representations of education in hbo's the wire, season 4

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Teacher Education Quarterly, Spring 2010

Representations of Educationin HBO’s The Wire, Season 4

By James Trier

The WireisacrimedramathatairedforfiveseasonsontheHomeBoxOf-fice(HBO)cablechannelfrom2002-2008.TheentireseriesissetinBaltimore,Maryland,andasKinder(2008)pointsout,“EachseasonThe Wireshiftsfocustoadifferentsegmentofsociety:thedrugwars,thedocks,citypolitics,education,andthemedia”(p.52).Theseriesexplores,inLanahan’s(2008)words,

anincreasinglybrutalandcoarsesocietythroughtheprismofBaltimore,whosepostindustrialcapitalismhasdecimatedtheworking-classwageandsharplydividedthehavesandhave-nots.Thecity’sbloatedbureaucraciessustaintheinequality.Theabsenceofadecentpublic-schooleducationormeaningfulpoliticalreformleavesanunskilledunderclasstrappedbetweenarampantillegaldrugeconomyandavicious“warondrugs.”(p.24)

My main purpose in this article is to introduce season four of The Wire—the

James Trier is an associate professor in the School of Education at the University of North Carolina at Chapel Hill, Chapel Hill, North Carolina.

“education”season—toreaderswhohaveeitherneverseenanyoftheseries,orwhohaveseensomeofitbutnotseasonfour.Specifically,Iwillattempttoshowthatseasonfourholdsgreatpedagogicalpotentialforacademicsineducation.1First,though,IwillpresentexamplesofthecriticalacclaimthatThe Wirereceivedthroughoutitsrun,andIwillintroducethebackgroundsofthecreatorsandmainwritersoftheseries,DavidSimonandEdBurns.

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The Wire: The Best Show on Television (Ever) The Wiredrewmuchcriticalacclaim,beingdescribedas“themostaggressivelyexperimentalprogramontelevision”(Kehr,2005);as“oneofthemostdemandingandthought-provokingseriesevertogracetelevision”(Lowry,2006);andas“amasterpiece”thatis“oneofthegreatachievementsintelevisionartistry”(Good-man,2006).ThiskindofacclaimisexemplifiedbyJacobWeisberg(2006),who,inafrequently-citedcolumn,describedThe Wireas“surelythebestTVshoweverbroadcastinAmerica,”adding:“Nootherprogramhaseverdoneanythingremotelylikewhatthisonedoes,namelytoportraythesocial,political,andeconomiclifeofanAmericancitywiththescope,observationalprecision,andmoralvisionofgreatliterature.” Weisberg’scomparisonofThe Wiretogreatliteraturederivesfromthevisionoftheseriescreator,DavidSimon,whoconceivedtheshowas“avisualnovel”(Rothkerch,2002),andthisnovelisticqualityhasbeenremarkedonbymanywhohavewrittenabouttheseries,suchasLanahan(2008),whodescribedwhatSimonwasdoingwiththeseriesasfollows:

Simonwaswritingatelevisednovel,andabigone.Innumerablesubplotscameandwent,andmaincharactersdisappearedfromtheshowforseveralepisodesatatime.Nothingeverresolveditselfinanhour,andtherewerenogoodguysorbadguys.Allwereindividualsconstrainedbytheirinstitutions,driventocompro-misebetweenconscience,greed,andambition.Facetsoftheircharactersemergedslowlyovertime.Theyspokeinthesometimes-unintelligiblevernacularsoftheirsubcultures.Allofthismadeunprecedenteddemandsonviewersandprovidedimmenserewardtothosewhostuckaround.ArighteousangeratthefailureofoursocialinstitutionsdrivesThe Wire,butthepassionateideasthatfuelitarehiddenseverallayersdown.(p.24)2

DavidSimonandEdBurnsaretheoriginatingsourcesofwhatLanahande-scribesas“righteousanger”and“passionateideas”—andthesources,too,ofthedeepknowledgeandthemultilayeredexperiencesthatmanifestthemselvesinwhatWeisberg(2006)describedastherealisticportrayalof“thesocial,political,andeconomiclifeofanAmericancity.”Simon—theshow’screator,producer,andchiefwriter—grewupinWashington,D.C.,attendedtheUniversityofMaryland,andbecameacrimereporterfortheBaltimore Sun,whereheworkedfrom1983until1995.Intheearly1980s,SimonmetEdBurns,whowouldeventuallybecomehismaincollaboratoronvariousprojects.Burns,anativeofBaltimore,servedinVietNamand,uponreturningfromthewar,attendedLoyolaCollegeinBaltimoreandearnedadegreeinhistory(withaminorinphilosophy).Upongraduating,BurnsjoinedtheBaltimorepoliceforcein1971andbecameahomicidedetective,aswellasoneofSimon’smainsourcesinSimon’sreportingofcrimeinBaltimore. In1991,Simonpublishedhisfirstbook,Homicide: A Year on the Killing Streets,which became the basis for the television crime seriesHomicide (1993-1999),andforwhichSimonwasoneofthewriters.Alsoin1991,EdBurnsretiredfrom

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thepolicedepartmentafter20years,andSimonapproachedBurns,accordingtoWilson(2008),“withanideathatwouldprobablyrepulsemostretireddetectives:spendingayearonthestreetsofadrug-infestedghetto,chroniclingthelivesoftheusersandthedealers—theverypeopleheusedtolockup—forabookthatbecameThe Corner: A Year in the Life of an Inner-City Neighborhoodin1997.”(HBOsubsequentlyadaptedthebookintoamini-seriesin2000.)AfterfinishingtheresearchforThe Corner,Simon(whowasonaleaveofabsencefromtheSuntoworkonThe Corner)eventually(andbitterly)tookabuyoutfromthenewspaperaspartofthepaper’sdownsizing.AndBurnsthenbecameateacher,spendingfouryearsteachinggeographyinamiddleschoolinBaltimore,andanotherthreeyearsasahighschoolteacherinamagnetschool.Eventually,SimoncameknockingagainonBurns’door,andthetwoconceptualizedtheseriesThe Wire,forwhichtheyservedasthemainco-writersduringallfiveseasons.(AfterThe Wireended,thetwoalsocollaboratedontheHBOmini-seriesGeneration Kill.)3 NowthatIhavepresentedexamplesofthecriticalacclaimthatThe WirehasdrawnanddescribedthebackgroundsofSimonandBurns,IwillexplainwhyIthinkseasonfouroftheseriesholdsgreatpedagogicalpotentialforacademicsineducation.Todothis,Iamimaginingapedagogicalscenarioinwhichallofseasonfourwouldbearequired“text”foracourse.4AnessentialpointthatIneedtomakeclearisthatinthisarticle,Iwillnotdivulgeanyfatal“spoilers”—i.e.,informationthatrevealshowstorylinesendandwhatultimatelyhappenstothemaincharacters.MyreasonfordoingthisisthatIamimaginingreaderswhoarelikemewhenitcomesto theirviewingpleasures.IamahardcorepuristwhovigilantlyguardsagainstbeingexposedtospoilersoffilmsortelevisionprogramsthatIplantosee.So,ifIhadneverseenThe Wireandcameacrossanarticlethatincludedspoilers,IwouldnothavereadituntilafterIhadviewedallfiveseasonsoftheseries.Ididnotwanttocreatethatverysituationwithpotentialreadersofthisarticle.

