Today's bLINKit: The federal government wants to give border guards (and police, too) the power to search, without a warrant, your laptop or iPod for copyrighted material. At their discretion, the guards can determine if your copy of "YMCA" on your MP3 player is illegal and have the power to confiscate and/or destroy it and fine you. As if they don't already have enough to do at the border in keeping out terrorists and diseased fruit. The kicker: The government is negotiating these kinds of insane powers in secret.
WMD: In my continuing campaign catch up, I go back to the middle of March, when I penned this ode to The Wire (aka best show ever):
This past Sunday, one of the few reasons to watch TV finished an
extraordinary run. The Wire--perhaps the best American television
storytelling ever--finished its fifth season, and I am sad. Its absence
is enough to make me go back to reading. Or staring at the wall.
I
recently upgraded my basic cable television to the full "classic"
channel lineup from Shaw. I felt lonely with basic cable, flipping up
the channel lineup to hit a ceiling at channel 28 (the handful of
French-language and public service channels past 100 don't count, since
no one ever watches them). Thanks to my expanded lineup, I can now surf
up to channel 57. And what do I get with the extra channels? Every CSI
episode ever made. An endless parade of Second World War shows. Guys
blowing stuff up. Women trying on dresses. Every Law and Order episode
ever made. Chefs swearing. Faded celebrities pretending to be in
"reality" shows. Cheesy, made-up documentaries about porn. Every Star
Trek episode ever made. I like Star Trek, but that's my own special
problem.
Thank God for The Wire. More novel than television, it
was one of the few popular forms of art, outside of the films of John
Sayles, that tried to tell the story of American society as it really
is. With a huge cast and slowly moving and intricately overlapping
storyline, its main character was a dysfunctional, socially shattered
city. Its lessons: America's institutions--including schools, the
police, civic governments and corner drug gangs--stomp on individuals,
reward the craven, punish the daring, mock the honest, and make victims
of the innocent. All with a large dose of chance and circumstance
happening to all. Its other lesson: cops drink a lot.
No one creating TV has loved a city more than the creators of The
Wire loved Baltimore. Their fondness was obvious in the use of the
city's rich dialect, which when watching DVDs of past seasons, had me
using subtitles on occasion to figure out what some of the characters
were saying. But now I be with my people. You feel me?
No one
doing TV has also done more to lament and chronicle a city's decline.
The first season covered the futility of the war on drugs. The second
season examined the decline of traditional industry, and the
powerlessness of American unions in the face of globalization. The
third season imagined a failed experiment in harm reduction, and the
fourth instalment took us into the inner city schools, where inflating
statistics to increase government funding trumped teaching.
The
final season wobbled with its underwritten storyline about the death of
American newspapers. But it hit home, powerfully so, with its season
long theme of truth and deceit, and how while everyone who holds power
knows the truth, deceit is often the more expedient route as large,
self-serving insitutions rumble and jockey for position and grind up
people between them. For many, lying is the enriching choice.
Few shows have dealt directly with the constant institutional lying that marks modern urban life, and perhaps make it possible.
The dialogue in Sunday's finale tells it best.
"I always
wondered if they'd get their shit together," says one character after
he expresses surprise at how long it took authorities to uncover his
corruption. "But that's Baltimore, isn't it."
And this from a
lawyer when her career is on the line, and her superiors have the upper
hand: "You know the weight will not fall on them. It never does."
Or this from a drug dealer, pointing a gun to a rival's head: "There
ain't no nostalgia to this. There's just the street, and the game, and
what happened here today."
And finally, from the city editor of
the ficticiously rendered Baltimore Sun newspaper, which features
prominently in the final season: "I remember clean." The silent smile
on a colleague's face said it all.
The Wire was created by a
former journalist and a former cop-turned-teacher, all professions
which have both a public service component and systemic pressures that
compete with the ability to perform public service. The one legacy of
the brilliant, and often very funny show they created can be boiled
down to this: Do you tell the truth about the system, or do you go
along, telling yourself you'll do the best you can in the
circumstances. In the two-hour finale, one constant refrain was heard
from various characters as they did a careful dance with truth and
power: "Keep my name out of it."
If you live or work in Vancouver, or just about any city anywhere, you've heard that line before.
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