanfield (Jamie Hector), leader of an upstart gang seeking to challenge Avon's dominance; and Dennis "Cutty" Wise (Chad Coleman), a newly released convict uncertain of his future.

In the fourth season, four young actors joined the cast: Jermaine Crawford as Duquan "Dukie" Weems; Maestro Harrell as Randy Wagstaff; Julito McCullum as Namond Brice; and Tristan Wilds as Michael Lee. The characters are friends from a West Baltimore middle school. Another newcomer was Norman Wilson (Reg E. Cathey), Carcetti's deputy campaign manager.

The fifth season saw several actors join the starring cast. Gbenga Akinnagbe returns as the previously recurring Chris Partlow, chief enforcer of the now dominant Stanfield Organization. Neal Huff reprises his role as Mayoral chief of staff Michael Steintorf, having previously appeared as a guest star at the end of the fourth season. Two other actors also join the starring cast having previously portrayed their corrupt characters as guest stars—Michael Kostroff as defense attorney Maurice Levy and Isiah Whitlock Jr. as State Senator Clay Davis. Crew member Clark Johnson appeared in front of the camera for the first time in the series to play Augustus Haynes, the principled editor of the city desk of The Baltimore Sun. He is joined in the newsroom by two other new stars; Michelle Paress and Tom McCarthy play young reporters Alma Gutierrez and Scott Templeton.


Main article: List of The Wire episodes

Season 1[edit]

Main article: The Wire (season 1)

A map of Baltimore and its neighborhoods

The first season introduces two major groups of characters: the Baltimore Police Department and a drug dealing organization run by the Barksdale family. The season follows the police investigation of the latter over its 13 episodes.

The investigation is triggered when, following the acquittal of D'Angelo Barksdale for murder after a key witness changes her story, Detective Jimmy McNulty meets privately with Judge Daniel Phelan. McNulty tells Phelan that the witness has probably been intimidated by members of a drug trafficking empire run by D'Angelo's uncle, Avon Barksdale, having recognized several faces at the trial, most notably Avon's second-in-command, Stringer Bell. He also tells Phelan that no one is investigating Barksdale's criminal activity, which includes a significant portion of the city's drug trade and several unsolved homicides.

Phelan reacts to McNulty's report by complaining to senior Police Department figures, embarrassing them into creating a detail dedicated to investigating Barksdale. However, owing to the department's dysfunction, the investigation is intended as a façade to appease the judge. An intradepartmental struggle between the more motivated officers on the detail and their superiors spans the whole season, with interference by the higher-ups often threatening to ruin the investigation. The detail's commander, Cedric Daniels, acts as mediator between the two opposing groups of police.

Meanwhile, the organized and cautious Barksdale gang is explored through characters at various levels within it. The organization is continually antagonized by a stick-up crew led by Omar Little, and the feud leads to several deaths. Throughout, D'Angelo struggles with his conscience over his life of crime and the people it affects.

The police have little success with street-level arrests or with securing informants beyond Bubbles, a well known West Side drug addict. Eventually the investigation takes the direction of electronic surveillance, with wiretaps and pager clones to infiltrate the security measures taken by the Barksdale organization. This leads the investigation to areas the commanding officers had hoped to avoid, including political contributions.

When an associate of Avon Barksdale is arrested by State Police and offers to cooperate, the commanding officers order the detail to undertake a sting operation to wrap up the case. Detective Kima Greggs is seriously hurt in the operation, triggering an overzealous response from the rest of the department. This causes the detail's targets to suspect that they are under investigation.

Wallace is murdered by his childhood friends Bodie and Poot, on orders from Stringer Bell, after leaving his "secure" placement with relatives and returning to Baltimore. D'Angelo Barksdale is eventually arrested transporting a kilo of uncut heroin, and learning of Wallace's murder, is ready to turn in his uncle and Stringer. However, D'Angelo's mother convinces him to rescind the deal and take the charges for his family. The detail manages to arrest Avon on a minor charge and gets one of his soldiers, Wee-Bey, to confess to most of the murders, some of which he did not commit. Stringer escapes prosecution and is left running the Barksdale empire. For the officers, the consequences of antagonizing their superiors are severe, with Daniels passed over for promotion and McNulty assigned out of homicide and into the marine unit.

Season 2[edit]

Main article: The Wire (season 2)

The second season, along with its ongoing examination of the drug problem and its effect on the urban poor, examines the plight of the blue-collarurbanworking class as exemplified by dockworkers in the city port, as some of them get caught up in smuggling drugs and other contraband inside the shipping containers that pass through their port.[46] In a season-long subplot, the Barksdale organization continues its drug trafficking despite Avon's imprisonment, with Stringer Bell assuming greater power.

McNulty harbors a grudge against his former commanders for reassigning him to the marine unit. When thirteen unidentified young women are found dead in a container at the docks, McNulty successfully makes a spiteful effort to place the murders within the jurisdiction of his former commander. Meanwhile, police Major Stan Valchek gets into a feud with Polish-AmericanFrank Sobotka, a leader of the International Brotherhood of Stevedores, a fictional dockers' union, over competing donations to their old neighborhood church. Valchek demands a detail to investigate Sobotka. A detail is assigned, but staffed with "humps".

Valcheck threatens Burrell with a disruption of Burrell's confirmation hearings and insists on Daniels. Cedric Daniels is interviewed, having been praised by Prez, Major Valchek's son-in-law, and also because of his work on the Barksdale case. He is eventually selected to lead the detail assigned just to investigate Sobotka; when the investigation is concluded Daniels is assured he will move up to head a special case unit with personnel of his choosing.

