The Target (The Wire)

Baltimore homicide detective Jimmy McNulty investigates the murder of Omar "Snot Boogie" Betts, a "rip and run" kid who was shot while attempting to rob a back alley craps game. An eyewitness describes to McNulty the illogical, but to that point accepted, pattern of the regulars allowing Snot Boogie to join the game each week, knowing in advance he would rob it, followed by their chasing him down to beat him and retrieve their money. McNulty, "in exchange for some Grape Nehi and a few Newports", persuades the witness to testify in court.[1] The following day, McNulty observes the courtroom trial of D'Angelo Barksdale, a young drug dealer charged with killing a low-ranking gang member. One of the two witnesses, a security guard named Nakeesha Lyles, changes her story on the stand and refuses to identify D'Angelo, resulting in an acquittal.

McNulty vents his frustration to Judge Daniel Phelan about the Baltimore Police Department's failure to investigate D'Angelo's uncle Avon and his right-hand man Stringer Bell, who are major players in West Baltimore's drug trade. Phelan makes a call to Deputy Commissioner Ervin Burrell. Later, Major William Rawls, incensed that McNulty went around the chain of command, forces him to write a report for Burrell about the Barksdale murders. Sergeant Jay Landsman warns McNulty that his behavior could end with reassignment. He asks where McNulty would not want to be reassigned, and McNulty admits he dreads being posted to the harbor patrol unit.

Wee-Bey Brice drives D'Angelo to Orlando's strip club, a front for the Barksdale Organization. When D'Angelo discusses the trial in Wee-Bey's car, Wee-Bey curtly reminds him not to discuss business in the car or on the phone, in case both are being monitored. Avon chides D'Angelo for committing a needless public murder, costing the organization time, effort, and money. D'Angelo also meets a stripper called Shardene Innes. When D'Angelo arrives at the high-rise Franklin Terrace housing projects, Stringer tells him he has been demoted to heading a crew in the low-rise projects, dubbed "the Pit." This new crew includes Bodie Broadus, Poot Carr, and young Wallace.

Narcotics lieutenant Cedric Daniels is tasked by Burrell with organizing a detail to investigate the Barksdales. Burrell wants to keep the investigation quick and simple, appeasing Phelan without becoming drawn into a protracted case. Daniels brings narcotics detectives Kima Greggs, Thomas "Herc" Hauk, and Ellis Carver with him. Rawls sends McNulty and Michael Santangelo, one of Homicide's more inept detectives. McNulty's FBI contact, Agent Terrance "Fitz" Fitzhugh, shows him the Bureau's far superior surveillance equipment, but explains that their drug investigations are winding down due to the War on Terror. McNulty objects to Daniels' plan of buy busts and suggests using a wiretap to get a conviction. However, Daniels insists on a fast-paced investigation, suggesting that the detail looks at old murders tied to the Barksdales.

McNulty goes drinking with his Homicide partner Bunk Moreland and complains about his ex-wife, who makes it difficult for him to see his two sons. Greggs returns home to her partner Cheryl. A heroin addict called Bubbles and his protege, Johnny Weeks, buy drugs with counterfeit money, but when they try to repeat the scam, Bodie leads the crew in beating Johnny. Bubbles is also a confidential informant for Greggs, and agrees to give her information on the Barksdales as revenge for the beating. At the start of his second day working the Pit, D'Angelo is shocked to find the murdered body of William Gant, another witness at his trial, lying in the street.[2][3][4]

The Guardian Unlimited review noted the pilot episode established the series' themes of institutional dysfunction, the ineffectiveness of the War on Drugs and novelistic structure. The review compared the series to Richard Price's 1992 novel Clockers and wondered if the pace could be sustained for an entire season. The review picked out the characters of Jimmy and Avon as particularly significant.[9] An Entertainment Weekly reviewer praised Johnson's direction of the episode and credited him with drawing subtle performances out of Gerety and Reddick.[7] Tim Goodman of The San Francisco Chronicle characterized the show as another success for the HBO network and a well-produced and complex subversion of the cops and robbers genre. He credited Simon's reporter's eye for detail for the series' verisimilitude. He also noted the series themes of institutional dysfunction, the ineffectiveness of the War on Drugs, and novelistic structure.[6] A separate Chronicle article highlighted the theme of institutional dysfunction through the comparable experience of characters on opposite sides of the law using Jimmy and D'Angelo as examples.[10] The review also made favorable comparisons between the show and Simon's previous work on Homicide: Life on the Street, attributing the improvement to the switch to cable television for The Wire from the NBC network who produced Homicide.[10]

The Pittsburgh Post-Gazette was more critical of the show. They stated that the producers' expectations that the audience would have the patience for a complex, morally ambiguous, and slowly unfolding story might prove unfounded. They noted the cast members from Homicide and Oz and described The Wire as less accessible than either of these shows and also compared the pacing to Farscape. They praised the performances of some of the cast and said that the show had moments that drew the viewer in but ultimately required too much of its audience.[8] The New York Times also felt that the show "went out of its way to be choppy and confusing" and eschewed conventions of signposting the introduction of characters and obvious exposition but commented that while some viewers may be alienated others would find this refreshing.[11] They noted the theme of institutional dysfunction and the use of parallel storylines for characters in different organizations to highlight this, citing the pariah status of Jimmy and D'Angelo.[11] The review also criticized the show's attempts at realistic dialogue, saying that it often seemed self-conscious, and the examination of the detectives' personal lives, saying that it had been done before.[11] The review stated that the show's success would hinge not on its apparent high quality but on the tolerance of the viewer for the complexity of the continuing narrative, which they characterized as considerably more downbeat than high-octane shows like 24.[11]

The opening scene at the Snot Boogie crime scene has been praised as being a "perfectly crafted set-up" for the series' themes of institutional dysfunction, devaluing human life, and epitomizing the bleak humor of the show.[12]

• "The Target" at HBO.com
• "The Target" at IMDb