If I want to watch a documentary on life on the streets, then I'll watch a documentary on life on the streets. I watch film and television because it's not a documentary, it's not "reality." The Wire conflated the notion of "realism" with the most stripped down form of dramaturgy imaginable; as such, it is immensely unsatisfying and uninteresting from a formal/narratological perspective.
Once again, vague statements and accusations without any real merit or basis. Explain how the wire is a documentary about life on the streets? How does it conflate the notion of realism? You will have an exceptionally weak argument if you actually attempt to make that point, because, The Wire is very clearly not a documentary about life on the streets, nor does it pretend to be.
Any show that would bring in over the top characters like Brother Mouzone is certainly not attempting to mask itself as documentary. A show that has police officers who invent serial killers, or legalize drugs, does not consider itself a documentary. And while "life on the streets", as you put it, might be one thematic component of The Wire, its hardly the whole picture. The dramaturgy, the structure of the show, is as a portrait of a city. It adds layers to that portrait until it fills itself - until the painting is complete and there is nowhere left to go. At the end, you either got it, or you didn't - and in that, your own subjective opinion of what you just saw comes into play. You didn't like it, and that's fine. But you vaguely refer to it as dramatalogically inept by calling it a "documentary about life on the streets" without proving or even pretending you need to prove that this allegory adequately describes what The Wire is or what its writers were attempting to do.
What I seek in fictional narrative is emotional truth. The Wire was too focused on the representation of reality as opposed to allegorically highlighting universal truths of the human condition. Nothing was philosophically illuminating about the show, none of the themes on which it focused were anything new (city schools suck, politics is crooked, cops are run-of-the-mill bureaucracies, even the good grapple with evil, blah blah blah) and, moreover, their expression wasn't inspired or entertaining.
In what way was the wire "too focused on the representation of reality"? I don't see how you can back that up. Because characters were killed off in a brutal and realistic way - the show was TOO FOCUSED on a representation of reality vs highlighting the truths of the human condition? Or, is that not what you meant?
Give me something I can dig my teeth into here. What was it about the show that made it too focused on realism to the determent of allegorical truth? I and many others found The Wire quite insightful, for me, simply because it took the time and care to painstakingly build and piece together a world I have very little experience with - the police force, labour Unions, the drug trade - I got to experience those worlds and their inter-connectivity through the point of view of distinct, flawed, human characters who struggled with their decisions just as I would if I had been put in their position.
When I look at Ziggy on the docks I know his frustration because I've been in a world where I'm the guy who makes people laugh and can't get ahead at work - and I've seen men like Frank Zabatka around my city, I know people like them without ever really getting to know them. Union boys who want to get a job done and then go home and have a smoke. - After The Wire, I felt a little more connected to those people. I, personally, was able to gleam quite a bit about the modern human condition from The Wire. I was given a taste, brief and fleeting but a taste, of a life not my own and I empathized with people who made decisions that, if I were to read about in the newspaper, I might otherwise have no sympathy for and write off.
And, Because we deal with some familiar themes (crooked police, political, etc) doesn't mean A) those issues are somehow off limits or B) that anyone else has covered this stuff in as through and entertaining a way as The Wire has. Through and entertaining according to my personal standards and also the standards of virtually every TV critic or show business professional.
Good God no, especially once he went to prison. Was there a greater certainty in that show's entire run than the stupendously obvious trajectory that storyline was going to take? And what's more, it dragged on and on and on and on until they finally killed him, to the point where, once it happened, all I felt was relief that I wouldn't have to deal with that fucking character and his stupid whiny storyline anymore.
Okay, that's a specific example, you've got me there. But I take issue with your perspective here. Knowing that D'Angelo would probably die was, fair enough, predictable, but the carrying out of that death was not. And if you were invested in that character (you weren't, I and many other were), you hoped against hope that it wouldn't happen. And further - Stringer and Avon's relationship and the tension that murder created (tension for the audience) was fantastic.
The scene between Stringer and Avon when Stringer flat out admits what he'd done to D'Angelo, it wouldn't have been possible without Wallace's death, without D'Angelo's death, without Avon's taunting and his prison sentence - and in my opinion, that was one of the shows strongest moments.
So sure, D'Angelo dying might have been predictable, but what the fallout would be, what the consequences of that death might entail, were hardly predictable and kept me glued to my seat.