One of television's most critically acclaimed programs, the Peabody Award-winning drama series 'The Wire' continues to challenge viewers with a "cop show" unlike anything on air.
The first season of 'The Wire' explores the often-futile efforts of police to infiltrate a West Baltimore drug ring headed by Avon Barksdale and his lieutenant, Stringer Bell.
In Seasons Two and Three, as the Barksdale investigation escalates, new storylines involving pressures on the working class and the city's political leadership are introduced.
Season Four focuses on the stories of several young boys in the public school system, struggling with problems at home and the lure of the corner - set against the rise of a new drug empire in West Baltimore and a new Mayor in City Hall.
In the fifth and final season, while continuing its powerful portrayals of crime, law enforcement and politics in West Baltimore, the series expands its focus with an examination of the media and the ever-increasing distance between perception and reality
In the projects. On the docks. In City Hall. In the schools. And now, in the media. The places and faces have changed, but the game remains the same. Times are tough for the detail. Mayor Carcetti has slashed the department's budget to the bone. Police are operating without overtime, some without cars and radios.
As Season 5 begins we are introduced to The Baltimore Sun (recreated in painstaking detail), chronicling the efforts of the harried city editor to squeeze out stories in the face of downsizing by the paper's profit-motivated parent company. As we'll see, the Sun's cuts echo those facing Carcetti and the police department, which must make hard choices involving overtime, equipment and personnel - including members of the detail assigned to monitor Marlo and his ruthless crew.