The Wire as a Required Text for a Course Inthisscenario,perhapsthecourseisan“IntroductiontoSchooling”course,ora“FoundationsofEducation”course,oramethodscourse(allwithinateachereducationprogram).Whatmattersisnotthetypeofimaginedcourse,butthefactthatseasonfourofThe Wirewouldbeassignedasarequiredtext.Inotherwords,Iwillnotbeconceptualizingthecurricularmake-upofthewholecourse.Rather,Iwillbediscussingafewpedagogicalpossibilitiesifseasonfourbecamearequiredtext,withoneepisodeassignedforviewingeachweekthroughoutthecourse.(Sothe13hoursofcontentfromseasonfourwouldfitperfectlyintoatypical15-weeksemestercourse.) Iwanttoacknowledgethatassigninganepisodeeachweekmightseemlikeapedagogicaldecisionthattakespreciousseminartimeawayfromaddressing“thebasics”ofatypicaleducationcourse,includingstatecredentialingrequirements.


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ThatiswhyIwouldassigntheepisodestobeviewedoutsideofseminar.EithereachstudentwouldbuytheboxsetofDVDsforseasonfourtoviewtheepisodesonhisorherown,orstudentscouldformgroupsforviewingtheepisodes.Theboxsetcostsaboutthesameasarequiredtextforacourse,andthetimetoviewanepisodewouldtakeaboutthesametime(maybeless)tocloselyreadadenseacademicarticle.IwouldaddthatviewingamediatextsuchasThe Wirewouldalmostcertainlybeahighlyengagingexperienceforstudents.Also,thepedagogi-caldecisiontotakeupamediatextasaserioustextthatisequalinimportancetoacademicprinttextsenactsacentralculturalstudiespracticeofchallengingthedistinctionmadebetween“high”and“low”texts,sothatthe“low”textofpopularcultureistreatedasbeingasimportantasthe“high”textofacademicprintread-ings(seeFiske,1987,1989a,1989b).Mostimportant,though,isthatseasonfourofThe Wirecancreatepedagogicalopportunitiestoaddressmanyof“thebasics”ofaneducationcourse,asIhopetoshowintherestofthisarticle. Oneobviousmajoreffectoftakinguptheentiretyofseasonfouristhatallofthemainstorylinescanbefullyanalyzedfrombeginningtoend.Theothermajoreffectisthatthemanyinterconnections,intersections,andcollisionsbetweentheeducational,political,social,legal,and“streets/corner”storylinescanbemade.Givenmymainpurposeinthisarticle,Iwillgointomoredetailaboutthetwoeducationalstorylinesandfollowupwithbriefersummariesofandarticulationswithsomeothermainstorylines.Specifically, in thesectionsthatfollow,Iwillcombinepartialdiscussionsofthestorylineswithoneormoresuggestionsforhowthestorylinescanbepedagogicallyengaged.

Prez and the “Stations of the Cross” OnemaineducationstorylineofseasonfourinvolvesaformerpolicedetectivenamedRolandPryzbylewski,knowntoeveryoneasPrez.ThecharacterofPrez(whoisWhite)reachesbacktoseasonone,whenherevealedhimself(duringthefirstthreeseasons)onmanyoccasionstobetotallyill-suited(evenadangertohim-selfandothers)asastreetdetective.Attheendofseasonthree,Prezhadresignedfromthepoliceforce,butinseasonfourPrezresurfacesinthefirstepisode(“BoysofSummer”)whenhegoestoTilghmanMiddleSchoolonBaltimore’swestside,wherehemeetswithPrincipalClaudellWithers(AfricanAmerican)andAssistantPrincipalMarciaDonnelly(White).Prezexplainsthathehasatemporaryteacher’slicense,thatheisamathteacher,andthatheusedtobeaBaltimorepoliceofficer.Heishiredonthespot,whichbeginshisteachingcareer. NearlyallofthestudentsatTilghmanMiddleSchoolareAfricanAmericans,anda storyline involvinganewWhite teacher seemson thesurfaceas thoughThe Wiremightpresentthekindof“teachersavior”narrativetoldinsuchfilmsasBlackboard Jungle,To Sir with Love,Dangerous Minds,Lean on Me,Stand and Deliver,Freedom Writers,andThe Ron Clark Story.JamesHynes(2006),inan

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articleaboutThe Wire,offeredthisdescriptionofthebasicstorylineofmostteachersaviormovies:

WeallknowtheStationsoftheCrossfortheinspirational-teacherfilmbynow:[1]thenaiveyoungteacher’sdisastrousfirstclass[Up the Down Staircase]5;[2]thestaffmeetingthatdevolvesintoabitchsessionaboutunrulystudents,pointlesspaperworkandtheidioticdirectivesoftheadministration[Teachers];[3]theembit-teredveteranteachercondescendingtotheidealisticrookieintheteacher’slounge[Freedom Writers];[4]aclimacticconfrontationthateitherthreatensviolenceordeliversit[Blackboard Jungle];[5]andafinal,tear-jerkingmomentofredemptionas[6]theteach[er]finallyreachesthekids[Dangerous Minds].

Hynesthenobserves:“SomeofthesemomentsshowupeveninThe Wire,”andthisistrue. Forexample,inepisodetwo(“SoftEyes”),Prezattendsafacultyorientation“thatdevolvesintoabitchsession”(cliché2).6ThefacultymeetingisledbyacheerywomangivingaPowerPointpresentationabouttheacronym“IALAC”(“IAmLoveableandCapable”),whichthepresenterhas theteacherssayaloudinunison.Shiftingfromthishokeyself-affirmationtheme,thepresenteraddressesdisciplineissues,observing:“Anotherhotzoneintheclassroomisthepencilsharp-ener,wherechildrentendtocongregate.”TheorientationistotallyirrelevanttothegrittyrealitiesofteachingatTilghmanMiddleSchool,andtheteachersrebelbymockingthepresenteranddisruptingtheorientationasthecamerafocusescloselyonPrez,whohasthelookofsomeonesuddenlybewilderedastojustwhathehasgottenhimselfinto. Inanotherscene(alsoinepisodetwo),fourfemaleveteranteachersschool“theidealisticrookie”Prezintheteachers’lounge(cliché3).Theyexplainthenecessityofenforcingthesameclassrules:double-spacepapers,usethesameheadingonallpapers,keepthewindowsclosed,andtellstudentsexactlywhattodo.Atonepoint,Prezasksiftheycanagreetonothavekidschewgum,whichmakestheveteranssmileathisnaivety.Theteamleader,Mrs.Sampson,thenadvisesPrez:“There’salottolearn,butfornow,buildinlotsofactivitiesinyourlessonplans.Youcan’thaveenough.Youkeepthembusy,youkeepthemoffguard.”Astheveteranteachersleaveforclass,onetellsPrez,“Youneedsofteyes,”whichPrezdoesn’tunderstand(itmeanstoacquireanunderstandingofthebigpicture). In episode three (“HomeRooms”),wewitness “thenaïveyoung teacher’sdisastrousfirstclass”(cliché1)—actuallyweseePrez’sdisastrousfirstdaysofteaching.Duringhomeroom,astudentnamedRandystealsPrez’shallpasses,andPrezgiveslunchticketstothewrongstudents.PrezonlygetsthelunchticketsbackwhenMrs.Sampsonintervenes.Then,duringPrez’sfirstperiod,wesee“aconfron-tation...thatthreatensviolence”whenPrez’slessonisdisruptedbytwogirlswhoalmostcometoblows.Prezcan’tstoptheconfrontation,whichisdiffusedonlywhenMrs.Sampson(again)appears.Studentsimmediatelyquietdownandreturntotheirseats.Andthenextday(sameepisode),theconfrontationthatthreatened