Life for the blue-collar men of the port is increasingly hard and work is scarce. As union leader, Sobotka has taken it on himself to reinvigorate the port by lobbying politicians to support much-needed infrastructure improvement initiatives. Lacking the funds needed for this kind of influence, Sobotka has become involved with a smuggling ring. Around him, his son and nephew also turn to crime, as they have few other opportunities to earn money.

It becomes clear to the Sobotka detail that the dead girls are related to their investigation, as they were in a container that was supposed to be smuggled through the port. They again use wiretaps to infiltrate the crime ring and slowly work their way up the chain towards The Greek, the mysterious man in charge. But Valchek, upset that their focus has moved beyond Sobotka, gets the FBI involved. The Greek has a mole inside the FBI and starts severing his ties to Baltimore when he learns about the investigation.

After a dispute over stolen goods turns violent, Sobotka's wayward son Ziggy is charged with the murder of one of the Greek's underlings. Sobotka himself is arrested for smuggling; he agrees to work with the detail to help his son, finally seeing his actions as a mistake. The Greek learns about this through his mole inside the FBI and has Sobotka killed. The investigation ends with the fourteen homicides solved but the perpetrator already dead. Several drug dealers and mid-level smuggling figures tied to the Greek are arrested, but he and his second-in-command escape uncharged and unidentified. The Major is pleased that Sobotka was arrested; the case is seen as a success by the commanding officers, but is viewed as a failure by the detail.

Across town, the Barksdale organization continues its business under Stringer while Avon and D'Angelo Barksdale serve prison time. D'Angelo decides to cut ties to his family after his uncle organizes the deaths of several inmates and blames it on a corrupt guard to shave time from his sentence. Eventually Stringer covertly orders D'Angelo killed, with the murder staged to look like a suicide. Avon is unaware of Stringer's duplicity and mourns the loss of his nephew.

Stringer also struggles, having been cut off by Avon's drug suppliers in New York and left with increasingly poor-quality product. He again goes behind Avon's back, giving up half of Avon's most prized territory to a rival named Proposition Joe in exchange for a share of his supply, which is revealed to be coming from the Greek. Avon, unaware of the arrangement, assumes that Joe and other dealers are moving into his territory simply because the Barksdale organization has too few enforcers. He uses his New York connections to hire a feared assassin named Brother Mouzone.

Stringer deals with this by tricking his old adversary Omar into believing that Mouzone was responsible for the vicious killing of his partner in their feud in season one. Seeking revenge, Omar shoots Mouzone but, realizing Stringer has lied to him, calls 9-1-1. Mouzone recovers and leaves Baltimore, and Stringer (now with Avon's consent) is able to continue his arrangement with Proposition Joe.

Season 3[edit]

Main article: The Wire (season 3)

In the third season, the focus returns to the street and the Barksdale organization. The scope is expanded to include the city's political scene. A new subplot is introduced to explore the potential positive effects of de facto "legalizing" the illegal drug trade, and incidentally prostitution, within the limited boundaries of a few uninhabited city blocks—referred to as Hamsterdam. The posited benefits, as in Amsterdam and other European cities, are reduced street crime city-wide and increased outreach of health and social services to vulnerable people. These are continuations of stories hinted at earlier.

The demolition of the residential towers that had served as the Barksdale organization's prime territory pushes their dealers back out onto the streets of Baltimore. Stringer Bell continues his reform of the organization by cooperating with other drug lords, sharing with one another territory, product and profits. Stringer's proposal is met with a curt refusal from Marlo Stanfield, leader of a new, growing crew.

Against Stringer's advice, Avon decides to take Marlo's territory by force and the two gangs become embroiled in a bitter turf war with multiple deaths. Omar Little continues to rob the Barksdale organization wherever possible. Working with his new boyfriend Dante and two women, he is once more a serious problem. The violence related to the drug trade makes it an obvious choice of investigation for Cedric Daniels' permanently established Major Crimes Unit.

Councilman Tommy Carcetti begins to prepare himself for a mayoral race. He manipulates a colleague into running against the mayor to split the black vote, secures a capable campaign manager and starts making headlines for himself.

Approaching the end of his career, Major Howard "Bunny" Colvin of Baltimore's Western District wants to effect some real change in the troubled neighborhoods for which he has long been responsible. Without the knowledge of central command, Colvin sets up areas where police would monitor, but not punish, the drug trade. The police crack down severely on violence in these areas and also on drug trafficking elsewhere in the city.

For many weeks, Colvin's experiment works and crime is reduced in his district. Colvin' superiors, the media and city politicians eventually find out about the arrangement and the "Hamsterdam" experiment ends. With top brass outraged, Colvin is forced to cease his actions, accept a demotion and retire from the Police Department on a lower-grade pension. Tommy Carcetti uses the scandal to make a grandstanding speech at a weekly Baltimore city council meeting.

In another strand, Dennis "Cutty" Wise, once a drug dealer's enforcer, is released from a fourteen-year prison term with a street contact from Avon. Cutty initially wishes to go straight partly to reignite his relationship with a former girlfriend. He tries to work as a manual laborer, but struggles to adapt to life as a free man. He then flirts with his former life, going to work for Avon. Finding he no longer has the heart for murder, he quits the Barksdale crew. Later, he uses funding from Avon to purchase new equipment for his nascent boxing gym.

