I love that [Season 2] is not about a bunch of beautiful people. […] I think it’s really unglamorous. I think it is true to itself, in that it’s about working people. There isn’t a ton of dynamism in their lives, and there isn’t a ton of dynamism in their story, either. But it’s analogous to so many things.
The encroachment of automation in the workplace—which was obviously incredibly prescient—it’s really not that different from any of these other massive shifts in culture that really threaten the decimation of huge groups of people and huge ways of life. […] I think that applies across the board with The Wire, whether it’s an institution like the media or a group of people who are, regardless of color, oppressed, neglected, left out of the process. And these waves of culture—and I think in David’s worldview it’s pretty clear that they’re almost always if not always indelibly intertwined with an economic system—it comes like locusts and wipes people out, and nobody cares.
So it’s that juxtaposition between the sort of agony, the pain, and the desperation of the people who are under siege and the world around them that is either looking away because there’s money over there, or they just don’t care.
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