football, love in three ways, and The Wire. I'll likely edit this if I care.
Rather than do a boring, and repetitive, NFL predictions post:
My guess: Colts over the Redskins. Even after a week in.
Other possible Super Bowls:
Carolina over New England
Indianapolis over Arizona (against all odds, why the hell not)
Philly over Baltimore
Chicago over Indianapolis.
+++++
I really would like to do a long post on The Wire. But when the New York Times and Washington Post is allowing it’s writers to spend weekly columns touting it as the best show in American History, I’m going for brevity over the usual gushing admiration.
As such, I had 3 moments this year when I knew I fell in love with a piece of art.
1. Reading the Brothers Karamazov on GY shifts, and getting about 300 pages in, and even in the moments before any sense of plot going on thinking to myself “I can’t wait to read more. Not even that, I can’t stop thinking about this book even when I am reading it.”
I cannot recommend the Brothers K enough. It’s one of the top 5 books I have ever read. It’s a book whose plot is about very little but it’s a novel which is about life, in entirety.
2. Listening to the Rakes “Strasbourg” and “The World was a mess but his Hair was perfect.” The latter is a 18 minute song that goes out of it’s way to be a song that isn’t 5 minutes, 10 minutes, but to go the level of 18 minutes.
Funeral for a friend is only 11 minutes long, and it has three parts to it.
My favorite song ever made, and no doubt owing to it’s length, is “You Can’t always get what you want” by the Rolling Stones. It’s 7:28.
It’s a full minute longer than both the 1812 overture and Rhapsody in Blue.
The only single (non live) track longer I can think of is Echoes by Pink Floyd (off Meddle).
It’s almost an exercise in lulling the attention of the listener away from the song with it’s simplicity. There are no drastic shifts in time change, no remolding of the melody. The only real pretension of the song is that it’s really, really long. The key to it is that it keeps bringing you back to the song, using only hooks and guitar riffs.
And I’m not even sure if it’s the best version of such an exercise. It’s highly likely another band could take the formula – only riffs, driving bass line and high hat backing mixed with guitar riffs and vocal smattering --- because it’s a simple exercise that any garage band could do. But to have a signed band release such a single is kind of what makes “The world was a mess but his hair was perfect” so special, that it’s out there, and it’s a hell of a lot of fun to listen to. Because it’s not meant to be part of the bands select tracks (as far as I know about it, it’s best use was for models on the catwalk at the Dior Homme fashion show).
But there is a time and place for this song. And about 22 seconds in, when the faint guitar strumming comes in over the bass, it’s a feeling of love. Maybe a base sensibility of having the fantastical out there within reach.
As for Strasbourg, it’s at the 1:57 mark. Hearing the musical countdown in German, and then hearing the song get into a guitar burn, where the lead and backing guitar fuse into a complementary stream of rock, that gets me feeling a little bit better every time.
As for #3, it came after watching The Wire.
The Wire is the only show that is more complicated and less inviting to new viewers than Arrested Development. One cannot come into the series run in the middle, they won’t be able to follow and they likely will not be able to enjoy.
Arrested Development works this for repeat viewings, having jokes that are told in the reverse direction of the shows’ episodic format (i.e. there are at least 5 jokes about Buster losing his hand that are seamlessly interjected episodes 2, 5, and even 15 episodes before he the act takes place). That’s part of why Arrested Development was so special. It was made to reward the fans who watch the episodes a second time.
The Wire doesn’t offer such a joy. To the first time viewer, it’s almost punishing to come in to a show where there are, no hyperbole, 50 characters that are essential the story of the series. The first season is the only one which has any sense of late comer accessibility, but after that point in the series run, it’s a moot point. I have read the term “visual novel” applied in numerous reviews, and while that’s as fair of a comparison as there can be made for metaphors, it’s almost slighting the written word, because by the middle of season 3 and onto season 4, joining the Wire isn’t like coming into a book halfway through, there are 2 other books that have to be read beforehand.
No matter how great someone says The Wire is, and most of the greatness of the show can be attributed to its depth (in character, story, development, and atmosphere) and that’s the drawback. To get the full joy of it, the only place to start is back at episode 1. Meaning that if someone wants to enjoy watching the episodes on air right now, they will be out 40 hours of time and X amount of dollars to track down the episodes. I mean, that’s a hell of a lot to give up just for a TV show.
And for a cop show.
