Titlebook: Examining The Wire; Authenticity and Cur Ryan Twomey Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive license to

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978-3-030-45994-9The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl

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,Curated Realism: ,’s Authenticity,he book, namely, ‘authenticity’, ‘realism’, and ‘curated realism’, this preliminary examination details the three key spheres of authenticity on display across .: authentic language, authentic characters, and authentic location. The chapter also examines . the series is authentic for and the relatio

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,Superheros, Dickens, and Uncertain Endings: ,’s Authentic Characters,s, their fictional doppelgängers, and the actors that play the roles. This chapter then (re)examines the veracity of likening .’s characters with the ‘Dickensian’, arguing that it is a mistake to compare the nineteenth-century novelist’s treatment of characters with that of Simon’s modern television

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,‘Dante’s Hell’: , and the Authentic Representation of Baltimore,resented on .. It is shown that it is Simon’s focus on an authentic portrayal of a recognisable and distinct region, which differentiates itself geographically, socially, and culturally from other locations, that forms an integral part of the series realism. Finally, through the authentic soundscape

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https://doi.org/10.1057/9780312299071 series. Finally, the chapter offers a critique of the curated nature of characterisation through a case study of the two most romantic figures of the entire series: Omar Little, played by Michael K. Williams, and Reginald ‘Bubbles’ Cousins, played by Andre Royo.

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Prospect: Future lines of research, mirroring the real-life inner-city setting, and the ways in which the camera and editing eschews the use of flashback, dream-like scenes, and a host of formal self-reflexive visual devices, this chapter examines the audial and visual production of .’s realism.

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,‘Dante’s Hell’: , and the Authentic Representation of Baltimore, mirroring the real-life inner-city setting, and the ways in which the camera and editing eschews the use of flashback, dream-like scenes, and a host of formal self-reflexive visual devices, this chapter examines the audial and visual production of .’s realism.

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