September 2, 2009 The Wire
Watch it and love it. As a story about gangs, drugs, inequality and social/institutional and legislative failure to protect poor communities, The Wire is astounding telly. In portraying the interconnections between the structures of power and the powerless – and showing how these are not always embedded in formal institutions – it comments on the complexity of social life in the cleverest ways. Words have been spilled on its brilliance (see http://www.guardian.co.uk/media/wire).
No way to make a living loves it for talking about work. The Wire portrays work in a way that makes sense to people who’ve had a job. It’s not like other shows: the key tension is not who will shag whom, (as in Grey’s Anatomy, which Dawn intends to discuss at length on this site), nor is work a conveniently located site for the continuation of ongoing local stories (like the factory in Coronation Street). It offers a series of workplaces, at varying levels of formality, where people are competent or incompetent, good, bossy, well-meaning, faceless or charismatic; and where the individual is constrained by an organisational structure within which he or she can struggle or shine, and by work colleagues who can enable, intervene and obstruct. The Wire is the best portrayal of work you’ll see on TV and there will be an occasional strand to this blog to discuss …
- Corner boys and starting work; the division of labour
- ‘an inelastic product’ – formal education, skills and employability
- masculinity and the police force
- unionisation and brotherhood
- politics a work
- crusaders and volunteers
- Templetons and how to deal with them.
- Office spaces
- The relationship between inside and outside,
- sociality around work … and so on. OK, I’ll shut up.
I will be talking about some of this at The Wire as Social Science Fiction conference, where Ewen Speed and I are giving a paper on ‘Mutualism and Markets: An Exploration of Moral Regulation in The Wire; http://www.cresc.ac.uk/events/Wireconference.html