And I’ll say on record, as I have many times in conversation about TV, I hate cop shows. Especially since Law and Order and CSI are what people consider TV shows to be.
Every decade since TV’s inception, one cop drama or another has been one of the most highly touted and most heavily watched shows on the medium.
The reasons are simple:
The resolution is simple: Capture the bad guy.
The process of doing so, a simple point A to point B plot structure, can be extrapolated to such great heights that it raises the bar higher each new “great show” that comes along.
The viewer feels that good is being upheld and bad is removed from society.
Let’s list:
The Fugitive (the original series) lasted as a serial drama that captured the minds of the 60’s and 70’s audiences in record fashion, with the finale being the highest rated show at it’s time.
And while standard by today’s measures, shows like Hawaii 5-0, Dragnet, and even stuff like Perry Mason and Matlock entertained in the 70’s and the Septuagenarians.
The 80’s saw the “revolutionary” Hill Street Blues (quotations because it’s so commonplace now in cop and med shows that it’s hard to recognize this for what it was, an accepted evolution of the creators to the reality of the world) and the flashy and brilliant Miami Vice.
The 90’s had NYPD Blue, a show which main appeal was it’s grittiness and realism, showing a dark process and murky morality about the enforcers of the law. This decade also spawned Law and Order, which isn’t noteworthy beyond the fact that a Network Exec decided to have a show where attractive actors played out the more interesting real life cases of the day. It could have happened in any decade, it just happened to be in the 90’s. And while I am remiss to not laud Homicide: Life on the Street or Murder One, the highest praise I can give is that they were great… for their day.
As a cop show, the first season of the Wire is just an evolution of the continued improvement in cop shows on TV. It’s probably the best single season of any cop show ever made, and if The Wire did nothing more than continue on this path, it would have taken at least 10 years for something to be better, that’s how the bar was raised, but the bar was not raised out of reach, mere time would have put it in reach.
And all right, screw brevity.
When season 2 starts, the opening episode is puzzling, confusing, shocking, and then completely engrossing once again, in that order.
It starts out with the main character (McNulty) who was demoted to the harbor duty after sticking it to the wrong people through the course of the first seasons events. He picks up a woman in the harbor who apparently jumped to her death. 40 minutes later, there are 13 other corpses, and a new murder mystery.
But along with this new case, there is a new slew of characters… not three or four, but more like 15 to 20. And from this the show seemingly has morphed into a cop show where the waterfront of Baltimore is the new locale. Except that the main baddies from the case of the first season are still involved, and that their lives are connected ever so slightly.
The 14 murders wind up being solved over the course of the 13 episodes, but by the time it’s done, it’s a second thought, because the bad guy is a lost point and the wrecked lives of the case’s impact is nothing short than devastating.
And while the end montage is one of the best pieces of filmmaking I have ever seen, I can’t help but be hurt by the punishing nature of the coda, all that was for this moment has been changed, and all due to simple greed to get a little more. When the character the montages bookmarks walks away and closes the season, what at once seemed like an excursion or tangent to supplement the series when the storyline of the first season was weakened from internal circumstances suddenly becomes the point of the show. This is life in America, not at it’s best, but at it’s worst. The Wire was from season 1 a cop show in Baltimore. From season 2 it was a TV show about Baltimore, the problems of a forgotten city, the lives of those below the upper class and specifically those just below the middle class and those far from the lower class standards.
If season 1 was about the corners and drug life of Baltimore, and season 2 was about the docks, 3 is about politics. It introduces a new main character in a Mayoral candidate, but more than bringing a new character, it adds to the new dimension for the show. And well, let’s just say any talk of realism in an Aaron Sorkin West Wing is shot to hell with The Wire season 3.
Good people are punished for making the right change. Bad tendencies of better thinking men flow again in dire times. The wrong people die, and yet they are killed by the right villians.
Side note: The character of Omar is one of the top 10 in TV history. Well, he’s probably #10. A gay black ghetto hitman. Who only robs from drug dealers. And who works with the cops. And never swears. And always whistles the same tune (I can’t remember if it’s farmer in the dell or Peter and the Wolf) when he roams the streets. The word dynamic is what fits Omar, and yet since the critical community finds words in thesaurus and then slowly propagate them to the level of intellectual and then common vernacular (previous and current entries include: duality, myriad, jubilant, amalgam, reformative) I am want to search for another. But fuck it. Dynamic works because he is a character that is the meaning of the word, in all cross references:
Activating, aggressive, ballsy, changing, charismatic, compelling, driving, effective, electric, energetic, energizing, enterprising, forceful, forcible, high-powered, hyped up, influential, intense, lively, lusty, magnetic, potent, powerful, productive, progressive, strenuous, vehement, vigorous, vital, vitalizing.