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violencebecomesviolencedelivered(cliché4)whenoneoftheconfrontationalgirlssuddenlylungesattheother,slashingherfacewitharazor,causinghertofalltothefloorasbloodstreamsfromthewound.Amidthechaos,Prezisstunnedandparalyzed,andMrs.Sampsonagainarrivestohandlethesituation,physicallysubduingthegirlwiththerazor,commandingastudentdowntotheofficetocall911,andtellingeveryonetogetintheirseats. Thenextday(episodefour,“Refugees”),thedisastrousbeginningsofPrez’sfirstdaysofteachingcontinue(cliché4).WhenPrezattemptstotalktostudentsabouttheviolentincident,onestudentinterruptsbysayingheheardarumorthatPrezwasapoliceofficer,whichbreedsmanyshoutedquestions, includingonefromastudentnamedNamond:“Yo,Mr.P.,youeverbeenshot,like”—Namondthensimulatesbeingshotandfallstothefloorasotherboysgatheraroundhimandsimulatekickingandshootinghim.AsPrezrushesovertotheboys,Randy(mentionedabove)slipsoutoftheclassroom.Andinepisodefive(“Alliances”),Prezattemptstoestablishasetofrules,butNamondatonepointmouthsoff,whichcausesPreztogivehimadetention,whichNamondrespondstobygettingoutofhisseatandyelling,“Fuckyou,Prezbo!”PrezordersNamondoutoftheroom,andthoughNamondleaves,hefiresoffthispartingshottoPrez:“Getyourpolicestickoutyourdeskandbeatme.Youknowyoufuckingwantto.” ThesedescriptionsofselectedscenesfromthefirstfiveepisodesrevealthatthePrezstorylinesharesmostoftheclichésthatHynes(2006)describedasmakingupthebasicplotofteachersaviorfilms;andinepisodessix(“MarginofError”)andseven(“UntoOthers”),wealsoseePrezlivinguptoanotherclichéwhenhe“finallyreachesthekids,”gainingtheirtrustandrespect(cliché6).

Pedagogical Suggestions Atthispoint,IwanttosuggestthatoneanalysisthatstudentsinaneducationcoursecanundertakeconcerningthePrezstorylineistoexamineitaccordingtotheclichés(the“stations”or“moments”)thatHynes(2006)identifiesintheabovepassage.Isuggestthreerelatedactivitiesthatwouldtakeplaceafterstudentshaveviewedthefirstfiveepisodesoftheseason.7 Forthefirstactivity,studentswouldbegivenHynes’spassageaboutthe“Sta-tionsoftheCross”andaskedtodiscusswhichclichésthePrezstorylinehasliveduptointhefirstfiveepisodes(theyarelikelytobeabletoeasilyrecognizetheclichésIhavedescribedabove). Thesecondactivitywouldbetohavestudentsformsmallgroupsforthepurposeofviewingandanalyzing(asanassignment)someoftheteachersavior/herofilmsmentionedabove(Freedom Writers,Dangerous Minds,etc.).Hynes’s“StationsoftheCross”passagecouldserveasacriticallensforstructuringthegroups’analyses.Thegroupswouldthenpresenttheiranalysesoftheteachersaviorfilmstotherestoftheclassduringaseminar,showingselectedscenesfeaturingtheclichésinthefilms.Theoverallpurposeofthisactivitywouldbeforstudentstobecomefamiliar

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withtheclichésoftheteachersaviorfilmsastheyhaveplayedoutinschoolfilmsovermanydecades,whichwouldsetupthenextactivity. The third activity would be to have students analyze the rest of the Prezstorylinetodiscoverifitmirrorsandreinscribestheteachersaviornarrativeallthewaythrough,byculminatingin“afinal,tear-jerkingmomentofredemption”(cliché5,whichisthecentralclichéofthemall)—orifitdepartsfromthatcentralcliché,andifso,inwhatwaysitdoesso.BecauseIhaveconceptualizedincorpo-ratingseasonfourofThe Wireintoaneducationcoursewithinateachereducationprogram,preserviceteacherscanbeaskedtoarticulatetheirreactionstohowthePrezstorylineplaysoutintheend.Sucharticulationscanthenbecomevaluablediscussionmaterialduringseminars.Forexample,ifthestorylinereinscribestheteachersaviornarrative,doesitdosoinamore(arguably)realisticwaythanthetypical teacher saviorfilm?Conversely, if the storylinedepartsor subverts theteachersaviormyth,whateffects(positive?negative?abitofboth?)doessuchacounter-narrativehaveonpreserviceteachers? Theseactivities(relatedtotheteachersaviornarrative)areadmittedlyonlyafewofanynumberofothersthatcanbeconceptualizedaboutthePrezstoryline.Asreaderswilldiscoverwhentheyviewseasonfour,thePrezstorylinealsooffersrepresentationsrelatedtogenderandrace,includingPrez’srelationtotheveteranfemaleteachersofcolor(particularlyMrs.Sampson,averystrongpedagogicalfigure); representationsrelated to teacher-administratorpowerdynamics,whichoccur between Prez and his most immediate administrative superior,AssistantPrincipalMarciaDonnelly;representationsrelatedtosystemicinstitutionalpres-sures(asIdiscussbelow);andmanyothers.IamcertainthatreaderswillbeabletoconceptualizepowerfulpedagogicalactivitiesandprojectsrelatedtotheseandotherrepresentationsofferedbythePrezstoryline.

“Bunny” Colvin, Parenti,

and the Experimental Pilot Program AnothermaineducationstorylineconcernsDr.DavidParenti,aprofessorofsociologyattheUniversityofMaryland,andretiredpolicemajorHoward“Bunny”Colvin.Parentihasagranttostudyviolentoffenders,andheneedsafieldresearcherwhocanhelphimfindsubjectsonthestreetstointerviewandobserve,withthegoalofdevelopinganinterventionprogramforthesesubjects.AfriendofBunnyColvin’spersuadeshimtomeetwithParentiaboutbeingthefieldresearcher.Atfirst,ColvinisskepticalbecauseParentiwantssubjectsbetween18to21yearsold,whichColvinknowsistoooldbecausementhatagearealreadytoofarinto“thegame”foranyinterventionstrategies.Despitehisreservations,though,Col-vinagreestoworkwithParentiandiseventuallyabletoshowhimthatthebestpopulationtoworkwithiskidsofmiddleschoolage.Asitturnsout,thenarrativesteersthemtoTilghmanMiddleSchool,wheretheyaregivenpermissiontodesign


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anexperimentaleducationalprogramforstudentswhoareespeciallydisruptivebehavioralproblemsintheirclasses.Sothiseducationstorylineconcernshowthepilotprogramdevelopsthroughouttheseason.

A Hamsterdam for Tilghman? ThefirststageofthepilotprojectinvolvesColvindoingsomeobservationalresearchbysittinginonclassesandwalkingthehalls(episodefour,“Refugees”).Inanimportantscenesetintheteachers’lounge(episodefive,“Alliances”),ColvinexplainstoDr.ParentiandMrs.Sampsonwhathisobservationshavetaughthimabouttheschool,aswellashisideaforthepilotprogram:

Colvin:Seemstometherearetwokindsofkidswalkinginthisbuilding:stoopkids,cornerkids.