The Major Crimes Unit learns that Stringer has been buying real estate and developing it to fulfill his dream of being a successful legitimate businessman. Believing that the bloody turf war with Marlo is poised to destroy everything the Barksdale crew had worked for, Stringer gives Major Colvin information on Avon's weapons stash. Brother Mouzone returns to Baltimore and tracks down Omar to join forces. Mouzone tells Avon that his shooting must be avenged. Avon, remembering how Stringer disregarded his order which resulted in Stringer's attempt to have Brother Mouzone killed, furious over D'Angelo's murder to which Stringer had confessed, and fearing Mouzone's ability to harm his reputation outside of Baltimore, informs Mouzone of Stringer's upcoming visit to his construction site. Mouzone and Omar corner him and shoot him to death.

Colvin tells McNulty about Avon's hideout and armed with the information gleaned from selling the Barksdale crew pre-wiretapped disposable cell phones, the detail stages a raid, arresting Avon and most of his underlings. Barksdale's criminal empire lies in ruins and Marlo's young crew simply moves into their territory. The drug trade in West Baltimore continues.

Season 4[edit]

Main article: The Wire (season 4)

The fourth season concentrates on the school system and the mayoral race. It takes a closer look at Marlo Stanfield's drug gang, which has grown to control most of western Baltimore's trafficking, and Dukie, Randy, Michael, and Namond – four boys from West Baltimore – as they enter the eighth grade. Prez has begun a new career as a mathematics teacher at the same school. The cold-blooded Marlo has come to dominate the streets of the west side, using murder and intimidation to make up for his weak-quality drugs and lack of business acumen. His enforcers Chris Partlow and Snoop conceal their numerous victims in abandoned and boarded-up row houses where the bodies will not be readily discovered. The disappearances of so many known criminals come to mystify both the major crimes unit investigating Marlo and the homicide unit assigned to solve the presumed murders. Marlo coerces Bodie into working under him.

McNulty is a patrolman and lives with Beadie Russell. He politely refuses offers from Daniels who is now a major and commanding the Western District. Detectives Kima Greggs and Lester Freamon, as part of the major crimes unit, investigate Avon Barksdale's political donations and serve several key figures with subpoenas. Their work is shut down by Commissioner Ervin Burrell at Mayor Clarence Royce's request, and after being placed under stricter supervision within their unit, both Greggs and Freamon request and receive transfer to the homicide division.

Meanwhile, the city's mayoral primary race enters its closing weeks. Royce initially has a seemingly insurmountable lead over challengers Tommy Carcetti and Tony Gray, with a big war chest and major endorsements. Royce's lead begins to fray, as his own political machinations turn against him and Carcetti starts to highlight the city's crime problem. Carcetti is propelled to victory in the primary election.

Howard "Bunny" Colvin joins a research group attempting to study potential future criminals in the middle school population. Dennis "Cutty" Wise continues to work with boys in his boxing gym, and accepts a job at the school rounding up truants. Prez has a few successes with his students, but some of them start to slip away. Disruptive Namond is removed from class and placed in the research group, where he gradually develops affection and respect for Colvin. Randy, in a moment of desperation, reveals knowledge of a murder to the assistant principal, leading to his being interrogated by police. When Bubbles takes Sherrod, a homeless teenager, under his wing, he fails in his attempts to encourage the boy to return to school.

Proposition Joe tries to engineer conflict between Omar Little and Marlo to convince Marlo to join the co-op. Omar robs Marlo who, in turn, frames Omar for a murder and organizes attempts to have him murdered in jail but Omar manages to beat the charge with the help of Bunk. Omar is told that Marlo set him up, so takes revenge on him by robbing the entire shipment of the co-op. Marlo is furious with Joe for allowing the shipment to be stolen. Marlo demands satisfaction, and as a result, Joe sets up a meeting between him and Spiros Vondas, who assuages Marlo's concerns. Having gotten a lead on Joe's connection to the Greeks, Marlo begins investigating them to learn more about their role in bringing narcotics into Baltimore.

Freamon discovers the bodies Chris and Snoop had hidden. Bodie offers McNulty testimony against Marlo and his crew, but is shot dead on his corner by O-Dog, a member of Marlo's crew.[58] Sherrod dies after snorting a poisoned vial of heroin that, unbeknownst to him, Bubbles had prepared for their tormentor. Bubbles turns himself in to the police and tries to hang himself, but he survives and is taken to a detox facility. Michael has now joined the ranks of Marlo's killers and runs one of his corners, with Dukie leaving high school to work there. Randy's house is firebombed by school bullies for his cooperation with the police, leaving his caring foster mother hospitalized and sending him back to a group home. Namond is taken in by Colvin, who recognized the good in him. The major crimes unit from earlier seasons is largely reunited, and they resume their investigation of Marlo Stanfield.

Season 5[edit]

Main article: The Wire (season 5)

The fifth season focuses on the media and media consumption.[59] The show features a fictional depiction of the newspaper The Baltimore Sun, and in fact elements of the plot are ripped-from-the-headlines events (such as the Jayson BlairNew York Times scandal) and people at the Sun.[60] The season, according to David Simon, deals with "what stories get told and what don't and why it is that things stay the same."[59] Issues such as the quest for profit, the decrease in the number of reporters, and the end of aspiration for news quality would all be addressed, alongside the theme of homelessness. John Carroll of The Baltimore Sun was the model for the "craven, prize hungry" editor of the fictional newspaper.[61]

Fifteen months after the fourth season concludes, Mayor Carcetti's cuts in the police budget to redress the education deficit force the Marlo Stanfield investigation to shut down. Cedric Daniels secures a detail to focus on the prosecution of Senator Davis for corruption. Detective McNulty returns to the Homicide unit and decides to divert resources back to the Police Department by faking evidence to make it appear that a serial killer is murdering homeless men.

