THERE’S A SCENE in the HBO drama The Wire where several Baltimore homicide detectives come to the realization that the murderous gangster they’ve been chasing for the better part of three seasons might have moved on to a new profession.
“Seems that Stringer Bell is worse than a drug dealer,” says one. “He’s a developer,” finishes another.
The line is a joke, but it’s also an important piece of exposition: The money from Baltimore’s drug trade is fueling a corrupt redevelopment of the city that will wipe away what little is left of deeply rooted (but deeply troubled) communities.
The Wire was a groundbreaking show in many ways. Its casting of land developers in the role of shadowy villains is the most ordinary thing about it. In Hollywood, a developer is almost always a bad guy.
Throughout television and film, property mongers are deployed again and again as antagonists whose schemes to build a new condo or supermarket must be defeated at all costs. The trope transcends genre boundaries, giving a work’s protagonists someone to fight against and something to fight for. Developers menace characters in goofy comedies and serious serial dramas. They appear in dark horror movies, children’s cartoons, and blockbuster sci-fi flicks. Whether it’s a gentle animated feature like Up or an alien war film like Avatar, a comedy like Barber Shop 2 or an absurdist musical like The Blues Brothers, chances are someone trying to build something somewhere is the threat that sets the whole plot in motion.
この記事は Reason magazine の August/September 2020 版に掲載されています。
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この記事は Reason magazine の August/September 2020 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
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