Parenti:Excuseme?

Colvin:Well,stoopkids.They’retheonesthatstayonthefrontstepswhentheirparentstellthem.Theothersgodowntothecorners.

Mrs. Sampson:Theycan’tsitstillintheclass.Theotherscan,anddo.

Colvin:So,weseparatethetwo.

Parenti:That’stracking.

Colvin:Excuseme?

Parenti:Trackingstudents—it’sanastyphraseineducationalcircles.It,itreferstothegroupingofchildrenbasedonexpectedperformance—

Colvin:Wellwhat’swrongwithit?

Mrs. Sampson:Itsaysyouhavereducedexpectationsforcertainstudents,thatyouexpectlessfromthemacademically.

Colvin:Soyoupretendtoteachallthesekids,andtruthisyouain’tteachinganyofthem.Butwhatifthestoopkidscouldbeinclassroomswheretherewasnodisruptions?

Parenti:Andthecornerkids?

Colvin:Imeanthey’retheonesyou’reafter,right?Imeanthat’swhyyougotthegrantmoney?

Mrs. Sampson:As long as this doesn’t involvewarehousing children, I’m foranythingthatallowsmetodomyjob.Everyteacherherewilltellyouthesame.Thetrickforyouistocomeupwithaprogramthatactuallyaddressesitselftothecornerkids.

Parenti:Idon’tknow—ifwestartpullingkidsoutofregularclasses,won’ttheybestigmatized?

Colvin:It’snotastigmabeingbootedoutofclasseveryotherday?

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Parenti:Questionis,howdoweidentifythecornerkids?

Mrs. Sampson:Thatwon’tbeaproblem.

Parenti:Ok.

SoonafterthisscenecomestheoneinwhichPrezkicksNamondoutofclass.Inthatscene,Namondleavestheclassroomangrily,andColvin,Parenti,andMrs.Sampsonhappentobeinthehallway.NamondsnapsatParenti,“Whatthefuckyoulookin’at,bitch?”andColvinremarksthathethinkstheyhavefoundoneofthecornerkidsfortheirprogram. With the program conceptualized and permission received from PrincipalWithers,ColvinandParentirelyonMrs.Sampsontoidentifythemostdisruptiveeighth-gradestudentsaspossiblecandidatesfortheprogram.Mrs.Sampsongetsinputfromtheteachers,whichgeneratesalistofaboutfortystudents,fromwhichsherecommends ten tostartwith(seeepisodefive,“Alliances”). Inaseriesofscenes(episodesix,“MarginofError”),AssistantPrincipalDonnellyentersdif-ferentclassroomsandremovesthetenstudents;amongthemarethreefromPrez’sclass:agirlnamedZenobia,aboynamedDarnell,andNamond(itisimportanttonotethatPrezwasunawarethatanyofhisstudentswouldbecomepartofthepilotprogram—thedecisionwasmadebyothers).

Pedagogical Suggestions Onesuggestionforengagingstudentsinanalyzingthesegmentofthestory-linedescribedaboveistointroduceanimportantfactaboutColvin’sbackgroundasapoliceofficer.Thesubtitleoftheabovesection—“AHamsterdamforTilgh-man?”—alludes to season threeofThe Wire.WhenColvinwasapolicemajorwiththeBaltimorepolice,heconductedaradicalexperimentthatBowden(2008)describesasfollows:

Inoneoftheshow’smostinterestingsetpieces,aremarkablepolicemajor,“Bunny”Colvin,frustratedbytheabsurdityofthecity’suselessdrugwar,conductsanovelexperiment.Withouttheknowledgeofhissuperiors,heeffectivelylegalizesdrugsinWestBaltimore,creatingamini-Amsterdam,dubbed“Hamsterdam,”whereallofthecornerdealersareallowedtosetupshop.Byconsolidatingdrugdealing,whichheknowshecannotstopanyway,Colvineliminatesthedailyturfbattlesthatdriveupthemurderratesanddramaticallyimproveslifeinmostofhisdistrict.Calmreturnstoterrorizedneighborhoods,andhispatrolmen,freedfromtheircarsandtheendlesspursuitofdrug-dealingcornerboys,returntorealpolicework,walkingbeats,gettingtoknowthepeopletheyserve.(p.52)

Colvinendedupbeingforcedtoretirewhentheleadershipofthepolicedepart-mentlearnedofhisexperiment(so,likePrez,heisaformercopwhoresurfacesinseasonfourasaneducatoratTilghmanMiddleSchool). OnepedagogicalsuggestionconcerningtheabovequotedpassagewouldbetoaskstudentstodrawbothcomparisonsandcontrastsbetweenColvin’s“Ham-


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sterdam”experimentandwhatheisproposingtoDr.ParentiaboutseparatingthestoopkidsfromthecornerkidsatTilghman.Forexample,inonesense,thedrugusersanddealersinthe“Hamsterdam”experimentwere“warehoused”—touseMrs.Sampson’sterm—withinaconfinedarea,whichgivesrisetothequestions,“WillthestudentsatTilghmanendupbeingwarehousedandwrittenoffasaresultofColvinandParenti’sexperimentalpilotprogram?”Oristheprogramdesignedtoactuallyengagethestudentsinpositive,productiveways—i.e.,waysnotattemptedwiththedrugusersanddealersinthe‘Hamsterdam’experiment?” Onemorepedagogicalideawouldbetointroducestudentsatthispointtothediscourseabouttrackinginpublicschools,perhapsbyassigningstillquiterelevantarticlesbyOakes(1987,1992)abouttrackingandbySlavinandMadden(1989)andSlavin,Madden,Karweit,Livermon,andDalton(1990)aboutat-riskstudents.OtherrelevantpossibilitiesincludearticlesbyFutrellandGomez(2008),Heubert(2003),andSchweiker-MarraandPula(2005).Thesereadingscanhelpframeanactivityinwhichstudentscanbeaskedtocriticallyevaluatewhetherornotthepilotprogramhassomethingaboutitthatdoesnotfitintothedescriptionsoftracking.Thesequestionsmightwork:Isthepilotprogramreallytracking,orisitsomethingelse?Ifsomethingelse,whatisit? OnemoreveryimportantquestiontoposeconcernswhateffectstheremovalofthethreestudentsfromPrez’sclassproducesontheclassatmosphereandonPrez’steaching.

Getting Ready for Gen Pop Inepisodesix(“MarginofError”),weseeeightboysandtwogirlsofthepilotprogramintheroomthattheywillstayineveryday.Apoliceofficerstandsatthedoorway. In the roomareColvin,Parenti,asocialworkernamedMissMason,andtheteacher,namedMs.Duquette,whoisadoctoralstudentinthePsychologyDepartmentattheUniversityofMaryland.Throughoutthestoryline,Ms.Duquetteremainsabsolutelycalmandincontrol. Mrs.Sampsontellsthestudentstheyhavebeenidentifiedashaving“proventimeandagain”thatthey“arenotreadyforaregularclassroom.”Sheexplainsfurtherthatthisisamandatoryprogram,andthatthesmallclasssizeandspecialcurriculumhavethepotentialtopreparethemtobecomereadytoreturntotheregularclasses.Tothis,Namondobserves:“Readyforgenpop.Thisisprison,yo.Andweinsolitaryandshit.” Inepisodeseven(“UntoOthers”),weseethefirstdayofteaching,whichis(likePrez’swas)apredictablyrockyone.Namondactsout,throwingachair,hop-ingtogetsuspended,onlytolearnthatnobodygetssuspended.Instead,disruptivestudentsaretakentoatime-outroomwithMissMason,Colvin,andapoliceofficer.ThisiswhathappenstoNamond,whoatfirstisdefiantbuteventuallyreturnstothepilotclassroomwhenherealizeshewon’tbesuspended. Despitetheraucousbeginning,oncestudentsseethatthereisnowayoutof

