You want a cliffhanger? Here’s your cliffhanger…
Episode #9: “Game Day”
“Maybe we won.” – Herc
Freamon gets Sydnor and Prez started on the Barksdale money trail. Omar gives East side kingpin Proposition Joe a stolen package for the opportunity to parlay with him. Avon and Proposition Joe host an East side vs. West side basketball game, giving the detectives the first glimpse of their elusive target. Omar attempts to kill Avon, but is himself wounded.
New Characters:
Proposition Joe (Eastside kingpin)
Rae (Bubbles’ sister)
Episode #10: “The Cost”
“And then he dropped the bracelets…” – Greggs
After being clean for three days, Bubbles gets some strong advice from a former addict. Avon and Stringer tighten up ship following Omar’s attempted hit on Avon. The detail identifies a major Barksdale stash house and an undercover operation has terrible consequences. Omar and Stringer Bell meet for a parlay.
Deaths:
Orlando
I was particular struck by the prevalence and prominence of domestic scenes in episodes 9 and 10. The viewer gets to sit in on the domestic and judicial dispute between the McNultys over child custody. Numerous instances have proven Jim’s devotion, and downright addiction, to his job and finally we see the real costs that the job has had in his life and the lives of those around him. With Bunk’s drunken declaration that “Jim is bad for people” still ringing in our ears from episode 8(?), the court scene with a McNulty as both defendant and plaintiff is particularly poignant.
Similarly, the bar scene with Keema and her friends relaxing is a nice portrayal of the afterhours life of a cop. Despite the joyous atmosphere, tension is visible between Keema and her friends and her girlfriend in particular. There is an evident social divide between the well-off, college educated friends and the streetwise and tough, but less well-off Keema. The obvious displeasure that Keema’s girlfriend exhibits during Keema’s harrowing story potentially foreshadows future hardships in their relationship.
We are presented with snippets of cops’ relationships: McNulty’s that has gone sour and Keema’s that is still blooming. Unlike other cop shows, The Wire forces viewers to confront that the police are subject to the same pressures and faults as citizens, and in their difficult jobs, perhaps even more so.
I particularly liked the way that episode 10 began, with Bubbles sitting on a park bench, watching little children play with bubbles. The kids are laughing, running around, and having a great time in their youth and innocence. In a way, I think that during this scene, we see Bubbles reflecting on his own youth and innocence and just how fleeting it turned out to be. As he sits on the bench, a few older men walk by and say “What’ up, Bubs?” In this moment, Bubbles’ two worlds meet: that of his innocence and that of his present state. He is caught up in the emotions of “getting clean” and appears extremely contemplative in this scene. I think that it is beautifully done and extremely saddening.
Not only is Bubbs’ scene beautiful and saddening as Addison stated above, it creates a stark contrast to both the rest of the events in the episode and many of the previous scenes with Bubbs. The rest of the episode is fairly fast paced, and particularly at the end, chaotic. Bubbs’ scene takes a close look at his personal struggles and his effort to get clean. His interaction with Keema sets up the contrast between his scene and the ending scene. We see Keema and Bubbs and their stable friendship, with Keema willing to trust Bubbs and help him start a new life. This scene is very calming and hopeful, which makes the ending scene all the more jarring and unexpected.
In earlier episodes, we see Bubbs as a positive character, but he still has the tendencies and addictions that his lifestyle suggests. He does positive things but he never is inclined to stop using drugs. In episode 10 he begins the effort to go clean and is displayed in a sunny, happy environment, someplace we rarely see Bubbs. It will be interesting to see how his efforts turn out in later episodes.
D and Wallace really connected in Episode 9. When Wallace came out to the pit they had a brief one on one. D told Wallace, “You got a good heart.” D then gave Wallace some money to help him out. Later in the episode when Wallace is being interrogated he nearly gives up D in connection with the murder of the girl in the apartment but he stops himself- he likes D and refuses to rat him out.
-I also found it interesting in this episode that although the police are making a lot of progress with the wire tap and such, they are still VERY removed from the streets. Nothing is more apparent than when Carver and Herc are driving through the streets, wondering where everyone is, only to find out that the biggest basketball game in the city is going on.
First of all, HOLY CRAP!!! I was in absolute shock and awe at the end of episode 10. I couldn’t believe that one of the main protagonists, and one of the favorites, got killed/terribly wounded. I was so rattled because the entire show thus far has yet to evoke much emotion in any of the shootings or deaths (we were so far removed from the murders) and we didn’t have any warning or desensitizing prior to this dramatic moment.
I love Greggs, I think she is one of the strongest, most appealing, and exciting (especially in particular scenes!) characters. Having said that, even as rattled as I was at her potential death, I hope she does actually die. I know its a bold statement and I know its borderline blasphemy to say, but I just think it would make The Wire that much more of a pioneering show, and that much more of an unconventional and jarring series. Not to mention, it would be a bit tacky and cliche if she survived and came back to the show. However, even if she does, I’m confident that she will play an important and un-cliche role that will further the complexity and excitement of the show. Let’s just hope she can still do certain scenes!!! Totally joking……..but seriously
Did anyone else get surprised by Episode 9’s scene in which Freamon is instructing Prez and Sydnor to look up campaign finance records? It departs from the show’s realist impulse by using audio from one scene (Freamon’s instructions) and visuals from another (Prez and Sydnor following his instructions). Has there been another part of the in which the dialogue is from one scene and visuals from another? Because it happens so rarely in The Wire, it is really fascinating to see the rare instances when the show abandons its documentary-like feel and uses techniques commonly seen in other shows and films.
