The first 7 episodes were slow as fuk tho
I honestly didn't give a shyt about anything that happened before or after the 4th season

Were you watching while it was running? You waited 4 yrs for it to get good?
Im gonna stick thru it tho, why omar gotta be gay tho![]()


Im gonna stick thru it tho, why omar gotta be gay tho![]()



Hamsterdam, did happen bro...breaking bad is a godo show but its too unrealistic for me to label it goat
a 50 year old chem teacher/pushover all of a sudden kills numerous drug capos, including one of the most shrewd who took out cartel members, and becomes a drug bawse
in less than a year
and his brother is a very smart DEA agent?
the Wire is slower but you could see all that pretty much happening except Hamsterdam
breaking bad is a godo show but its too unrealistic for me to label it goat
a 50 year old chem teacher/pushover all of a sudden kills numerous drug capos, including one of the most shrewd who took out cartel members, and becomes a drug bawse
in less than a year
and his brother is a very smart DEA agent?
the Wire is slower but you could see all that pretty much happening except Hamsterdam
at Hamsterdam being real. I've never heard that before in my life, or is this another case of the writers taking something real (like the real Omar surviving a 6 story jump) and turning it into bullshyt (not only did he survive, but he limped around killing people using a mop as a crutch).
at people talking about "The Wire" is realistic. That shyt is less realistic than "Breaking Bad", because unlike "The Wire" that show never claimed realism. It's mission statement was: turn the protagonist into an antagonist. And they succeeded. Meanwhile "The Wire" is supposed to be real but turned into "Dexter" in the last season.We’re stealing instead from an earlier, less-traveled construct—the Greeks—lifting our thematic stance wholesale from Aeschylus, Sophocles, Euripides to create doomed and fated protagonists who confront a rigged game and their own mortality. The modern mind—particularly those of us in the West—finds such fatalism ancient and discomfiting, I think. We are a pretty self-actualized, self-worshipping crowd of postmoderns and the idea that for all of our wherewithal and discretionary income and leisure, we’re still fated by indifferent gods, feels to us antiquated and superstitious. We don’t accept our gods on such terms anymore; by and large, with the exception of the fundamentalists among us, we don’t even grant Yahweh himself that kind of unbridled, interventionist authority.
But instead of the old gods, 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.
at using realism as some kinda yardstick for how good a show is. You might as well stick to the Discovery Channel.at Hamsterdam being real. I've never heard that before in my life,
Fred.
You never heard of Skid Row have you? Its basically Hamsterdam for homeless and druggies. here lemme help you out. Skid Row, Los Angeles - Wikipedia, the free encyclopedia