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theprogram,theybegintocooperate,thoughtheycontinuetouseprofanityandgetangrythroughoutthestoryline.Whatcausesasubstantivechange,however,isthatColvinrealizesthatthestudentshavetobeengagedinwaysmeaningfultotheirlivesonthestreets,andformostoftheboys,thatmeanslivesascornerboys.Soinanimportantsceneinepisodeeight(“CornerBoys”),weseeColvinask,“Whatmakesagoodcornerboy?”Immediately,thestudentsanswerinrapidsuccession:“Keepyoureyesopen”;“Keepthecountstraight”;“Don’ttrustnobody”;andmore.Inanotherscene(dayslater,itseems),Colvincontinuesengagingstudentsintalk-ingaboutthelogicofthecorner,thoughnowstudentsaretakingturnsandexpresswell-articulated insights into themachinationsofworkingacorner.Eventually,Colvinhasthestudentsgetintosmallergroupsandwriteuptherulesofbeingagoodcornerboy.Aftertheclass,Ms.DuquettetellsColvinandParentithatshe’sneverseensuchanimated,focuseddiscussionsbeforeinaclassroom. Asthestorylineplaysout,ColvinandMs.Duquettecontinuetogetstudentstoworktogetheringroups.Forexample,inepisodenine(“KnowYourPlace”),smallgroupsareformedandchargedwiththetaskofbuildingatoweroutoferectorsetpieces,withoutanydirectionsprovided.Namond,Zenobia,andDarnellwin,andtheprizeisthatColvintakesthemtoaRuth’sChrisrestaurant.Bythispoint,mostofthestudentshaveshownmarkedimprovementintheirclassroombehavior.However,thenightoutatdinnerdoesn’tgowell.Thestudentsareoverwhelmedbytheforeignexperienceofdininginsuchanupscalerestaurant,andbytheendofthenighttheyareonceagaininsultingoneanotherandnotgettingalong.Inasubsequentscene,thebadexperienceattherestauranthasbecomethebasisforarole-modelingexerciseinwhichoneboyplaysthewaiterandtheotheracustomer,withtheotherstudentslookingon.

Pedagogical Suggestion Alongwithansweringthequestions(posedabove)relatedtotracking,at-riskinterventions,andwarehousing,anotherrelatedactivitytoengagestudentswiththisstorylinewouldbetohavestudentsanalyzeitforitspowerfulrepresentationsofculturallyrelevantteaching.IspecificallysuggesthavingstudentsreadarticlesbyLadson-Billings(1992,1995)andthenanalyzingthestorylineforhow,inLadson-Billings’s(1992)words,theteachersengagethestudentsin“thekindofteachingthatisdesignednotmerelytofittheschoolculturetothestudents’culturebutalsotousestudentcultureasthebasisforhelpingstudentsunderstandthemselvesandothers,structureinteractions,andconceptualizeknowledge”(p.314).Whatstudentculture,exactly,hasColvintappedintothatpullsthestudentsintothedialogue?

No Child Left Behind:

“It’s a national crime, and we’ll pay for it” Asmentionedearlier,writerEdBurnstaughtforyearsinBaltimorepublic


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schools,andinaninterviewwiththemagazineInstructor(2007),Burnsexpressedwhathis experience taughthim:“Education isourbiggest failureas a society.Theinequalityinoursystemdisadvantagesmillionsofpeople.Itbordersonthecriminal.”Burnselsewherealso singledoutwhathe thinks is among themainreasonsforthedirestateofeducation;whentheDVD’s“Commentary”featureisplayedforepisodeone(“BoysofSummer”)ofthefourthseason,wehearBurnsremark(neartheend)abouttheNoChildLeftBehindAct(NCLB),saying,“It’sanationalcrime,andwe’llpayforit.”8SeriescreatorDavidSimonalsosaysthatdoingtheseasononeducationlefthim“furious”overNCLB.Sojustastheydidinthepreviousseasons,SimonandBurnsbuiltasystemiccritiqueintoaseason,thistimeofthesocialinstitutionofeducation.Specifically,thecritiquerevolvesaroundthestandardizedtestsnecessitatedbyNCLB.

“Juking the stats” The issue of standardized testing first surfaces in the Prez storyline in animportantsceneinepisodeeight(“CornerBoys”).AfterPrezexperiencessuccessteaching“offthecurriculum”byteachingprobabilitiesthroughdice(episodeseven,“UntoOthers”),hefindstheofficialmathcurriculum,whichistiedtothestatestandardizedtests,toodryandprescribed.Inthekeyscene,Prezcomplainsintheteachers’loungetothesamefourveteranteacherswhoearlierhadschooledhimaboutclassrules.Atonepoint,thisdialoguetakesplace:

Mrs. Scott:Thethingis,it’syourcurriculum,andyouhavetosticktoit.

Prez:Ican’t.It’sabsurd.

Mrs. Scott:Youhaveto.ThattestinAprilisthedifferencebetweenthestatetakingovertheschoolornot.9

Prez:Maybethestateshould.

Mrs. Shapiro:Look,youdon’tteachmath,youteachthetest.NorthAvenueisallabouttheLeaveNoChildBehindstuffgettingspoon-fed.

Prez:Andwhatdotheylearn?

Mrs. Sampson: Find some middle ground. Everyday, try to do a little for thestatewide,andkeepaunitproblemontheblackboard,forDonnelly,youknow,ifshecomestovisit,shethinksyou’reonpoint.Therestofthetime,dowhatyoufeellikeyouneedtodo.

Mrs. Scott:Butbecareful.You’restillonthefarsideofyourevaluation.

Prez:Yeah.

Anotherteacher(whohadgivenhimthe“softeyes”advice)tellshim,“Thefirstyearisn’taboutthekids.It’saboutyousurviving.” Inanotherkeysceneinepisodenine(“KnowYourPlace”),AssistantPrincipal

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Donnellytellsteachersduringafacultymeetingthatforthenextsixweeks,theymustallteachlanguageartstest-preparationskills,nomatterwhattheirsubjectareasare.Infact,theyaretoteachtheveryquestionsthatwillbeaskedonthetest.Theteachersgrumble,andPrezandMrs.Sampsonhavethisconversation:

Prez: I don’t get it.All this so that we score higher on the state tests? [Mrs.Sampsonnodsyes.]Ifwe’reteachingthekidsthetestquestions,whatisitwe’reassessinginthat?

Mrs. Sampson:Nothing.Itassessesnothing.Thetestscoresgoup,theycansaytheschoolsareimproving.Thetestscoresstaydown,theycan’t.

Prez:Jukingthestats.

Mrs. Sampson:Excuseme?

Prez [Referring to his police experience]:Makingrobberiesintolarcenies,makingrapesdisappear.Youjukethestats,andmajorsbecomecolonels.

Alsoinepisodenine,weseePrezleadinghislistless,uninterestedstudentsthroughatest-prepstrategy,andthenlaterintheteachers’loungeheventstoMrs.Sampson,saying:“TohellwithDonnellyandtohellwiththeirstatewidetestscores.Icameheretoteach,right?”Mrs.Sampsonoffersanempatheticsmile.

