Grid Effect

Episode seven, the last one released to critics before the fifth season premiere, and it is understandable why it opened up to what was essentially rave reviews, because they sent the critics out to their laptops on a high note. Everything really begins to come to a head here and storylines begin intersecting for what I imagine will be a bloody conclusion. Because the path most of these characters are traveling down after last episode, it’s safe to assume things aren’t going to end well for most of these people.

In case you haven’t heard, and I’m sure I’ve mentioned it at least twice on this site, Dominic West directed this episode and McNulty’s presence is abundant. Even if it is inevitable given how centered the serial killer plot is, it might seem self-indulgent. That isn’t to say we found his directorial debut to be a disappointment, in fact we thought it was stellar, almost theatrical (particularly the final scene.)

But anyways, to the matter at hand, and that is the ongoing development and hysteria McNulty and Freamon’s citywide prank is causing, perfectly encompassed in the cold open with Sydnor looking around in astonishment at what his contribution is worth. The BPD hopped on that scene like it was an anti-war protest, and the registering of guilt on Sydnor’s face kind of typified the appropriate response any good samaritan would have.

We wonder if someone like McNulty could actually pull this off even he had any respect for anyone’s intelligence. Judging by his cocky demeanor at The Sun, we suspect that his over-confidence enables him to do shit like this as much as the alcohol does. Still, we loved his line to Templeton who’s now frightened that he might actually be in harm’s way of a fake serial killer, “Well, I don’t know, it’s working out nice for both of you, isn’t it?” Followed by Templeton’s flummoxed reaction.

We suppose McNulty’s self-loathing finally exposing itself when he becomes the boss is appropriate. Is there anything else that could make him regret this incredibly ill-advised decision. Especially when he’s being hounded like one. Half the reason people lack ambition is because they want to dodge excessive responsibility, when you go out of your way as middle management to pull a fast one on the entire city, your employers can no longer afford you that luxury.

Never the less, and the reason we still want to see McNulty at least stay out of prison, is his intentions have a level of nobility to them. Case in point is the way he’s dolling out money for actual case work, even if its at the expense of every resource he’s not immediately influencing. If nothing else, at least homicide is finally getting paid, and Jay’s elation at McNulty’s ability to “turn the faucet on” speaks for everyone.

The clock messaging seems like an homage to the late Prop Joe, and somewhat easy to break once they have people to tail Marlo’s crew. Not exactly fool proof even though I wouldn’t know where to begin to solve this puzzle. But, in defense of the Greeks or whatever, they probably weren’t counting on two Bawlmer detectives to hatch a fake serial killer ploy to get the resources to crack the code.

As for McNulty’s reporter counterpart, Templeton’s stuttering and stammering seems like a bit too much of a tell. Seriously, its like John Malcovich in Rounders. And the only two people who are completely unsuspicious (willfully or ignorantly) of it are the papers managing editors, which just seems far fetched. I know they’re probably more preoccupied with the bottom line than anyone else at the paper (they are paid to be), but for someone to so unapologetically fabricate and embellish story after story, we’d like to have a little more faith that the day-to-day in your average newsroom operates a little more credibly.

Bunk is still continuing the noblest of pursuits, unloading on Landsman like someone should have four seasons ago. What are they going to do? Fire the only detective who regularly turns red to black? Me thinks not. We thought his interrogation of Michael was something of a letdown, but if you’re Michael you really can’t end that any quicker. It speaks to Michael’s stoicism that Bunk seemed to grasp immediately that he wasn’t going to say anything. What’s a happy ending for Michael and Dukie at this point? For Michael to usher in a new crime syndicate by taking out his employers and making Dukie his money manager, much the way people have speculated about the two of them being Stringer and Avon incarnate? It seems like the best outlet for them.

So it goes…

The Clay Davis trial was searingly predictable, though well executed. Again, someone skates through the system on a colorful lie at the expense of someone else’s ambition (Bond’s). At least in hindsight Bond realized how misplaced his priorities were. Or how poorly he failed. One or the other. Clay’s “No good deed goes unpunished” was a classless if transparent bit, something we’ve grown to fully expect from him. At least Zorsi was grinning through his teeth, because really, how could you not? While it was great showmanship and platinum caliber manipulation on Clay’s part, do people still actually believe that nonsense? That above anything was depressing.

On the street end of operations, Omar is still on the warpath. First taking a stash, then brutally taking out Savino (tough life that guy had, even for a hitter), then scaring the ever living shit out of Michael, who was more than reminded of the less enviable days with his stepfather by the way Omar was standing behind him. Nice subtle acting by Tristan Wilds to show the depth of his distrust of adult men.

Omar managed to break yet another code with the way he dispatched Savino. If nothing else he gave the guy a chance to explain himself, but when he asked hypothetically what he would have done if he was appointed to torture and murder Butchie, the best option for Savino was probably to remain silent, because any answer he could have given would have seemed insincere. Unless he came out and said, “Yeah, I would have murdered that fuck too”, and that probably would have warranted the same result.

Other notes:

-The intersecting lectures from Gus and Daniels reminded us, actually, its identical to Mello’s lecture to the Western and the teachers lecture before class started in season four. A key scene in the series to demonstrate how all these institutions resort to the same ineffective tactics.

-Dukie and Michael reading the classifieds and showing their poor comprehension was disturbing given how bright they actually are, But at least it ended in Dukie pretending to strip with Michael encouraging him.

-Kima made an impression in this episode. First with her interviewing of the alleged victims parents/guardians/whatever. Then she struggles with the always misaligned Ikea furniture, then is given the oddly theatric closing scene, lifted almost directly from Clockers (obviously with some improvisation). Someone’s developing a conscious outside of her job, something her mentor was never able to accomplish.

-Bubs and Fletch is the closest thing this series has had to Larry and Balki.

-Carcetti is so unbearably despicable now, worse than Royce, really, or at least just as bad.

-Apparently Richard Belzer played some character named Munch on Homicide (Still have not seen), and he did own a bar. At some point after this series is over and done with, we’ll watch those DVD’s.

-McNulty’s prank call was hysterical, if for nothing else it poked fun at Dominic West’s British accent that always seems to seep through at the most critical junctures.

-Hey, Phelan got another appearance, must be nice to be on Calvert Street, we doubt Nick Sobotka will be afforded a second reappearance.

A fantastic episode in all, and we’re surprised they put it in the hands of Dominic West. Seems like the second or third episode would have been more feasible, but he came through and knocked the motherfucker out of the park. With everything rapidly approaching a cataclysmic train wreck, we’re growing weary for life after The Wire.