The Baltimore Sun also faces budget cuts and the newsroom struggles to adequately cover the city, omitting many important stories. Commissioner Burrell continues to falsify crime statistics and is fired by Carcetti, who positions Daniels to replace him.

Marlo Stanfield lures his enemy Omar Little out of retirement by having Omar's mentor Butchie murdered. Proposition Joe teaches Stanfield how to launder money and evade investigation. Once Joe is no longer useful to him, Stanfield has Joe killed with the help of Joe's nephew Cheese Wagstaff and usurps his position with the Greeks and the New Day Co-Op. Michael Lee continues working as a Stanfield enforcer, providing a home for his friend Dukie and younger brother Bug.

Omar returns to Baltimore seeking revenge, targeting Stanfield's organization, stealing and destroying money and drugs and killing Stanfield enforcers in an attempt to force Stanfield into the open. However, he is eventually shot and killed by Kenard, a young Stanfield dealer.

Baltimore Sun reporter Scott Templeton claims to have been contacted by McNulty's fake serial killer. City Editor Gus Haynes becomes suspicious, but his superiors are enamored of Templeton. McNulty backs up Templeton's claim in order to further legitimize his fabricated serial killer. The story gains momentum and Carcetti spins the resulting attention on homelessness into a key issue in his imminent campaign for Governor and restores funding to the Police Department.

Bubbles is recovering from his drug addiction while living in his sister's basement. He is befriended by Sun reporter Mike Fletcher, who eventually writes a profile of Bubbles.

Bunk is disgusted with McNulty's serial killer scheme and tries to have Lester Freamon reason with McNulty. Instead, Freamon helps McNulty perpetuate the lie and uses resources earmarked for the case to fund an illegal wiretap on Stanfield. Bunk resumes working the vacant house murders, leading to a murder warrant against Partlow for killing Michael's stepfather.

Freamon and Leander Sydnor gather enough evidence to arrest Stanfield and most of his top lieutenants, seizing a large quantity of drugs. Stanfield suspects that Michael is an informant, and orders him killed. Michael realizes he is being set up and kills Snoop instead. A wanted man, he leaves Bug with an aunt and begins a career as a stick-up man. With his support system gone, Dukie lives with drug addicts.

McNulty tells Kima Greggs about his fabrications to prevent her wasting time on the case. Greggs tells Daniels, who, along with Rhonda Pearlman, takes this news to Carcetti, who orders a cover-up because of the issue's importance to his campaign.

Davis is acquitted, but Freamon uses the threat of federal prosecution to blackmail him for information. Davis reveals Maurice Levy has a mole in the courthouse from whom he illegally purchases copies of sealed indictments. Herc tells Levy that the Stanfield case was probably based on an illegal wiretap, something which would jeopardize the entire case. After Levy reveals this to Pearlman, she uses Levy's espionage to blackmail him into agreeing to a plea bargain for his defendants. Levy ensures Stanfield's release on the condition that he permanently retires, while his subordinates will have to accept long sentences. Stanfield sells the connection to The Greeks back to the Co-Op and plans to become a businessman, although he appears unable or unwilling to stay off the corner.

As the cover-up begins, a copy-cat killing occurs, but McNulty quickly identifies and arrests the culprit. Pearlman tells McNulty and Freamon that they can no longer be allowed to do investigative work and warns of criminal charges if the scandal becomes public. They opt to retire. Haynes attempts to expose Templeton but the managing editors ignore the fabrications and demote anyone critical of their star reporter. Carcetti pressures Daniels to falsify crime statistics to aid his campaign. Daniels refuses and then quietly resigns rather than have his FBI file leaked.

In a final montage, McNulty gazes over the city; Freamon enjoys retirement; Templeton wins a Pulitzer; Carcetti becomes Governor; Haynes is sidelined to the copy desk and replaced by Fletcher; Campbell appoints Valchek as commissioner; Carcetti appoints Rawls as Superintendent of the MarylandState Police; Dukie continues to use heroin; Pearlman becomes a judge and Daniels a defense attorney; Bubbles is allowed upstairs where he enjoys a family dinner; Chris serves his life sentence alongside Wee-Bey; the drug trade continues; and the people of Baltimore go on with their lives.