Pedagogical Suggestions Mostpreserviceteachersatsomepoint,mostlikelyduringtheirstudentteach-ing,comefacetofacewiththerealitiesofend-of-yeartesting.Inmyexperience,Ihavehadmentorteacherstakecoursesbackearlyfromthestudentteachersduringstudentteachingbecausethey(thementors)neededtodothetestpreplessonstoensurethebestpossiblescores.Sooneinquirythatstudentscouldbeengagedinwouldbetokeepajournalofhowthediscourseofstandardizedtestingplaysoutforthemduringtheirstudentteaching.Whatdotheylearnfromtheirmentorteachersandotherteachersabouttheirexperiencesandwaysofdealingwithstandardizedtesting?DostudentshearechoesofMrs.Sampson’sadvicetoPrezaboutfindingsome“middleground,”andifso,whatdoesthat“middleground”looklike? AnotherwaytoengagestudentsinthediscourseaboutstandardizedtestingandNCLBwouldbetoassignthebook(orselectedchapters)titledMany Children Left Behind(Meier,et.al.,2004),whichwouldhelpinformstudentsaboutthewidernationaldebatethathasbeengoingonforyearsaboutNCLB.

“We can’t lie. Not to them.” TheissueofstandardizedtestingandNCLBenters intotheColvin/Parentistorylineinepisodeten(“Misgivings”),whenDonnellycallsColvinandParentifromthepilotclassroomtotellthemthattheymustbeginpreparingtheirstudentsforthestatestandardizedtests.ShealsotellsthemthattheAreaSuperintendent,Mrs.Conway,wantstomeetwiththem.Duringthatmeeting,Parentiarguesthat


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thestudentsaren’tgoingtobeabletositthroughtest-preplessons,towhichMrs.Conwayasks,“So,we’rewritingthemoff?”SheaddsthatColvinandParentidonotseemtobeeducatingthestudentsbutrathersocializingthem.Parentigetsangryatthis,butColvintriestoexplainthesituationtoher:

Whenyouputatextbookinfrontofthesekids,putaproblemontheblackboardorteachthemaboutproblemsonastatewidetest,itwon’tmatter.Noneofit.Cuzthey’renotlearningforourworld.They’relearningfortheirs.Andtheyknowexactlywhatitisthey’retrainingfor,andwhatitiseveryoneexpectsthemtobe.

Mrs.Conwayinterjects,statingemphatically,“Iexpectthemtobestudents.”Colvincontinueshisexplanation:

Butit’snotaboutyouorus,orthetest,orthesystem.It’swhattheyexpectofthemselves. I mean, every single one of them know they headed back to thecorners.Theirbrothersandsisters—shit,theirparents—theycamethroughthesesameclassrooms,didn’tthey?Wepretendedtoteachthem,andtheypretendedtolearn,nowwheretheyendup?Samedamncorners.Imean,they’renotfools,thesekids.Theydon’tknowourworld,buttheyknowtheirown.Imean,Jesus,theyseerightthroughus....Wecan’tlie.Nottothem.

Mrs.Conwayreluctantlyagreestolettheprogramcontinue,thoughsheintendstokeepacloseeyeontheprogram.WhenMrs.Conwayvisitstheclassroom,Chan-draandZenobiaarerole-playingascenariothatChandratakestoofarbyslappingZenobia,whointurnshovesMissMason(thecounselor)tothefloorwhenshetriestointervene.Inameetinglater,Mrs.Conwayisangry,sayingwhatshesawwasdefinitelynoteducation—nordidthestudentsseemverysocialized.Sheaskshowmanyofthetenstudentsmightbeabletorejoinregularclasses,andisnotimpressedtohearthatmaybethree,atbest.WhensheasksDonnellyandWithersfortheirviews,bothsupportthepilotprogram.MissMason,however,disagrees(seemingtobelookingforsomepoliticalgainwithMrs.Conway),sayingsomeofthestudents“areprofoundlydamaged,”andshepronouncestheprogram“flawed.”

Pedagogical Suggestions OneactivityIsuggestatthispointwouldbetoshowstudentstheHBO(2007)documentarytitledHard Times at Douglass High: A No Child Left Behind Report Card,whichtheycouldsubsequentlyanalyzefora“realworld”representationofacritiqueofNCLBthatmirrorstheoneofferedinThe Wire.TheDVDboxcoverconveysasenseofwhatitisaboutthroughthisdescription:

TheNoChildLeftBehindActwascreatedtoboostacademiclevelsofAmericanstudentsbysettingstandardizedgoalsacrossthenation—andholdingstates,dis-tricts,andschoolsaccountableforperformance.Forurbanschoolsinhigh-povertyareas,reachingthesegoalsisadauntingtask,andmanynowfacethepossibilityofbeingtakenoverbythestate—evenbeingshutdown.AtFrederickDouglassHighSchoolinBaltimore,MD,theexpectationsraisedbyNCLBhavereacheda

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criticalpoint.[Thefilmmakers]offerayearlonglookinsideastoriedinstitutionatatimewhenitsveryexistenceisindoubt.Fromcautionaryprofilestotrium-phanttales,Hard Times at Douglass Highservesasareminderthateducationisinevitablyanachievementofpeople,notpolicy.

AnotherHBOdocumentarythatstudentscouldviewaspartofthisactivityisI Am a Promise: The Children of Stanton Elementary(1993).Together,thesedocu-mentariesprovidepowerful,informativecritiquesofstandardizedtestingandthetravestyofunderfundingofurbanschoolsinAmerica.

Situating the School within the Political Storyline Atthebeginningofthisarticle,IstatedthatIwouldgointomoredetailaboutthemaineducationstorylines,andthatIwouldalsoprovidebrieferdiscussionsofothermainstorylines,whichiswhatthisandthenextsectionsareabout. Oneotherimportantstorylineofseasonfouristhepoliticalstoryline,whichbeganinseasonthree.ThisstorylineconcernstheraceformayorofBaltimore.Thetwo-termincumbentisMayorClarenceRoyce,apopularBlackpoliticalfigurewho,whentheracebegan,expectedtowineasilyagainsthismainopponentinthedemocraticprimary,aWhitecouncilmannamedTommyCarcetti.DespiteMayorRoyce’scontrolofmunicipalpower,CarcettiprovestobeastalentedatplayinghardballpoliticsasRoyce,andas theelectionnears, thepossibilityofCarcettiwinningbecomesmorereal.Carcettiendsupwinning(that’snotaspoiler—theoverallseasonstorylinenecessitatedCarcetti’swin),basedonahostofpromiseshemade,includingafive-percentraisetothecity’spoliceforce.Onceinoffice,however,CarcettiandhisadministrationdiscoveradeficitmessthatRoyceleftthem:thecity’sschoolbudgetis$54milliondollarsinthered.

Pedagogical Suggestion Episodeseleven(“ANewDay”),twelve(“That’sGotHisOwn”),andthirteen(“FinalGrades”)aremostrelevantintermsofhowthepoliticalstorylineintersectswiththeoveralleducationalstoryline.Intheseepisodes,MayorCarcettiandhisadvisorsconsiderblamingthepublicschoolsformismanagingtheirownbudgets,andtheyalsoconsidercuttingtheschoolsystem’soverallbudget,therebyfindingnecessaryfundstomaintaintheirpoliticalleverage,thoughriskingthesupportoftheunionizedteachersthroughoutthecity.ThestorylineinvolvingColvinandthepilotprogramisespeciallyaffectedbythepoliticalstoryline,andstudentscanbeaskedtoanalyzehowthestorylineinvolvingTilghmanMiddleSchoolbecomesintertwinedwiththepoliticalstoryline.