He is a part of the scheme that represents the worst of the situation in the fact that as a drug robber, he is leeching off the worst of the society he lives in. But his cods of ethics is so valid and his means almost admirable, it’s hard not to like the guy.
In season three, the show makes the leap from great to all time classic. From tackling the idea of race as an issue of individuals in contrast to the mass with an approach that it’s all negative futility, yet it’s not impossible sensibility. The show makes a cogent argument about legalizing drugs, showing the process, the downfalls, the upsides, the betterment for a community and the devastation inherent, and even in the wake of all the problems, it’s the first non-Libertarian assertion that it’s not a bad idea that I actually gave heed to.
And it’s not just that the show is willing to take risks. Any fool with a budget and a premise can get that from the right exec in the right mood. To do it once with great skill, yet in a familiar setting, and to succeed fantastically is the Wire season 1. To keep pushing the same boundaries, yet to due it in new scenarios that seem abstract, and then only to tie it all in, well, that’s the Wire.
Is The Wire the best show on TV? With Sopranos off the air for a while, Arrested Development gone, and The Simpsons close to a third renaissance, maybe, by default.
But comparison is hard, because The Wire is far better on DVD or OnDemand, because it’s a show that is much easier to enjoy in multiple episode succession.
And yet, even if this is a show someone is to take in a week at a time, it’s hard to call it the best show on TV because one could point the reactionary response to it (it’s realistic, it must be good) the theme song (terrible at first, but in one of the smartest moves in TV history, they change it every run) or the sheer ambition which almost makes it a daunting undertaking of consumption.
And I go back to the notion that the problem for the show for newbies is the same as it is for fans.
It’s punishing.
In the viewing sense, this is a consumer choice; take it or leave it if that’s the preference. But for those who watch the show, it’s a different impact of the same level. It’s almost not worth seeing. This is a show that tells of no good, focuses on the worst of our problems, and offers no easy, if any outs.
But why get into The Wire? Because the punishment is gain by pain. It’s not only brilliant, and one of the ten best shows in history, but it’s the mark when TV has surpassed film.
If you want to compare Best Picture winners of the Oscars vs. TV, in the span of the last 15 years, TV has been gaining with shows like The Simpsons, Seinfeld, Newsradio, and The Sopranos. And now, with The Wire out there, I think it almost futile to consider going over this territory again.
Being a fan of The Wire is like being in a secret club. Few watch it, few care to know about it, but for those who do share a bond of hope.
Season 4 being is an indictment of transformative brilliance on America’s school system. It’s not a club of snobs, but people who crave realism in life. No escapes exist in The Wire, only problems with no answers.
And you get the feeling that those making the show could change all that. They could change perceptions, assuage fears, arise awareness.
Yet the whole wave of critics seems to be talking as if missing this show is to miss the essence of life itself; to not watch The Wire is akin to not caring about life, to not care about art, to not care about the problems of America, and Americans.
It’s exactly that, but they fail to consider that this isn’t a program for the everyday person. Regardless of the show, it could suck and it could be genius.
They should simply say: If you consider yourself a well versed and intelligent person in America and the rest of the Anglo and Gaelic world; you should watch this show.
Is it the best show ever made?
Maybe.
But it is certainly the best dramatic show made for the most verbally vocal sect of the world, the intellectuals.
That’s for sure. But to be fair, the only reason critics triumph the show is for this reason, so it doesn’t go away. We want shows like The Wire, which don’t devolve intelligence to Aaron Sorkin levels of mass acceptance. It’s as it is.
And yeah, The Wire is the best show on television. For all the heartbreak and problems. Even if every victory is tempered by the overwhelming truth of slow progression against an unbeatable foe. Knowing that there is something out there that can warm your heart by showing the worst of humanity, simply because it cares for the best of the world, well, that's heroic. And for the 4th season to care about kids, and to think about a cop show dedicating itself to outlying the problems of education in the USA.
Clearly, I will always love heroes, especially those who care about kids.
My guess: Colts over the Redskins. Even after a week in.