Prequel shorts[edit]

During the fifth season, HBO produced three shorts depicting moments in the history of characters in The Wire. The three prequels depict the first meeting between McNulty and Bunk; Proposition Joe as a slick business kid; and young Omar.[62] The shorts are available on the complete series DVD set.[63]

Reception and legacy[edit]

Critical response[edit]

All seasons of The Wire have received positive reviews from major television critics, with seasons two through five in particular receiving near universal acclaim, with several naming it the best contemporary show and one of the best drama series of all time. The first season received mainly positive reviews from critics,[69][70] some even calling it superior to HBO's better-known "flagship" drama series such as The Sopranos and Six Feet Under.[71][72][73] On the review aggregatorMetacritic, the first season scored 79 out of 100 based on 22 reviews.[64] One reviewer pointed to the retread of some themes from HBO and David Simon's earlier works, but still found it valuable viewing and particularly resonant because it parallels the war on terror through the chronicling of the war on drugs.[74] Another review postulated that the series might suffer because of its reliance on profanity and slowly drawn-out plot, but was largely positive about the show's characters and intrigue.[38]

Despite the critical acclaim, The Wire received poor Nielsen ratings, which Simon attributed to the complexity of the plot; a poor time slot; heavy use of esoteric slang, particularly among the gangster characters; and a predominantly black cast.[75] Critics felt the show was testing the attention span of its audience and that it was mistimed in the wake of the launch of the successful crime dramaThe Shield on FX.[74] However, anticipation for a release of the first season on DVD was high at Entertainment Weekly.[76]

After the first two shows of season two, Jim Shelley in The Guardian called The Wire the best show on TV, praising the second season for its ability to detach from its former foundations in the first season.[39] Jon Garelick with the Boston Phoenix was of the opinion that the subculture of the docks (second season) was not as absorbing as that of the housing projects (first season), but he went on to praise the writers for creating a realistic world and populating it with an array of interesting characters.[77]

The critical response to the third season remained positive. Entertainment Weekly named The Wire the best show of 2004, describing it as "the smartest, deepest and most resonant drama on TV." They credited the complexity of the show for its poor ratings.[78] The Baltimore City Paper was so concerned that the show might be cancelled that it published a list of ten reasons to keep it on the air, including strong characterization, Omar Little, and an unabashedly honest representation of real world problems. It also worried that the loss of the show would have a negative impact on Baltimore's economy.[79]

At the close of the third season, The Wire was still struggling to maintain its ratings and the show faced possible cancellation.[80] Creator David Simon blamed the show's low ratings in part on its competition against Desperate Housewives and worried that expectations for HBO dramas had changed following the success of The Sopranos.[81]

As the fourth season was about to begin, almost two years after the previous season's end, Tim Goodman of the San Francisco Chronicle wrote that The Wire "has tackled the drug war in this country as it simultaneously explores race, poverty and 'the death of the American working class,' the failure of political systems to help the people they serve, and the tyranny of lost hope. Few series in the history of television have explored the plight of inner-city African Americans and none—not one—has done it as well."[82] Brian Lowry of Variety wrote at the time, "When television history is written, little else will rival 'The Wire.'"[83]The New York Times called the fourth season of The Wire "its best season yet."[84]

Doug Elfman of the Chicago Sun-Times was more reserved in his praise, calling it the "most ambitious" show on television, but faulting it for its complexity and the slow development of the plotline.[85] The Los Angeles Times took the rare step of devoting an editorial to the show, stating that "even in what is generally acknowledged to be something of a golden era for thoughtful and entertaining dramas—both on cable channels and on network TV—The Wire stands out."[86]TIME magazine especially praised the fourth season, stating that "no other TV show has ever loved a city so well, damned it so passionately, or sung it so searingly."[87]

On Metacritic, seasons three and four received a weighted average score of 98, the tenth and eleventh highest scores respectively for any television season in the site's history.[88]Andrew Johnston of Time Out New York named The Wire the best TV series of 2006, and wrote, "The first three seasons of David Simon's epic meditations on urban America established The Wire as one of the best series of the decade, and with season four--centered on the heart-breaking tale of four eighth-graders whose prospects are limited by public-school bureaucracy--it officially became one for the ages."[89]

Several reviewers called it the best show on television, including TIME,[87]Entertainment Weekly,[78] the Chicago Tribune,[90]Slate,[59] the San Francisco Chronicle,[91] the Philadelphia Daily News[92] and the British newspaper The Guardian,[39] which ran a week-by-week blog following every episode,[93] also collected in a book, The Wire Re-up.[94]Charlie Brooker, a columnist for The Guardian, has been particularly enthusiastic in his praise of the show, both in his "Screen Burn" column and in his BBC Four television series Screenwipe, calling it possibly the greatest show of the last 20 years.[95][96]

In 2007, TIME listed it among the one hundred best television series of all-time.[97] In 2013, the Writers Guild of America ranked The Wire as the ninth best written TV series.[98] In 2013, TV Guide ranked The Wire as the fifth greatest drama[99] and the sixth greatest show of all time.[100] In 2013, Entertainment Weekly listed the show at #6 in their list of the "26 Best Cult TV Shows Ever," describing it as "one of the most highly praised series in HBO history" and praising Michael K. Williams's acting as Omar Little.[101]Entertainment Weekly also named it the number one TV show of all-time in a special issue in 2013.[102]

In 2016, Rolling Stone ranked it second on its list of 100 Greatest TV Shows of All Time. In September 2019, The Guardian, which ranked the show #2 on its list of the 100 best TV shows of the 21st century, described it as "polemical, panoramic, funny, tragic or all of those things at once", saying it was "beautifully written and performed" and was both "TV as high art and TV wrenched from the soul" and "an exemplar of a certain brand of intelligent, ambitious and uncompromising television".[103] In 2021, Empire ranked The Wire at number four on their list of The 100 Greatest TV Shows of All Time.[104]