The Gravitational Pull of the Streets and the “Corners” Anothermainstorylineofseasonfourconcernsthepoliceinvestigationintothedrugorganizationrunbyayoung,cunning,andutterlyruthlessandmurderous


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drugkingpinnamedMarloStansfield.Havingputtheheadsoftheonce-dominantBarksdaledrugorganizationoutofbusiness,MarlohasbecomeintentongainingcontrolofthedrugtradeoverhismanyremainingcompetitorsonBaltimore’sEastside.Marlo’stwomainenforcers,ChrisPartlowandFelicia“Snoop”Pearson,havebeenmurderinganyonewhogetsinMarlo’sway,anddisposingthebodiesinvari-ousvacantbrickrowhousesonthewestside.Eventuallythebodiesarediscovered,whichintensifiesthewireunit’sinvestigationintoMarlo’scriminalactivities.

Pedagogical Suggestions OneactivityIwouldrecommendis forstudents toanalyzehowtheMarlostorylineintersectswiththestorylinesinvolvingtwoboysfromPrez’sclasswhoMarlohasdesignson. OneboyisMichael,aquiet,reservedboywhoisverycapableofhandlinghim-selfwellwhileboxingataneighborhoodgymorinastreetfight.Michaeldevoteshimselftobeingtheguardianandprotectorofhislittlebrother,Bug.HeandBuglivewiththeirmother,acrackaddictwho(hazily)seeshertwochildrenasobjectsthatenablehertoreceivethedisabilitychecksthathelppayforherdrugs.Bugneedsalltheprotection,guidance,andlovethatMichaelcanprovide.Unfortunately,MarlowantstorecruitMichaelintohisdrugorganizationbecauseherecognizesMichael’sstreetintelligenceandbroodingstrength.ThoughMarlomakesoverturestoMichaeltojoinhiscrew,Michaelkeepshisdistanceasbesthecan. MarloalsohasdesignsonanotherboyinPrez’sclass,Randy.Randyisanim-mediatelylikeableboywhohasaquicksmileandthecharmofabornentrepreneur.(Atschool,hefrequentlyslipsoutofclasstosellcandyatdiscountratestoyoungerkidsinthelunchroom.)RandyhasbeenawardofthestateofMarylandmostofhislife,havinglivedinmanyfostercarefacilities,thoughhecurrentlyliveswithMissAnna,astrictandcaringwomanwhoprovidesRandywithastablehomeenvironmentthatisrareforRandyandthathevaluesmorethananything.Despitehisgoodnatureandlikeability,troublefollowshimeverywhere,andeventsandcircumstancesbothwithinschoolandoutsideonthecornersconspiretothreatenthestabilityofhishomesituationwithMissAnna.Specifically,Randyunwittinglybecomesinvolved(throughthemanipulationofoneofMarlo’screw)inaseriesofcircumstancesthatleadstothedeathofacornerboywhocrossedMarlo.Putanotherway,Randydiscoversheplayedaninnocentyetactualroleinthedeathofsomeoneelse.TheresultisthatheiscaughtupinapoliceinvestigationandisalsothreatenedbymembersofMarlo’screw(tokeephimsilent). IndescribingseasonfourofThe Wire,Tyree(2008)statesthatitoffers“anhonestdepictionofthegravitationalpullofthestreetsanddrug‘corners’foragenerationofAfricanAmericaninner-cityyouthwithfewotherprospects”(p.32).Tyree’sstatementcanbeusedtoengagestudentsinanalyzingthedegreetowhichthe“gravitationalpullofthestreetsanddrug‘corners’”affectsbothRandyandMichaelastheirstorylinesunfold.Also,andnotatallincidentally,thesamekind

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ofanalysiscanbedoneforthestorylinesinvolvingtheothertwoboysdiscussedabove,DuquanandNamond.Andtodeepenthisanalysisofthepullofthecorners,studentscanbeassignedtoviewtheaforementionedHBOminiseriesbyDavidSimonandEdBurnstitledThe Corner,whichwonanEmmyin2000asbestmini-series.ThesubtitleofthebookbySimonandBurnsthattheminiserieswasbasedonis“AYearintheLifeofanInner-CityNeighborhood,”andthatneighborhoodisWestBaltimore,wherethefourmainboysofseasonfourliveandstruggle.Theseriesbrilliantlydepictsthe“gravitationalpullofthestreetsanddrug‘corners’foragenerationofAfricanAmericaninner-cityyouthwithfewotherprospects.”

Other Approaches for Pedagogically

Drawing upon The Wire Atthispoint,IwanttoreturntothescenarioImentionedatthebeginningabouttheinstructorwhowouldliketotakeupThe Wireinherteachingbutisnotabletoassigntheentireseason.Whatcanbedone?Iwillsuggesttwoapproaches. ThemorecomplicatedapproachwouldessentiallybetoreproducethemethodIusedtoanalyzethetwoeducationstorylinesofseasonfour.First,asI(re)viewedthe13episodesofthefourthseason,Inotedtheexactbeginningandendingtimesofevery“school”sceneineachepisode—i.e.,eachscenethattakesplaceinsideor justoutsideof theschool(PrezorColvinareinmostof theschoolscenes).Then,tofacilitatemyanalysisofthetwomaineducationalstorylines,Iusedsomerelativelysimple-to-usesoftware(iMovie)toedittogetherallthescenescompris-ingeachstoryline,whichresultedintwovaluable“mediatexts”(mpg.4format).Forexample,thePrezstorylineismadeupofapproximately65scenesthattotalabout75minutes.Afewbrieferscenesspanlessthanaminute,somelongersceneslast4or5minutes,butmostofthesceneslast2or3minutes.AbouthalfofthesescenesfeaturePrezwithhisstudentsinhisclassroom,andintherest(withjustafewexceptions),weseePrezeithersomewhereelseintheschoolbuilding(thelounge,inall-facultymeetings,inthehallwaysoftheschool)orjustoutsideoftheschool(exitingtheschool,gettinginhiscarinfrontoftheschool).IalsodidthesamewiththeColvinstoryline,whichiscomprisedofapproximately45scenesthat,wheneditedtogether,formamediatextofabout65minuteslong. Itshouldbeeasy to imagine thegreatamountof timeandlabor thatwentintothisprocessofmakingthesetwomediatexts,butforthosewhowouldliketoincorporatethestorylinesintotheirteaching,thelaborandtimepayoffpedagogi-cally,forobviousreasons(allthescenesaretogether,andanysceneonthemedia“vignette”canbenavigatedtoinamatterofseconds).Eachvignettecanalsobeshown in its totalityduringaseminar.Assuch, thevignettesbecomepowerfulcasestudiesoffictional (yetall-too-real)educatorswhoseexperiencesstudentscanvicariouslyidentifywith. Iwouldalsorecommendalesscomplicatedyeteverybitaspotentiallymean-


