For Stephen King, ‘There’s Nothing Better’ Than ‘The Wire’ and reveals the subtle and underrated side of the HBO masterpiece he loves

We can argue, clutching at the dawn, long and hard about which is the best series in history. Although we can put ourselves down when talking about great stories on HBOThere’s enough division (even the server isn’t entirely clear) to crown #1. One of the greatest fantasy masters of recent decades is clear: “The Wire.”

This was recently stated by Stephen King. The writer of the critically acclaimed and highly adapted (From The Shining to It, to name a few) has been reviewing the series he created David Simon and Ed Burns to HBO and had nothing but positive words for a police officer who, in his words, “He never grew old.”

For the writer, there is noNothing betterFrom “The Wire”. So much so that fifteen years after its end “It is still the series by which other dramas are judged.”.

Music, teacher

But Stephen King does not stop at questions of text or direction, but admits Completely subtle look From his favorite series:

“‘The Wire’ season 1: No music telling me how I feel. I would have loved that. The final episode ends with a musical montage and that’s it.”

One aspect that often goes unnoticed in a fast-paced world of soap operas: Episodic music is ubiquitous at all times, especially in true crime thrillers. Fortunately, Simon and his cohorts decided to use music in a more organic way., which gives it greater meaning and significance when used. Significance even at the plot level.

Impressive music lover (we have “Treme”) David Simon and Ed Burns and the music department overseen by Blake Leyh have dedicated themselves to weaving together a carefully selected collection to put more context and greater narrative richness onto an already prolific rug. Music is another narrative element. Something that the rest covers (dialogues, acting… everything else), but a novel nonetheless.

In fact, the first time the music is heard is with the song Izzo (HOVA) The great classic Jay-Z movie And it’s quite a plot device for one of the scenes in the first episode: D’Angelo (Larry Gillard Jr.) brags in the car about how he got out of court thanks to a bribed witness. Wee-Bey (Hasan Johnson) turns on the radio (with this song) to silence D’Angelo: No business talk in the car.

This will be the default use of music in “The Wire”. In the series, what the characters hear will sound likeWhat was played over the speakers at the disco, or the pub on duty, or “The Farmer’s in the Dale” whistled by Omar (Michael K. Williams), etc. Which is not to say that they also did not use the soundtrack in a more “traditional” way: there we have montages of the season finales, very meticulously executed.

So, in fact, King is right again when it comes to highlighting an aspect We usually forget when we talk about series Like “The Wire”: the music. Using it rewrites, once again, the way things are done on TV. Like the whole series in general.

In Espinov | The best series in history