The scene in episode 6 when Stringer and Avon enter the Pit also comes to mind (use of slowmo, non-diegetic music).
The theme of game playing was most evident in episode 9. I happened to really enjoy the moment when we were all sitting in our seats with anxiety waiting for Ellis and Herc to figure out where the Barksdale crew was hiding. The vacancy of the recognizable areas of Baltimore made us very curious: Why is no one working? What could possibly pause the endless game of drugs? The suspenseful drive around town ended at the site of a basketball game that was taking place between two opposite sides of the projects. The crowds around the street game were abundant. We were then informed that the purpose of the basketball game was to battle for braggn’ rights to the projects. The entire Barksdale crew was actively present for the game. I guess we can say that even on their break they play the game. Ellis and Herc are on a sort of break too as they watched from within the crowd. It was interesting to see Bodie speaking with Herc and Ellis on different terms this time.
Avon and Proposition Joe hosted the basketball game between the East and West side. At first Avon’s team had the upper hand until Proposition Joe revealed that he had a trick up his sleeve: an all-star player. One of Joe’s players clearly fouled one of Avon’s players which caused much fuss. In response, Avon asked the referee what his deal was but received no response; it can be frustrating when sometimes things are unexplainable.
I agree with Addison and Tom that the Bubbles scene is very sad and powerful. For me it represents the battle that many addicts face during their journey towards sobriety. We see that Bubbs wants to be sober as he declares to Keema that he has been off drugs for 3 days. We have the scene in the park where Bubbs is sitting on the bench all day. He notices the trees, the kids playing, and the bright sunny day. He misses the feeling of being happy and enjoying his life without drugs. We see bubbs taking control without being told what to do and we even see keema surprised by his actions. He stays there until night time and this is where we see him fighting the temptation to get high. We see him get really uncomfortable and fight that urge to take drugs. He leaves and tells one of the guys “I aint up” and this is what makes the scene so powerful. “This makes Keema’s shooting that much more saddening because Bubbs has grown close to her and she is the only one he has invested significantly in him.
I also noticed this difference. I think the motivation for this change in visual style is to reinforce the fact that they are entering a new aspect of the investigation “the money”. I feel special attention needed to be given to this moment because this will potentially put even more faces one their cork board.
Like many have noted before the theme of “the game” is becoming increasingly important. I think that the game refers to the drug world and its financing. I found it interesting that the first casualty for the Daniel’s crew occurs when Kima goes undercover to purchase drugs. Unlike when Sydnor went undercover as a addict Kima’s undercover mission could potential damage the structure of “the game”. I also think it important the a large sum of money was involved. This reinforces the danger of getting involved with the money and further highlights Lester warning ” you follow drugs you end up with drug dealers and crackheads but if you follow the money you have no idea where you will end up” Also the unknown territory the police find themselves in at the end of episode 10 reinforces Lester’s quote.
Wierd.
I don’t know, I was actually disappointed by this choice. I guess the choice could be justified by saying that the series of actions was complicated enough that it was necessary to set the voice-over. This forces the audience to understand what is going on.
I thought Avon’s interaction with the ref at the basketball game was interesting and telling in terms of his personality. Initially he confronts the man violently and is very close and physically intimidating. As soon as the ref suggests a solution “a do over” Avon explodes and just as quickly reigns in his temper to tell the man that there are no do-overs and to stand up for himself. This mixture of raw anger and power and tight self control is frightening and leaves the viewer (and those who deal with him in a professional capacity) frightened and awed. This also indicates Avon’s attitude toward the means of calling the shots at the top of the very high stakes game he runs. In his role in the Barksdale organization he ensures that individual players who mess up are dealt with decisively and everyone involved knows there are no do-overs in the face of failure.
Another touching moment in these episodes illuminated the character of Shardene for me. When she comes into the office and talks with Lester about his furniture making she has an appreciation for the delicacy and beauty of his work that highlights her sensitivity. It seems that despite her tough talk with D’angelo she yearns for a home with lovely things and someone to love and care for her. The last shot of that sequence where she softly touches the baby in the bassonet Lester has given her as a gift was poignant and touching. I hope that things improve for her in coming episodes as she is a sympathetic character who truly cares for the people around her.
Everything in “Game Day” revolves around the idea of a game. The episode begins with a recruiting session; the “smart play” is for Avon and Omar to call a truce; Johnny informs Bubs that “it’s all in the game” after his near run-in with the dealers from whom he stole; and of course, we see a game of basketball.
