The Wire Episode Quotes

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Episodic memories get stored in the hippocampus as our stories—our interpretation of events with our emotional responses attached to them. These are memories that are tied to serious emotional reactions. If something happened in your life that was really significant to you, the emotions tied to that memory become attached like cat hair or static cling. So when we have an emotional response in the future, the amygdala immediately pulls this EAM file in order to decide how to respond. What fires together, wires together.
Faith G. Harper (Unfuck Your Brain: Using Science to Get Over Anxiety, Depression, Anger, Freak-outs, and Triggers)
Not only these were new kinds of stories, they were being told with a new kind of formal structure. [...] The result was a storytelling architecture you could picture as a colonnade - each episode a brick with its own solid, satisfying shape, but also part of a season-long arc that, in turn, would stand linked to other seasons to form a coherent, freestanding work of art. [...] The new structure allowed huge creative freedom: to develop characters over long stretches of time, to tell stories over the course of fifty hours or more, the equivalent of countless movies.
Brett Martin (Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad)
The cardinal directions are north, west, south, and east. The cardinal temperatures are 35º Fahrenheit, 67º Fahrenheit, 3º Celsius, and 10º Kelvin. The cardinal locations are a cave, a long-abandoned cabin, the bottom of an oceanic trench, and City Hall. The cardinal emotions are wild abandon, guarded affection, directionless jealousy, and irritation. The cardinal birds are hawk, sparrow, finch, and owl. The cardinal names are Jeremy, Kim, Trigger, and Jamie. And, finally, the cardinal sounds are a door slamming, slight movement in still water, popcorn popping, and a standard guitar G string being snipped with wire cutters. This has been the Children’s Fun Fact Science Corner.
Joseph Fink (The Great Glowing Coils of the Universe (Welcome to Night Vale Episodes, #2))
It was astonishing how loudly one laughed at tales of gruesome things, of war’s brutality-I with the rest of them. I think at the bottom of it was a sense of the ironical contrast between the normal ways of civilian life and this hark-back to the caveman code. It made all our old philosophy of life monstrously ridiculous. It played the “hat trick” with the gentility of modern manners. Men who had been brought up to Christian virtues, who had prattled their little prayers at mothers’ knees, who had grown up to a love of poetry, painting, music, the gentle arts, over-sensitized to the subtleties of half-tones, delicate scales of emotion, fastidious in their choice of words, in their sense of beauty, found themselves compelled to live and act like ape-men; and it was abominably funny. They laughed at the most frightful episodes, which revealed this contrast between civilized ethics and the old beast law. The more revolting it was the more, sometimes, they shouted with laughter, especially in reminiscence, when the tale was told in the gilded salon of a French chateau, or at a mess-table. It was, I think, the laughter of mortals at the trick which had been played on them by an ironical fate. They had been taught to believe that the whole object of life was to reach out to beauty and love, and that mankind, in its progress to perfection, had killed the beast instinct, cruelty, blood-lust, the primitive, savage law of survival by tooth and claw and club and ax. All poetry, all art, all religion had preached this gospel and this promise. Now that ideal had broken like a china vase dashed to hard ground. The contrast between That and This was devastating. It was, in an enormous world-shaking way, like a highly dignified man in a silk hat, morning coat, creased trousers, spats, and patent boots suddenly slipping on a piece of orange-peel and sitting, all of a heap, with silk hat flying, in a filthy gutter. The war-time humor of the soul roared with mirth at the sight of all that dignity and elegance despoiled. So we laughed merrily, I remember, when a military chaplain (Eton, Christ Church, and Christian service) described how an English sergeant stood round the traverse of a German trench, in a night raid, and as the Germans came his way, thinking to escape, he cleft one skull after another with a steel-studded bludgeon a weapon which he had made with loving craftsmanship on the model of Blunderbore’s club in the pictures of a fairy-tale. So we laughed at the adventures of a young barrister (a brilliant fellow in the Oxford “Union”) whose pleasure it was to creep out o’ nights into No Man’s Land and lie doggo in a shell-hole close to the enemy’s barbed wire, until presently, after an hour’s waiting or two, a German soldier would crawl out to fetch in a corpse. The English barrister lay with his rifle ready. Where there had been one corpse there were two. Each night he made a notch on his rifle three notches one night to check the number of his victims. Then he came back to breakfast in his dugout with a hearty appetite.