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ingfulapproachfortakingupselectedscenesinone’steaching.Simplystated,thisveryarticlecanbeusedtogetideasforparticularscenestotakeupinone’steachingbecauseIhavedescribedmanyspecificscenesfromvariousepisodes,andIhavealsoidentifiedtheepisodesinwhichthescenesoccur.Forexample,aninstructorwhowishestodiscussthenegativeeffectsoftheregimeofstandardizedtestingthatNCLBhasinstitutedcanskimthroughepisodeseight(“CornerBoys”)andnine(“KnowYourPlace”)tofindthescenesinwhichPrezwrestleswiththenecessityofteachingtothetest.ThesescenesalonewouldbeenoughtosparkadiscussionaboutNCLB,andthesuggestedreadingsIgivecouldalsobetakenup.ThisveryselectiveapproachtoshowingspecificscenescanbetakenfortheotherissuesIhaveaddressed,suchas thatof tracking.ThesceneinwhichColvinarticulateshis “stoopkids/cornerkids” analysis toParenti andMrs.Sampson (episode5,“Alliances”)canbeshowntostudents,andthereadingsIhavesuggestedcanbeassigned,whichtogetherisenoughtointroducethetopicoftrackingandgeneratesubsequentdiscussionsabouttheissue. IwouldaddthatforinstructorswhoarelikelytotakethisapproachtoshowingjustselectedscenesfromThe Wire,theycanreadotherarticlesIhavewritteninwhichIexplainhowIhaveengagedinthisveryprocessofrelyingonlyonspecificscenesinmyteaching.Forexample,IhavetakenupselectedscenesfromthefilmThe Paper ChaseandarticulatedthosesceneswithselectedreadingsbyFoucault(1977)andGore(1998)toengagestudentsinthinkingcriticallyabout“techniquesofpower”andthevariouswayspoweroperatesrelationallyinschools(Trier,2003).Thisisoneofanumberofsuchaccountsthatcouldbeusefulinconceptualizingfurtherhowtotakeupselectedscenesinone’steaching(seealsoTrier,2002,2005,and2007).

Conclusion Inthisarticle,IhavepartiallydiscussedthetwomaineducationstorylinesofseasonfourofThe Wire,andIhaveshownsomeofthewaysthatbothstorylinesareimpactedbytheregimeofstandardizedtestingasaresultofNCLB.Ihavealsomorebrieflytouchedupontwootherimportantstorylines,andthroughout,Ihaveofferedsomepedagogicalsuggestionsforengagingstudentsinactivitiesandanalysesofthestorylines.OnepointthatIwanttomakeisthatIamcertainthatmanyotherwaysoftakinguptheseriescanbeconceptualized.Anotherpointisthatinhavingsetmyselfthetaskoffocusingmainlyontheeducationstorylines,coupledwiththe“nospoilers”approach,Ihavereallyonlyscratchedthesurfaceofallthatremainstobeanalyzedandarticulatedaboutseasonfour,andIlookforwardtoseeingpublishedaccountsofothers’criticalencounterswithThe Wire.WhatIhopeIhaveaccomplishedistointerestreadersenoughinThe Wiresothattheywillviewittodiscoverifithasanypossibilitiesforbeingtakenupaspartoftheirteaching.

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Notes 1Withitsfocusonapopularculturerepresentationofeducation,thispapercontributestotheexistentliteraturethatexploressuchpopularrepresentations—i.e.,representationsofteachers,students,principals,and“schooling”ingeneral.Withinthisliteraturearebooksandbookchaptersthatanalyzewhatcanbecalledthe“schoolfilm”genre,suchasConsidine’s(1985)The Cinema of Adolescence;Reed’s(1989)“Let’sBurntheSchool”;Farber,Provenzo,Jr.,andHolms’s(1994)Schooling in the Light of Popular Culture;Shary’s(2002)Generation Multiplex;Dalton’s(2004)The Hollywood Curriculum;andBulman’s(2005)Hollywood Goes to High School.Alsowithinthisliteratureareideologicalanalysesofrepresentationsofteachersaviors,suchasAyers’s(1994)critiqueoftheentiresubgenreoftheteachersav-iorfilm,Giroux’scritiquesofthepedagogyofMissJohnsoninDangerous MindsandMr.KeatinginDead Poets Society(inGiroux,2002),andBanksandEspisito’s(2002)critiqueofeducatorsinthetelevisionseriesBoston Public.Anotherveininthisliteratureismadeupofarticlesandbookchaptersbyacademicswhodiscusshowtheyhaveincorporatedschoolfilmsastextstoengagepreserviceteachersinavarietyofcriticalprojects(forexample,Robertson,1995and1997;WeberandMitchell,1995;Paul,2001;FreedmanandEasleyII,2004;andTrier,2001,2002,2003,2005,2006and2007). 2Moreexamplesofcriticsdescribing thenovelisticor literaryqualityofThe Wire includeO’Rourke(2006),whonoted“theremarkablenarrativecompression”oftheseries,explaining that,“as in thebestnovels, there isasense thateverydetailhasapurpose.”Kulish(2006)describedThe Wire“astheclosestthatmovingpictureshavecomesofartothedepthandnuanceofthenovel,”addingthatfilms“arefartoobrief,akintogoodshortstories”(p.11).OthercriticshavecomparedThe Wiretogreatliterature:Stanley(2008)calledtheshow“Dickensian”andalsolikenedit“toasprawling19th-centurynovel,asluridandengrossingasBleak HouseorLittle Dorrit”;Kehr(2004)sawtheseriesasexhibiting“thedimensionsofaZolanovel”(p.3);andTyree(2008)describeditasbeing“closelyakintoGreektragedy,”butpossessing“amoreepicquality,”being“acontemporaryversionofCrime and Punishmentwithouttheinevitabilityofredemption.Dreiser’sAn American TragedyandtheschoolofAmericanNaturalism,especiallyitspulpversioninfilmnoir,seemapropos”(p.36). 3ForthesebiographicaldetailsaboutSimonandBurns,seeGuensburg(2007),Lanahan(2008),Talbot(2007),andWilson(2008). 4Attheendofthisarticle,IdiscussthesituationofareaderwhowouldliketotakeupThe Wireinhisorherteachingbut,foravarietyofreasons,isunabletoassigntheentirefourthseason.So,Iwillanswerthelogicalquestion:“WhatifIonlyhavetimeinmycoursetodrawuponselectedscenesfromvariousepisodes—whatdoyousuggest?”Inanswering,Iwillbeabletoleveragemuchofthecontentthatcomprisesthisarticle. 5Theseexamplesinbracketsaremyown,notHynes’s(2006);also,thenumbersinparenthesesidentifythesixclichésofteachersaviorfilms. 6Thisquote(alongwithothersinthefollowingparagraphs)concerningtheclichésoftheteachersaviornarrativeisfromtheabovepassagebyHynes(2006). 7Though students could be involved in these activities before they begin viewingseasonfour,Ithinkdoingsorisksfocusingstudents’attentiontoonarrowlyattheoutsetontheteachersaviortheme.Instead,Ithinkitwouldbebesttointroducetheteachersaviorthemeafterepisodefive,whenstudentshavehadtheopportunitytodevelopadiversityofimpressionsaboutthecharactersandtheactionuptothatpoint.


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8ThecommentarybeginswithcreatorandchiefwriterDavidSimontellingtheviewerthattheseason’sthemeiseducation,andthatitisfittingthatco-writerEdBurnsisdoingthecommentarywithhim“becauseitreallyisEd’sseasoninthesensethathetaughtforsevenyearsinthecityschoolsystemandthisreallyisrootedinhisexperience.” 9ThislineofdialogueseemstobearareerrorforThe Wirebecausethetestisgivenattheendofthefirstsemester.

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