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Notes

The Conversations' editors thank Roshan Jahangeer for her assistance with this issue.

There are no spectacular visual effects or stunts and scenes are largely, though not exclusively, shot from vantage points that would be available to bystanders, if not the central protagonists in the drama/scenes. Just as reality is characterized by the primary ordering of space, time and causality, The Wire utilizes a conventional linear narrative (there is only one brief flashback sequence over the entire five seasons). In other respects too, The Wire aspires to authentic representation. Creator and Executive Producer David Simon was formerly a journalist on the Baltimore Sun. Co-producer and occasional writer and actor Ed Burns served in the Baltimore police department. Low and high level Baltimore drug dealers have joined the cast, along with actors who grew up in the city. Storylines draw upon actual events and many of the characters in the show are composites of real people (see Alvarez 2004).

Lippman's comments were written before season three appeared and it should be noted that new female characters were written into the show in later seasons and female writers and directors added to the credits. Nevertheless, her observations remain pertinent to later seasons too.

‘Hot Shots’, episode three, season two, The Wire, HBO.

‘Sentencing’, episode thirteen, season one, The Wire, HBO.

David Simon ‘The End of American Empire.’ Available at http://www.youtube.com/watch?v=LJNkL12QD68 (accessed 4 August 2010).

The Conversations' editors thank Roshan Jahangeer for her assistance with this issue.

For the CSW 53 agenda, Agreed Conclusions, participants, themes, official documentation, written statements, general discussion, parallel events and press releases, see the CSW 53 Homepage (UN DAW 2009b). For the daily meeting agenda, see Journal of the United Nations (UN DGACM 2009).