Okay then, lets go through the great things about The Wire's last hurrah in no specific order:
i) The Newsroom - Given his background, it's no surprise that David Simon did such a good job of realising a working newsroom. But when you yourself have worked in such places, my, it's a helluva thing to be thrown back into the environment. Top marks for casting David Costabile as the well-intentioned but woefully over-promoted managing editor. And while, yes, every one would be lucky to have an editor like Gus Haynes (Clark Johnson, who directed both the pilot episode and the final episode of the series) at some point in their career, it's the old skool subs and proof readers one would be truly fortunate to encounter. Word nerds they may be but if you're wondering why print media's gone to dogs, the fact these guys are all gone now has a helluva lot to do with it. Oh, and they're right, Alma - you can't evacuate people.
ii) Sensationalism Sells - The faux serial killer storyline seemed to upset a lot of people, especially those who valued The Wire's authenticity. But look at today's news - where sizzle is everything and fact often impedes excitement - and you can see that Simon and Ed Burns have a valid point to make. And through the larger-than-life Jimmy McNulty, they had the perfect person to pursue such a line of action; a man who's sufficiently impaired to be unaware of how grave a mistake he's making, and egotistical enough to think he'll never get caught. A story in which Bunk is the voice of reason and Greggs' decision to rat out her friends comes across as perfectly reasonable - there's real narrative heft here. And if you don't think politicians react to potent albeit unproven threats far quicker than they do to true need, you really need to read more papers.
iii) Bubbles - As it's great to see Reginald (!) recovering his old life, it's refreshing - at least to this recovering addict - to see that he isn't yet enjoying the 'life beyond your wildest dreams' that many addiction organisations talk of. Recovery is bloody hard work and while things can and do improve, it's interesting to find Bubs at the stage where being sober is something he expects of himself rather than wants to be congratulated for. And speaking of Bubbles, Walon and their NA chapter...
iv) Dee Dee -We first meet her in Season Three in Hamsterdam, buying drugs in a manner that suggests it's something she's never done before. We bump into her again in Season Four, clearly in thrall to addiction and turning tricks to finance her habit. And our third and last encounter is at an NA meeting, where our girl is found striving for sobriety. A key period of a life summed up in a series of brief scene, this is the sort of thing The Wire does so well - see also our Season Five interactions with Prez where it's clear that the apprentice teacher is now head of the class. Of, and the young woman who plays, Dee Dee? She's Genevieve Hudson-Price, late of The Deuce and the daughter of Richard Price, the acclaimed author and screenwriter who also penned many a telling episode of The Wire.
v) "A Lie Isn't A Side Of A Story..." - "... it's just a lie." As great a line as you'll find in any episode of the programme. And superb that it should come from the mouth of Terry Hanning (Aubrey Deeker Hernandez), a servicemen - who place particular importance on integrity - who also happens to be homeless - and as such is someone we'd rather step over than interact with.
v) "THIS ISN'T FUNNY, NORMAN!" - Oh, but it is, Tommy Carcetti. It's fucking hilarious.
i) Omar's Death - Also the worst bit. You always were a repugnant little shit, Kenard.