In Season 2, we said if someone didn't fix the grain pier [a shipping facility on the Baltimore harbor], someone would come along and turn it into condos. At the time it was sitting idle. By the time we were working on Season 3, they had sold it, and now there are condos over there. The bar where we had the stevedores hang out is being remodeled for a yuppie fern joint. We discussed how police officers can juke stats to make it look like crime disappears, and that was a huge issue in the recent election. The same games are always being played.
Another answer shows that some Baltimoreans aren't quite sure whether the show is a documentary or not:
I know that in West Baltimore, Omar can't get to the set, because we have people going nuts. Or Stringer Bell or Prop Joe. The show has an allegiance in that community. That's its own answer—not that it's popular, but that it's credible. I was just on 92Q, the hip-hop station. The call came in with someone who said, why did you kill Stringer Bell when the real Stringer Bell is still alive? And I said, oh, you mean Mr. Reed? I explained that Reed was not the real Stringer, but that we mix and match stories.
Simon also has an interesting take on regular cop shows:
On shows where the arrest matters, where it's about good and evil, punishing crime, the poor and the rich, the suspect exists to exalt the good guys, to make the Sipowiczs and the Pembletons and the Joe Fridays that much more moral, that much more righteous, that much more intellectualized. It's to validate their point of view and the point of view of society. So, you end up with same stilted picture of the underclass. Either they're the salt of earth looking for a break, and not at all responsible, or they're venal and evil and need to be punished. That's a good precedent for creating an alienated America.
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