Critics have often described the show in literary terms: the New York Times calls it "literary television;" TV Guide calls it "TV as great modern literature;" the San Francisco Chronicle says the series "must be considered alongside the best literature and filmmaking in the modern era;" and the Chicago Tribune says the show delivers "rewards not unlike those won by readers who conquer Joyce, Faulkner or Henry James."[82][84][105][106] 'The Wire Files', an online collection of articles published in darkmatter Journal, critically analyzes The Wire's racialized politics and aesthetics of representation.[107]Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "The deft writing—which used the cop-genre format to give shape to creator David Simon's scathing social critiques—was matched by one of the deepest benches of acting talent in TV history."[108]

Former President of the United States Barack Obama has said that The Wire is his favorite television series.[109] The 2010 Nobel Prize in Literature Laureate, Mario Vargas Llosa, wrote a very positive critical review of the series in the Spanish newspaper El País.[110] The comedian turned mayor of Reykjavík, Iceland, Jón Gnarr, has gone so far as to say that he would not enter a coalition government with anyone who has not watched the series.[111]

Robert Kirkman, creator of The Walking Dead, is a strong follower of The Wire; he has tried to cast as many actors from it into the television series of the same name as possible, so far having cast Chad Coleman, Lawrence Gilliard Jr., Seth Gilliam, and Merritt Wever.[112]


Main article: List of awards and nominations received by The Wire

David Simon accepting the Peabody Awardfor The Wireat the 63rd Annual Peabody Awards.

The Wire was nominated for and won a wide variety of awards, including nominations for the Primetime Emmy Award for Outstanding Writing for a Drama Series for "Middle Ground" (2005) and "–30–" (2008), NAACP Image Award for Outstanding Drama Series for each of its five seasons, Television Critics Association Awards (TCA), and Writers Guild of America Awards (WGA).

Most of the awards the series won were for season 4 and season 5. These included the Directors Guild of America Award and TCA Heritage Award for season 5, and the Writers Guild of America Award for Television: Dramatic Series for season 4, plus the Crime Thriller Award, Eddie Award, Edgar Award, and Irish Film & Television Academy Award. The series also won the ASCAP Award, Artios Award, and Peabody Award for season 2.[113]

The series won the Broadcasting & Cable Critics' Poll Award for Best Drama (season 4) and won TIME's critics choice for top television show for season 1 and season 3.

Despite the above mentioned awards and unanimous critical approval, The Wire never won a single Primetime Emmy Award nor received any major nominations, except for two writing nominations in 2005 and 2008. Several critics recognized its lack of recognition by the Academy of Television Arts & Sciences.[114][115][116] According to a report by Variety, anonymous Emmy voters cited reasons such as the series' dense and multilayered plot, the grim subject matter, and the series' lack of connection with California, as it is set and filmed in Baltimore.[117]


In the years following the end of the series' run, several colleges and universities such as Johns Hopkins, Brown University, and Harvard College have offered classes on The Wire in disciplines ranging from law to sociology to film studies. Phillips Academy, a boarding high school in Massachusetts, offers a similar course as well.[118][119]University of Texas at San Antonio offers a course where the series is taught as a work of literary fiction.[120]

In an article published in The Washington Post, Anmol Chaddha and William Julius Wilson explain why Harvard chose The Wire as curriculum material for their course on urban inequality: "Though scholars know that deindustrialization, crime and prison, and the education system are deeply intertwined, they must often give focused attention to just one subject in relative isolation, at the expense of others. With the freedom of artistic expression, The Wire can be more creative. It can weave together the range of forces that shape the lives of the urban poor."[121]

University of York's Head of Sociology, Roger Burrows, said in The Independent that the show "makes a fantastic contribution to their understanding of contemporary urbanism", and is "a contrast to dry, dull, hugely expensive studies that people carry out on the same issues".[122] The series is also studied as part of a Master seminar series at the Paris West University Nanterre La Défense.[123] In February 2012, Slovenian philosopher Slavoj Žižek gave a lecture at Birkbeck, University of London titled The Wire or the clash of civilisations in one country.[124] In April 2012, Norwegian academic Erlend Lavik posted online a 36-minute video essay called "Style in The Wire" which analyzes the various visual techniques used by the show's directors over the course of its five seasons.[125]

The Wire has also been the subject of growing numbers of academic articles by, amongst others, Fredric Jameson (who praised the series' ability to weave utopian thinking into its realist representation of society);[126] and Leigh Claire La Berge, who argues that although the less realistic character of season five was received negatively by critics, it gives the series a platform not only for representing reality, but for representing how realism is itself a construct of social forces like the media;[127] both commentators see in The Wire an impulse for progressive political change rare in mass media productions. While most academics have used The Wire as a cultural object or case study, Benjamin Leclair-Paquet has instead argued that the "creative methods behind HBO's The Wire evoke original ways to experiment with speculative work that reveal the merit of the imaginary as a pragmatic research device." This author posits that the methods behind The Wire are particularly relevant for contentious urban and architectural projects.[128]


See also: List of The Wire episodes

HBO aired the five seasons of the show in 2002, 2003, 2004, 2006, and 2008. New episodes were shown once a week, occasionally skipping one or two weeks in favor of other programming. Starting with the fourth season, subscribers to the HBO On Demand service were able to see each episode of the season six days earlier.[129] American basic cable network BET also aired the show. BET adds commercial breaks, blurs some nudity, and mutes some profanity. Much of the waterfront storyline from the second season is edited out from the BET broadcasts.[130]

The series was remastered in 16:9high-definition in late 2014. As the series was shot with a 16:9-safe area, the remastered series is an open matte of the original 4:3 framing.[131] Creator David Simon approved the new version, and worked with HBO to remove film equipment and crew members, and solve actor sync problems in the widened frame.[132] The remastered series debuted on HBO Signature, airing the entire series consecutively, and on HBO GO on December 26, 2014.

