EVERY. SINGLE. WEAPON. from Splatoon 3 is drawn up and ready to go! No more waiting for the bracket to move up for your weapon's turn to fight—it's a free-for-all in one big crowdfund COMING SOON!
-Daniels should be jumping for joy to get rid of Mahon, but he tells him to think it over before taking the early retirement. What gives? I think Daniels genuinely thinks it's kind of an embarrassing way to go, and wants better for him? Daniels most reasonable authority figure of all time.
-Also the conversation with Polk saying he'll miss Mahon and Mahon advising him how to get out is honestly kind of sweet. I like that The Wire is always willing to give even the most unlikeable characters these humanizing moments.
-Carver's monologue about how they're gonna flip Bodie and crack the entire case…oh season 1 Carv, what a beautiful, simple world you live in.
-Below the cut, gratuitous nudity and a chiastic structure. But first, an EPOCHAL moment in television history:
Seriously, I was not watching The Wire in 2002 but I do remember the era and man it's hard to overstate how bold a move this was, especially for characters in this particular social world. And it's done with such confidence and grace. Omar one of the most important TV characters ever truly.
-Love that the guys all got dressed in their basketball outfits just to stand around, gossip, and take orders:
-And then Avon is shirtless for truly no reason. He stands there and takes like three shots the whole scene, he is NOT working up a sweat.
(Ok I know the real reason he's shirtless is so Wood Harris can show off, which, completely understandable. Congratulations Mr. Harris on your torso)
-Ok so Stringer and Avon are concerned that Omar and the police knew the stash location and they immediately jump to thinking there's a snitch….uhh my dudes, have you considered that you have guys going in and out of the stash house in BROAD DAYLIGHT and anyone can apparently park any car next to the Pit and watch for as long as they want! Maybe that's your problem!
-I think this is Stringer's first ducking-his-head subby moment. Sir put those eyes AWAY.
And this is after he checks Avon out like 4 different times jesus christ it's exhausting.
-There's a really nice touch where, of course, the kids running around on the street where McNulty drops Bubbles off are contrasted with the kids playing soccer in the suburbs, but ALSO the kids playing basketball with a milk crate in the Pit are contrasted with Avon & co at the gym. And the four scenes are all in a row in a chiastic (ABBA) structure! Here they are in order:
"Thin line 'tween heaven and here" is not just about the suburbs vs. the inner city, it's also about the kingpins/top soldiers vs. the projects kids and hoppers.
-Ok I have logistical questions about Bodie's return from Boy's Village which I'm saving for a separate post, but him limping back into the Pit with his face all beat up is pretty badass. Some real cowboy shit. Look at Dee's face, though:
He is NOT happy, he really thought he had Bodie out of his hair and could continue schooling Poot and Wallace in peace. Nope! Bodie is back, and he's more insubordinate than ever!
I mean, he's not wrong.
-You might expect Carver to have this nice scene with Bodie's grandma instead of Herc, since Carv is clearly already being established as the one intended for character development. But I like that it's Herc...Carv is from East Baltimore. He probably knew many families like Bodie's growing up. He knows these stories. We don't really know anything about Herc's background but I think there is more room for him to be affected here.
-McNulty calling Phelan from a payphone like he's a dealer calling for a re-up hehehe
-Daniels' "Let's do it."...the way this show will have you whooping and hollering with excitement over an affidavit to clone a pager! That's the wire, baby!
-Huge shoutout to Clarke Peters for taking what is essentially two minutes of exposition and making it absolutely captivating. Also Lester has excellent taste in bars, this place looks so cool:
-Maybe Kima's hottest look ever oh my lord:
-Man, these Kima/Cheryl scenes hit different when you know where they end up. Cheryl tries to gently reprimand Kima for not going to her class, but with this fake-playful tone like she knows Kima won't react well if she's serious about it. "You said yourself you needed to do something else...something better for us," meaning presumably something more conducive to having kids. And then Kima changes the subject with sex :/