Other possible Super Bowls:
Carolina over New England
Indianapolis over Arizona (against all odds, why the hell not)
Philly over Baltimore
Chicago over Indianapolis.
+++++
I really would like to do a long post on The Wire. But when the New York Times and Washington Post is allowing it’s writers to spend weekly columns touting it as the best show in American History, I’m going for brevity over the usual gushing admiration.
As such, I had 3 moments this year when I knew I fell in love with a piece of art.
1. Reading the Brothers Karamazov on GY shifts, and getting about 300 pages in, and even in the moments before any sense of plot going on thinking to myself “I can’t wait to read more. Not even that, I can’t stop thinking about this book even when I am reading it.”
I cannot recommend the Brothers K enough. It’s one of the top 5 books I have ever read. It’s a book whose plot is about very little but it’s a novel which is about life, in entirety.
2. Listening to the Rakes “Strasbourg” and “The World was a mess but his Hair was perfect.” The latter is a 18 minute song that goes out of it’s way to be a song that isn’t 5 minutes, 10 minutes, but to go the level of 18 minutes.
Funeral for a friend is only 11 minutes long, and it has three parts to it.
My favorite song ever made, and no doubt owing to it’s length, is “You Can’t always get what you want” by the Rolling Stones. It’s 7:28.
It’s a full minute longer than both the 1812 overture and Rhapsody in Blue.
The only single (non live) track longer I can think of is Echoes by Pink Floyd (off Meddle).
It’s almost an exercise in lulling the attention of the listener away from the song with it’s simplicity. There are no drastic shifts in time change, no remolding of the melody. The only real pretension of the song is that it’s really, really long. The key to it is that it keeps bringing you back to the song, using only hooks and guitar riffs.
And I’m not even sure if it’s the best version of such an exercise. It’s highly likely another band could take the formula – only riffs, driving bass line and high hat backing mixed with guitar riffs and vocal smattering --- because it’s a simple exercise that any garage band could do. But to have a signed band release such a single is kind of what makes “The world was a mess but his hair was perfect” so special, that it’s out there, and it’s a hell of a lot of fun to listen to. Because it’s not meant to be part of the bands select tracks (as far as I know about it, it’s best use was for models on the catwalk at the Dior Homme fashion show).
But there is a time and place for this song. And about 22 seconds in, when the faint guitar strumming comes in over the bass, it’s a feeling of love. Maybe a base sensibility of having the fantastical out there within reach.
As for Strasbourg, it’s at the 1:57 mark. Hearing the musical countdown in German, and then hearing the song get into a guitar burn, where the lead and backing guitar fuse into a complementary stream of rock, that gets me feeling a little bit better every time.
As for #3, it came after watching The Wire.
The Wire is the only show that is more complicated and less inviting to new viewers than Arrested Development. One cannot come into the series run in the middle, they won’t be able to follow and they likely will not be able to enjoy.
Arrested Development works this for repeat viewings, having jokes that are told in the reverse direction of the shows’ episodic format (i.e. there are at least 5 jokes about Buster losing his hand that are seamlessly interjected episodes 2, 5, and even 15 episodes before he the act takes place). That’s part of why Arrested Development was so special. It was made to reward the fans who watch the episodes a second time.
The Wire doesn’t offer such a joy. To the first time viewer, it’s almost punishing to come in to a show where there are, no hyperbole, 50 characters that are essential the story of the series. The first season is the only one which has any sense of late comer accessibility, but after that point in the series run, it’s a moot point. I have read the term “visual novel” applied in numerous reviews, and while that’s as fair of a comparison as there can be made for metaphors, it’s almost slighting the written word, because by the middle of season 3 and onto season 4, joining the Wire isn’t like coming into a book halfway through, there are 2 other books that have to be read beforehand.
No matter how great someone says The Wire is, and most of the greatness of the show can be attributed to its depth (in character, story, development, and atmosphere) and that’s the drawback. To get the full joy of it, the only place to start is back at episode 1. Meaning that if someone wants to enjoy watching the episodes on air right now, they will be out 40 hours of time and X amount of dollars to track down the episodes. I mean, that’s a hell of a lot to give up just for a TV show.
And for a cop show.
And I’ll say on record, as I have many times in conversation about TV, I hate cop shows. Especially since Law and Order and CSI are what people consider TV shows to be.