In the United Kingdom, the show has been broadcast on FX until 2009 when the BBC bought terrestrial television rights to The Wire in 2008, when it was broadcast on BBC Two,[133] although controversially it was broadcast at 11:20 pm[134] and catchup was not available on BBC iPlayer.[135] In a world first, British newspaper The Guardian made the first episode of the first season available to stream on its website for a brief period[136] and all episodes were aired in Ireland on the public service channel TG4 approximately six months after the original air dates on HBO.[137]

The series became available in Canada in a remastered 16:9 HD format on streaming service CraveTV in late 2014.[138]

Home media[edit]

Every season was released on DVD, and were favorably received, though some critics have faulted them for a lack of special features.[9][10][139][140]

The remastered version is on iTunes, and was released as a complete series Blu-ray box set on June 2, 2015.[141][142][143]

DVD releases[edit]

Season Release dates Episodes Special features Discs
Region 1Region 2Region 4
1 October 12, 2004[144]April 18, 2005[145]May 11, 2005[146]13
  • Three audio commentaries by crew members
2 January 25, 2005[147]October 10, 2005[148]May 3, 2006[149]12
  • Two audio commentaries by cast and crew members
3 August 8, 2006[150]February 5, 2007[151]August 13, 2008[152]12
  • Five audio commentaries by crew members
  • Q&A with David Simon and Creative Team, courtesy of the Museum of Television & Radio
  • Conversation with David Simon at Eugene Lang College, The New School for Liberal Arts[33]
4 December 4, 2007[153]March 10, 2008[154]August 13, 2008[155]13
  • Six audio commentaries by cast and crew members
  • "It's All Connected" featurette
  • "The Game Is Real" featurette
5 August 12, 2008[156]September 22, 2008[157]February 2, 2010[158]10
  • Six audio commentaries by cast and crew members
  • "The Wire: The Last Word" – A documentary exploring the role of the media
  • "The Wire Odyssey" – A retrospective of the first four seasons
  • The Wire Prequels
  • From the Wrap Party Gag Reels  ...
All December 9, 2008[159]December 8, 2008[160]February 2, 2010[161]60
  • Collects the previously released box-sets

See also[edit]


  1. ^"'The Wire': David Simon reflects on his modern Greek tragedy". Variety. March 8, 2008. Retrieved January 28, 2019.
  2. ^Lynskey, Dorian (March 6, 2018). "The Wire, 10 years on: 'We tore the cover off a city and showed the American dream was dead'". The Guardian. Retrieved January 28, 2019.
  3. ^ abcMargaret Talbot (October 22, 2007). "Stealing Life". The New Yorker. Retrieved October 14, 2007.
  4. ^ ab"Real Life Meets Reel Life With David Simon". The Washington Post. September 3, 2002. Retrieved May 8, 2020.
  5. ^ abcdefDavid Simon (2005). "The Target" commentary track (DVD). HBO.
  6. ^Sources that refer to The Wire's being praised as one of the greatest television shows of all time include:
    • Traister, Rebbeca (September 15, 2007). "The best TV show of all time". Retrieved March 7, 2008.
    • "The Wire: arguably the greatest television programme ever made". Telegraph. London. April 2, 2009. Retrieved April 2, 2009.
    • Wilde, Jon (July 21, 2007). "The Wire is unmissable television". The Guardian. London. Retrieved September 7, 2009.
    • Carey, Kevin (February 13, 2007). "A show of honesty". The Guardian. London. Retrieved September 7, 2009.
    • "Charlie Brooker: The Wire". The Guardian. London. July 21, 2007. Retrieved September 10, 2010.
    • Roush, Matt (February 25, 2013). "Showstoppers: The 60 Greatest Dramas of All Time". TV Guide. pp. 16–17.
    • "TV: 10 All-Time Greatest". Entertainment Weekly. June 27, 2013. Retrieved January 9, 2017.
    • Sheffield, Rob (September 21, 2016). "100 Greatest TV Shows of All Time". Rolling Stone. Retrieved September 22, 2016.
    • Jones, Emma (April 12, 2018). "How The Wire became the greatest TV show ever made". BBC. Retrieved September 4, 2018.
  7. ^ abcIan Rothkirch (2002). "What drugs have not destroyed, the war on them has". Archived from the original on March 13, 2007.
  8. ^Alvarez, Rafael (2004). The Wire: Truth Be Told. New York: Pocket Books. pp. 18–19, 35–39.
  9. ^ abcBarsanti, Chris (October 19, 2004). "Totally Wired". Slant Magazine. Retrieved July 25, 2018.
  10. ^ abWyman, Bill (February 25, 2005). "The Wire The Complete Second Season". NPR. Retrieved July 25, 2018.
  11. ^Abrams, Jonathan (February 13, 2018). "How Every Character Was Cast on The Wire; excerpt from book, All the Pieces Matter: The Inside Story of The Wire". GQ. Retrieved July 25, 2018.
  12. ^Joel Murphy (2005). "One on one with ... Lance Reddick". Hobo Trashcan.
  13. ^Murphy, Joel (August 23, 2005). "One on One With Michael K. Williams". Hobo Trashcan. Retrieved July 25, 2018.
  14. ^"Michael K. Williams on Playing Omar on 'The Wire,' Discovering Snoop, and How Janet Jackson Changed His Life". Vulture. January 2, 2008. Retrieved July 25, 2018.
  15. ^Deford, Susan (February 14, 2008). "Despite Past With Bill Clinton, Ulman Switches Allegiance". The Washington Post. Retrieved May 13, 2010.
  16. ^David Zurawik (July 12, 2006). "Local figures, riveting drama put The Wire in a class by itself". The Baltimore Sun.
  17. ^"Character profile – Jay Landsman". HBO. 2006. Retrieved December 19, 2007.
  18. ^"Character profile – Dennis Mello". HBO. 2008. Retrieved January 15, 2008.
  19. ^ abc"The Wire season 1 crew". HBO. 2007. Retrieved October 14, 2007.
  20. ^"The Wire season 2 crew". HBO. 2007. Retrieved October 14, 2007.
  21. ^"Character profile – Grand Jury Prosecutor Gary DiPasquale". HBO. 2008. Retrieved February 12, 2008.
  22. ^Simon, David (2006) [1991]. Homicide: A Year on the Killing Streets. New York: Owl Books.
  23. ^"The Wire + Oz". Cosmodrome Magazine. January 26, 2008. Retrieved February 11, 2009.
  24. ^Erik Dellums filmography. Retrieved December 24, 2009.
  25. ^Peter Gerety filmography. Retrieved November 11, 2009.
  26. ^Clark Johnson filmography. Retrieved November 11, 2009.
  27. ^Toni Lewis filmography. Retrieved December 24, 2009.
  28. ^Callie Thorne filmography. Retrieved November 11, 2009.
  29. ^"Org Chart – The Law". HBO. 2004. Retrieved October 16, 2007.
  30. ^"The Wire season 3 crew". HBO. 2007. Retrieved October 14, 2007.
  31. ^ abc"The Wire
Slayer's Tom Araya - Wikipedia: Fact or Fiction?

