By never garnering any Emmy awards for any category, The Wire exposed the award committees fear to publicize shows that pointedly criticize the status quo in America. In the opening scene of the pilot episode, David Simon keys everyone in on the show's theme. On a cold Baltimore street, Jimmy McNulty, a brilliant but brazenly maverick detective, talks to someone who witnessed Omar Isiah Betts', nicknamed as “Snot Boogie's,” murder (Alliteration). The witness explains how at the local craps game every week, Snot Boogie would play through several roun...
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...rano or Jamie Lannister; specifically, the tales of Bubbles, a loveable dope-fiend/police-informant and gay stick-up man Omar Little who steals from drug dealers.
Upon concluding The Wire, one has a broad scope of what has (or rather, has not) happened to inner-city communities. Precisely, one sees David Simon's interpretation of how the black communities in Baltimore have fallen to the worst, most profitable form of welfare around, the illegal drug-trade (Metaphor). Yet even though every aspect of the show get kudos, its award shelf is empty because its subject matter was too incisive for people to not apply it to what has actually happened to black communities today. If everyone in America experienced The Wire, the call to reform America's drug policy could only get louder, so the Emmys committee chose not to nominate for a mere fraction of the awards it deserved.
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