David Simon wrote in the Guardian today. I hate trying to write anything about the Wire. I can’t do it justice. I just end up gushing about its genius or calling it Dickensian, a phrase that was neatly satirised in Series 5.

I also hate the way that appreciating the Wire has become a shorthand for being “hip and sensitive” in the UK, as I noticed when a fair few people interviewed in the Guardian, a couple of months ago, claimed to “only have a TV to watch the Wire….” (I find the Guardian’s Wire discussion forum too irritating to read, even though I have to admit that it’s mainly because the people who contribute so lamely and pretentiously just make me aware how lame and pretentious I sound on the same subject.)

Anyway, there’s a bit in this excellent piece where I think David Simon misunderstands the European popularity of the Wire.

But at the same time, I’m acutely aware that our dystopian depiction of Baltimore has more appeal the farther one travels from America. The Wire is, of course, dissent of a kind and it is true that there are many of my countrymen who are in fundamental disagreement with the manner in which the nation is being governed and managed. But somehow, it sounds better to my ear when it’s my own people talking trash and calling our problems out……
…But the emotion in all of that sometimes leads the overseas commentary about Baltimore and The Wire toward something that I don’t recognise as accurate.
Baltimore is not the inner circle of hell. It is not entirely devoured by a drug economy that serves as its last viable industry. It is not a place in which gangsters routinely fire clip after clip, spraying the streets in daylight ambushes. It is not unlivable, or devoid of humanity, or a reservoir of unmitigated human despair.

It may be about Baltimore but it’s not just about Baltimore. The truth of the Wire isn’t that it describes Baltimore life accurately. It clearly doesn’t. It’s a TV series not a fly-on-the-wall documentary. Artistic licence, ffs. What is true in the Wire is the truth of art, i.e. what it says about being the human condition. You’d imagine the only people who would watch it and assume it’s all literally true would be those people who follow soap story-lines as if they are reportage.

I don’t know anything about Baltimore but it’s a pretty “true” depiction of my neighbourhood and my city. Parts of my neighbourhood and parts of the life of my city, granted. Not true all the time and not true of everybody, but there’s enough reality in there for me to recognise it:

Racism; violence; gang warfare; war on drugs; wars over drugs; corruption; soul-destroying education; hopeless kids; traditional industries destroyed; gentrification, and all.

That doesn’t make my city an inner circle of hell, either, although parts of it might qualify as outer circles. Baltimore doesn’t have a monopoly on that stuff. It could be almost any city in the former industrial centres. It’s also just as true of many cities in the emerging economies. What’s amazing about the Wire is not just its accurate sociology, though.

It’s the writing, it’s the characters, it’s the acting, it’s the attention to visual detail. It’s the fact that someone managed to make a series that is really great on a standard superficial TV-watching level and still cram in a social analysis at the same time.