■(TB) 'Down To The Wire'

2015, Joe Ghio 'Down To The Wire'Joseph Ghio, R. 2015) Seedling 08-147B. TB, 34" (86 cm). Early midseason bloom. Standards brilliant gold; Falls same, edge brushed brown, small diffused white blaze; beards gold. 'Core Values'sibling. 2015 Bay View. Honorable Mention 2017. See below: * * References


From Bay View Gardens catalog, 2015: DOWN TO THE WIRE, 34 inches, EM. $50.00. Very brilliant gold self with brown brushed edge on the falls. Small defused white blaze around the yellow beards. Ghio bubble ruffled form with super show branching. No. 08-147B: 05-18H: (03-4822: (Marching Band x 01-46big: (99-34V3: (97-41B2, New Day Dawning pollen parent, x Seakist) x 99-4L3: (97-13: (95-22-I: (Paint It Black x Romantic Evening) x Night Game) x 97-46N: (Impulsive x Ocelot)))) x Be Original) X 06-120G: (Jazz Band x Comfortable), sib to Core Values and Oil Painting. Pictures, Thanks to Brad Collins.


Quick Summary of Cultural Directions

Hardiness Zones 4-8 for most varieties, Some cultivars tolerate colder, others tolerate warmer zones (please comment in comment box with your location if this cultivar grows well in zone 3, 4, 9, or 10.)
Exposure Prefers full sun for optimal performance, may still bloom in half-day shade
Water: Prefers well drained good garden soil, Tolerant of dry conditions in established plants, Intolerant of swampy conditions.
PH Prefers Neutral to basic solis 6.1 to 8.5, quite toleranr of more extreme conditions
Fertilizer Prefers rich conditions on relatively inorganic soils.

BobPries- 21 Apr 2019 Please do not enter images that are not your own without owners' permission, this is against Wiki policy"Although the Encyclopedia is free to all, it is supported by Emembership in AIS, If you would like to help sustain this reference, for $15 you can become an Emember, click here." Interested in Tall Bearded Iris?Please visit the: Tall Bearded Iris Societywebsite.
Your Observations Are Valued.Please make note of bud count, branching, purple based foliage and bloom time, etc. Because these are affected by climate, note date, year and geographic location and write these and other comments in the comment box below.

-- BobPries- 2016-04-11

Similar news:

List of The Wire episodes

Wikipedia list article

The Wire, a television drama series created by David Simon, premiered on June 2, 2002 on HBO in the United States and ended on March 9, 2008. 60 episodes aired over the show's five seasons, plus three additional prequel shorts. Each episode has a running time of 55–60 minutes.

The Wire is set in Baltimore, Maryland; each season of the series expands its focus on a different part of the city. The show features a large ensemble cast; many characters are only featured prominently in a single season. A group of characters, mainly in the Baltimore Police Department, appear in every season.

The show is available on DVD in Region 1, 2 and 4.

Series overview[edit]


Season 1 (2002)[edit]

Main article: The Wire (season 1)

Season 2 (2003)[edit]

Main article: The Wire (season 2)

Season 3 (2004)[edit]

Main article: The Wire (season 3)

Season 4 (2006)[edit]

Main article: The Wire (season 4)

Season 5 (2008)[edit]

Main article: The Wire (season 5)

Prequel shorts[edit]

Three short film vignettes set prior to the series events were filmed during the fifth season's production. They were made available via HBO On Demand during broadcast of the final season, and included as extras on the complete series DVD box set.

  • "When Bunk Met McNulty"
  • "Young Omar"
  • "Young Prop Joe"


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External links[edit]


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