Basketball, in its purest form, is simply a game – that is, of course, excluding the projects in Baltimore. This game revolves around trickery, deceit, gambling, bribery, power, and control. Said differently, the basketball game is more about “the game” than it is about basketball itself. One can’t help but wonder whether or not Proposition Joe bribed the referee. We see the measures that Avon will take in order to secure strong players at the start of the episode. What’s more, look at the two men leading each team. This game is more than just basketball; it’s a battle for control of the projects. Omar knows this as well, which is why he approaches Proposition Joe following the game to deliver the merchandise he stole from the Barksdale organization. I get the feeling that we’ve only seen the beginning of Proposition Joe.
yea, this scene was interesting in that aspect. and it was very distracting. Mittell mentioned the change in directors for this episode, and i believe that he also mentioned that for this season, it was the only episode that was directed by this particular person. It was a very interesting choice given the layout of the show. I hear what Benjamin is saying above, in the sense that it is a new direction that the show is taking in “following the money” and one that opens up new complications and story lines that will last throughout the rest of the season, and that will force us to reinterpret previous scenes from past episodes. I didnt like the choice very much either, but there seems to be some rational behind the choice that is tied to the tedious and complicated nature of the task. but because the wire tap seems equally bureaucratic and tedious, it is puzzling why such a choice was made.
The scene with the ref is griping and powerful. the idea of a do-over gives us a little more insight into Avon’s philosophies. “A Do-over,” completely undermines the object of the game. So far in the series, we have seen the metaphor of the game be used in these explicit metaphors and references, and in an episode called “The game” it is appropriate that these interactions provide symbols for the greater structure of the drug and police worlds. As we have heard before, the game is rigged. And as Sarah and Emily mentioned, it appears that the basketball game, like any of the other “games” throughout the series, is also rigged, is unwinnable. Proposition Joe’s surprise forward, the ref and his seemingly faulty call, all point to this assumption. However, beyond that, there is also the more complex understanding of Avon. In this scene, I was reminded of the scene in the clinic in episode 5, where D’Angelo and Avon go to visit their uncle…”be it a little late, be it a little slow, that’s how the game works…but how are you ever not gonna be late or slow.”…the idea of a do over in this life does not exist. Life appears black and white, either things happen, or they don’t, in some ways. When things get down to the wire (no pun intended) there is no chance to redo things. Life happens. You have to play the game smart, or don’t play at all.
There are rules to the game, some are implied, others are explicit, and it is up to the participants to understand those rules, or be out. And if the rules aren’t clear, best believe someone will take your ass out! Orlando learns this the hard way. His role in the game was a front man. He was to be clean, hold a liquor license, and maintain the charade. But as Attorney Maurice Levy let him know “you want to be in the game—now you’re in the game.” The rules are simple, but not clear.
The game of cat and mouse also become symbolic within this episode when daniels, sydnor and carver are tailing Avon after the basketball game. McNulty, chooses not to be apart of the chase because it makes no difference, the game he is playing involves bigger stakes, and more meaningful captures. The chase between the police and Avon depicts avons knowledge of the streets, and of his enemies. In episode five and others, we see avon being “past careful” as Wee Bay puts it. He understands his territory and his environment. And while stringer and others act as his protectors, he is king. He knows, and he commands this scene, waving condescendingly to his hunters with the knowledge that he can play the game better than any of them.
But the game is not just the drug world, and the multiple parties and systems that finance it. As Lester begins to reveal, the byproducts of drugs, the money, is everywhere. And that the entire capitalistic systems, its morals, its goals, its structures, are a game. “you start chasing the drugs, you get drug users, and drug dealers. –But you start chasing the money….” It is everywhere. And it is ugly. And for the people to whom the system represents their livelihoods, i.e. Daniels,(who’s goals for rank seem directly and increasingly disillusioned through the case), suggests that what we value as a collective nation, is not rendered valuable.
I thought it very jarring, though I agree with Ethi in suspecting the director’s intention was to overtly highlight the menial but crucial paper trail involved in police work. In that way this scene felt almost like an instructional video.
I absolutely want to echo the fantastic scenes with Bubbles. When Bubs is driven to thievery of drugs–though at the time a very funny scene–immediately after a bystander mistaken to be him is brutally beat. We are specifically manipulated here into conceiving this act driven by drug addiction in a lighthearted manner, this brief moment of lowered guard then shattered by the harsh and very real consequences of his crime. In indirectly hurting an innocent citizen, Bubs has transgressed the code outlined by Omar and Bunk and is clearly disturbed by this. The fact the he dope is not even pure exacerbates his frustration and guilt, emotions played so convincingly by Andre Royo.
Yet when he moves to suburbia to ask his sister for help, we are reminded of his last visit with McNulty to that sort of neighborhood – though not fraught with the overt crime that the projects have, there are more covert forms of violence (Bubs observed McNulty’s strained familial ties, noting “there’s a thin line between heaven and here”). This time, as Bubs stands outside, reduced to his shame, a storm rumbles outside as rain falls and a strong wind begins to blow. The desire for domestic peace–also echoed in Shardene’s comment that Freamon “should have a home” for his dollhouse furniture–is revealed to be a false vision, and those from the streets simply cannot expect to find content there.