Women of The Wire
Tessa Carro
he HBO hit series The Wire has received an
abundance of praise as a series because of its
progressive approach to exposing a harsh world
of inner city life in Baltimore. David Simon has created
a dramatic series with seemingly real characters with
real problems, not the stereotypical depiction of good
cops versus bad drug dealers. In this series, no one is
completely good or completely bad, which is one of the
reasons the show is so successful. Simon has created
a cast of flawed characters that are relatable to
viewers. C.W. Marshall and Tiffany Potter highlight this
point by saying, “There is an authenticity that bleeds
through the screen. Part of the reason for this is the
deliberate blurring of truth and fiction that the creators
have inscribed into the casting and the characters of
the series” (11). It is this authenticity that draws in
viewers far beyond the cohort of HBO subscribers. In
the “Introduction” to The Wire: Truth Be Told, Simon
describes the show: “It is about the City. It is about how
we live as Americans at the millennium, an urban
people compacted together, sharing a common love,
awe and fear of what we have rendered in Baltimore,
St. Louis, Chicago, New York, Los Angeles” (3). The
creators of the show wanted to make a provocative
series that discusses the burdens that American
capitalism has placed on inner city families. This is
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