Phillip Gibbs
show from the last 20 years, look out for a detective by the name of John Munch. Always played by the same man, Richard Belzer, he was originally a character on Homicide: Life on the Street, before joining the cast of Law & Order Special Victims Unit. But there’s more; he has also been seen on episodes of The X-Files, Arrested Development, The Wire, 30 Rock and many more - always the same actor as the same character. Weird, but amazing nonetheless.
Jack Goldstein (101 Amazing Facts)
Primer of Love [Lesson 7] "He disrespected the Bing." ~ Tony Soprano, Episode 34 Lesson 7)Don't diss'em or let'em diss you. We're back on Brooklyn's streets (or Newark) on this one. It's all about respect - show none and you get whacked. None of that 'alpha' shit flies here - you're equals and command equal respect. She watches the kids, you cart the garbage. The kids wear her down all day; the cops break your chops about a missing WalMart tractor trailer with 100,000 pair of Levi jeans 'somebody' jacked on the Jersey Turnpike. You twos gotta' to vent your daily shit to each other.Let it all out, but be careful not to anything you may regret or prepare to sleep with a Glock under your pillow for the rest of your live. Insist you be totally naked when having sex to make sure nobody's wearing a wire. Capisce!
Beryl Dov
Quinn and Leslie repeatedly showed themselves to be experts at build-a-gag in which related elements were parlayed together for comic effect, and in this episode they play the numbers game as Gamble describes how during the silly season “200-pound men start climbing 49-cent stepladders to wire dimestore angels to the tops of three-dollar Christmas trees and wind up in a $500 plaster cast.
Clair Schulz (FIBBER McGEE & MOLLY ON THE AIR, 1935-1959 (REVISED AND ENLARGED EDITION))
If you’re watching a popular American show from the last 20 years, look out for a detective by the name of John Munch. Always played by the same man, Richard Belzer, he was originally a character on Homicide: Life on the Street, before joining the cast of Law & Order Special Victims Unit. But there’s more; he has also been seen on episodes of The X-Files, Arrested Development, The Wire, 30 Rock and many more - always the same actor as the same character.
Jack Goldstein (101 Amazing Facts)
Everyone is keen to show photos of their latest holiday or new car but not so many are keen to share photos of their bathroom scales post-holiday, or the final demand from the car finance company. For all I know, Connor sold a kidney to buy the house, or at very least tied himself into a crippling mortgage. My brain isn’t wired that way though, and I feel inadequate. It’s that inadequacy which contributed to the depression episode.
Keith A. Pearson
(from Acknowledgments) For some years I have profited from an in-house, informal but ongoing seminar on organizational behavior, a seminar comprising my wife, our three children, and three children-in-law. They have shared their insights into the functions and dysfunctions of the organizational settings in which they have worked, which include government, education, and medicine. I am indebted to all of them, though none are responsible for the uses to which I have put their observations. Eli Muller first drew my attention to the larger themes of The Wire (episodes of which he can quote chapter and verse), and his acute analysis of institutional dynamics finds its echoes in the pages of this book, which he also helped to edit. Thanks go to Joseph Muller, M.D., for orienting me in the literature of medicine and healthcare, as well as his sage advice about the tone and direction of the book. My wife, Sharon, was the first reader and editor of every chapter, and many of the book's ideas were born or refined in our daily conversations (when we weren't talking about the immeasurable pleasures of grandparenthood--but that's the subject of another book). Completion of this book was eased by the support of my parents. I'm saddened to note that this is the last project that I was able to discuss with mt father, Henry Muller, who passed away when the manuscript was nearing completion: his memory is a blessing. My mother, Bella Muller, remains a vigorous source of wisdom, encouragement, and humor in my life.
Jerry Z. Muller (The Tyranny of Metrics)