Acknowledgments
I owe thanks to three different classes on The Wire that I was fortunate
to teach at UC Berkeley after the series ended. The first was a senior
seminar that also served as my own initiation into television studies.
The second was a large lecture class whose discussion sessions were ex-
tremely helpful to this book. The third was a graduate seminar on serial
television featuring The Wire as a case study in which I tried out some
of the ideas on seriality and melodrama. Many insights were sparked by
the students in these classes and in countless discussions with friends.
Special thanks go to three wonderful research assistants and editors:
Jonathan Lee (who led the way), Kelsa Trom (wise beyond her years),
and Irene Chien (without whom I would still be mired in research). I
am also indebted to Christine Borden, who taught me the importance of
Simon’s journalism; Nikhil Krishnan, who understood the lure of tech-
nology; Mallory Russell, who counted many beats; Zeynep Gürsel, who
knew about ethnography; Maryam Monalisa Gharavi and Catherine
Zimmer, who were both smart about surveillance; and Elisabeth Anker,
who told me to keep my eye on the series itself. I dedicate this book
to all of these friends, colleagues, and students who showed me new
facets of the series. Especially heartfelt thanks go to the three people
who first made me watch The Wire: Edith Kramer, J. P. Gorin, and Quinn
Fitzgerald.
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