The Wire looks long and hard at the wide-ranging falsities ravishing modern day social institutions (the police department, city hall, and most notably the media), ranging from the most minute white lies of fabricating a quote to the grandiose corruption within the highest echelons of bureaucracy. As usual, the devastating ramifications of this trickle down effect fall directly on the shoulders of the innocent, the naive, and the weak, creating an intricate urban mosaic plush with drama and tragedy. Creator’s David Simon and Ed Burns have fashioned a worthy ending to what many believe is the finest piece of media in the last decade, engaging the numerous characters through moments of finality and clarity before dimming the lights over the locale’s epicenter, the shifting landscape of Baltimore. The Wire, with its sprawling scope and fascinating parallels, is not just about the human cost of the drug war, shady politics, or education cuts. It deals with the circularity of the entire process, where ignorance and arrogance spawn generations of ill-equipped professionals and cynical civilians, leaving everyone caught in a lie. Together, this tandem slowly dances the community towards a grave of irrelevance, shaking the very notion of human interaction to the core. The Wire reflects the most complicated and calculated aspects of human nature in shades of grey, but never loses sight of its greatest idea; that the dark and muddy waters of truth might lead to a newfound propensity for hope.