Every decade since TV’s inception, one cop drama or another has been one of the most highly touted and most heavily watched shows on the medium.
The reasons are simple:
The resolution is simple: Capture the bad guy.
The process of doing so, a simple point A to point B plot structure, can be extrapolated to such great heights that it raises the bar higher each new “great show” that comes along.
The viewer feels that good is being upheld and bad is removed from society.
Let’s list:
The Fugitive (the original series) lasted as a serial drama that captured the minds of the 60’s and 70’s audiences in record fashion, with the finale being the highest rated show at it’s time.
And while standard by today’s measures, shows like Hawaii 5-0, Dragnet, and even stuff like Perry Mason and Matlock entertained in the 70’s and the Septuagenarians.
The 80’s saw the “revolutionary” Hill Street Blues (quotations because it’s so commonplace now in cop and med shows that it’s hard to recognize this for what it was, an accepted evolution of the creators to the reality of the world) and the flashy and brilliant Miami Vice.
The 90’s had NYPD Blue, a show which main appeal was it’s grittiness and realism, showing a dark process and murky morality about the enforcers of the law. This decade also spawned Law and Order, which isn’t noteworthy beyond the fact that a Network Exec decided to have a show where attractive actors played out the more interesting real life cases of the day. It could have happened in any decade, it just happened to be in the 90’s. And while I am remiss to not laud Homicide: Life on the Street or Murder One, the highest praise I can give is that they were great… for their day.
As a cop show, the first season of the Wire is just an evolution of the continued improvement in cop shows on TV. It’s probably the best single season of any cop show ever made, and if The Wire did nothing more than continue on this path, it would have taken at least 10 years for something to be better, that’s how the bar was raised, but the bar was not raised out of reach, mere time would have put it in reach.
And all right, screw brevity.
When season 2 starts, the opening episode is puzzling, confusing, shocking, and then completely engrossing once again, in that order.
It starts out with the main character (McNulty) who was demoted to the harbor duty after sticking it to the wrong people through the course of the first seasons events. He picks up a woman in the harbor who apparently jumped to her death. 40 minutes later, there are 13 other corpses, and a new murder mystery.
But along with this new case, there is a new slew of characters… not three or four, but more like 15 to 20. And from this the show seemingly has morphed into a cop show where the waterfront of Baltimore is the new locale. Except that the main baddies from the case of the first season are still involved, and that their lives are connected ever so slightly.
The 14 murders wind up being solved over the course of the 13 episodes, but by the time it’s done, it’s a second thought, because the bad guy is a lost point and the wrecked lives of the case’s impact is nothing short than devastating.
And while the end montage is one of the best pieces of filmmaking I have ever seen, I can’t help but be hurt by the punishing nature of the coda, all that was for this moment has been changed, and all due to simple greed to get a little more. When the character the montages bookmarks walks away and closes the season, what at once seemed like an excursion or tangent to supplement the series when the storyline of the first season was weakened from internal circumstances suddenly becomes the point of the show. This is life in America, not at it’s best, but at it’s worst. The Wire was from season 1 a cop show in Baltimore. From season 2 it was a TV show about Baltimore, the problems of a forgotten city, the lives of those below the upper class and specifically those just below the middle class and those far from the lower class standards.
If season 1 was about the corners and drug life of Baltimore, and season 2 was about the docks, 3 is about politics. It introduces a new main character in a Mayoral candidate, but more than bringing a new character, it adds to the new dimension for the show. And well, let’s just say any talk of realism in an Aaron Sorkin West Wing is shot to hell with The Wire season 3.
Good people are punished for making the right change. Bad tendencies of better thinking men flow again in dire times. The wrong people die, and yet they are killed by the right villians.
Side note: The character of Omar is one of the top 10 in TV history. Well, he’s probably #10. A gay black ghetto hitman. Who only robs from drug dealers. And who works with the cops. And never swears. And always whistles the same tune (I can’t remember if it’s farmer in the dell or Peter and the Wolf) when he roams the streets. The word dynamic is what fits Omar, and yet since the critical community finds words in thesaurus and then slowly propagate them to the level of intellectual and then common vernacular (previous and current entries include: duality, myriad, jubilant, amalgam, reformative) I am want to search for another. But fuck it. Dynamic works because he is a character that is the meaning of the word, in all cross references:
Activating, aggressive, ballsy, changing, charismatic, compelling, driving, effective, electric, energetic, energizing, enterprising, forceful, forcible, high-powered, hyped up, influential, intense, lively, lusty, magnetic, potent, powerful, productive, progressive, strenuous, vehement, vigorous, vital, vitalizing.
