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In one of the most profound moments in the series, Avon Barksdale’s nephew D’Angelo, a lieutenant in the family drug organization, teaches his young street crew that “the king stay the king” and that the pawns die early. Using the pieces of a chess game, D’Angelo explains how everyone in the “the game” has a role and few, if any, can transcend those roles. While the king has the queen and all of the pawns to “watch his back,” the pawns are frequently sacrificed to protect the more powerful pieces and have no one to shield them from the brutality of the game. If we read the chess board as yet another metaphor for the American city, D’Angelo’s teachings draw parallels between the “king” and the powerful state actors and between the “pawns” and those who are dispensable in society. Virtually every political decision in The Wire, including decisions about whom to punish and why, are ultimately designed to preserve political power and ensure the personal and institutional success of those with voice and capital. In the most blatant ways, political candidates manipulate crime and punishment to increase their votes and make their careers by running on tough-on-crime platforms regardless of whether those platforms provide fair and effective strategies for controlling crime. The politics of crime is easily discernible in the mayoral campaign of Mayor Clarence Royce and his challenger, Tommy Carcetti.
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