Let’s talk about Baltimore. Most people outside of the D.C. area know Charm City from David Simon’s The Wire. The Wire is a masterfully conceptualized piece of work that truly transcended television (full disclosure: I took an entire course on it in undergrad). Simon, in an interview, once said that:
The Wire is a Greek tragedy in which the postmodern institutions are the Olympian forces. It’s the police department, or the drug economy, or the political structures, or the school administration, or the macroeconomic forces that are throwing the lightning bolts and hitting people in the ass for no decent reason. In much of television, and in a good deal of our stage drama, individuals are often portrayed as rising above institutions to achieve catharsis. In this drama, the institutions always prove larger, and those characters with hubris enough to challenge the postmodern construct of American empire are invariably mocked, marginalized, or crushed. Greek tragedy for the new millennium, so to speak.