He is a part of the scheme that represents the worst of the situation in the fact that as a drug robber, he is leeching off the worst of the society he lives in. But his cods of ethics is so valid and his means almost admirable, it’s hard not to like the guy.
In season three, the show makes the leap from great to all time classic. From tackling the idea of race as an issue of individuals in contrast to the mass with an approach that it’s all negative futility, yet it’s not impossible sensibility. The show makes a cogent argument about legalizing drugs, showing the process, the downfalls, the upsides, the betterment for a community and the devastation inherent, and even in the wake of all the problems, it’s the first non-Libertarian assertion that it’s not a bad idea that I actually gave heed to.
And it’s not just that the show is willing to take risks. Any fool with a budget and a premise can get that from the right exec in the right mood. To do it once with great skill, yet in a familiar setting, and to succeed fantastically is the Wire season 1. To keep pushing the same boundaries, yet to due it in new scenarios that seem abstract, and then only to tie it all in, well, that’s the Wire.
Is The Wire the best show on TV? With Sopranos off the air for a while, Arrested Development gone, and The Simpsons close to a third renaissance, maybe, by default.
But comparison is hard, because The Wire is far better on DVD or OnDemand, because it’s a show that is much easier to enjoy in multiple episode succession.
And yet, even if this is a show someone is to take in a week at a time, it’s hard to call it the best show on TV because one could point the reactionary response to it (it’s realistic, it must be good) the theme song (terrible at first, but in one of the smartest moves in TV history, they change it every run) or the sheer ambition which almost makes it a daunting undertaking of consumption.
And I go back to the notion that the problem for the show for newbies is the same as it is for fans.
It’s punishing.
In the viewing sense, this is a consumer choice; take it or leave it if that’s the preference. But for those who watch the show, it’s a different impact of the same level. It’s almost not worth seeing. This is a show that tells of no good, focuses on the worst of our problems, and offers no easy, if any outs.
But why get into The Wire? Because the punishment is gain by pain. It’s not only brilliant, and one of the ten best shows in history, but it’s the mark when TV has surpassed film.
If you want to compare Best Picture winners of the Oscars vs. TV, in the span of the last 15 years, TV has been gaining with shows like The Simpsons, Seinfeld, Newsradio, and The Sopranos. And now, with The Wire out there, I think it almost futile to consider going over this territory again.
Being a fan of The Wire is like being in a secret club. Few watch it, few care to know about it, but for those who do share a bond of hope.
Season 4 being is an indictment of transformative brilliance on America’s school system. It’s not a club of snobs, but people who crave realism in life. No escapes exist in The Wire, only problems with no answers.
And you get the feeling that those making the show could change all that. They could change perceptions, assuage fears, arise awareness.
Yet the whole wave of critics seems to be talking as if missing this show is to miss the essence of life itself; to not watch The Wire is akin to not caring about life, to not care about art, to not care about the problems of America, and Americans.
It’s exactly that, but they fail to consider that this isn’t a program for the everyday person. Regardless of the show, it could suck and it could be genius.
They should simply say: If you consider yourself a well versed and intelligent person in America and the rest of the Anglo and Gaelic world; you should watch this show.
Is it the best show ever made?
Maybe.
But it is certainly the best dramatic show made for the most verbally vocal sect of the world, the intellectuals.
That’s for sure. But to be fair, the only reason critics triumph the show is for this reason, so it doesn’t go away. We want shows like The Wire, which don’t devolve intelligence to Aaron Sorkin levels of mass acceptance. It’s as it is.
And yeah, The Wire is the best show on television. For all the heartbreak and problems. Even if every victory is tempered by the overwhelming truth of slow progression against an unbeatable foe. Knowing that there is something out there that can warm your heart by showing the worst of humanity, simply because it cares for the best of the world, well, that's heroic. And for the 4th season to care about kids, and to think about a cop show dedicating itself to outlying the problems of education in the USA.
Clearly, I will always love heroes, especially those who care about kids.
posted by Indiana at
1:44 AM
1 Comments:
I put a firecracker in a bullfrog's ass. it blew his fucking head off!
By
Indiana, at September 17, 2006 1:10 PM
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