An American police procedural television series chronicling the work of a fictional version of the Baltimore Police Department's Homicide Unit.An American police procedural television series chronicling the work of a fictional version of the Baltimore Police Department's Homicide Unit.An American police procedural television series chronicling the work of a fictional version of the Baltimore Police Department's Homicide Unit.
- Won 4 Primetime Emmys
- 25 wins & 82 nominations total
Storyline
Did you know
- TriviaIn 1988, Baltimore Sun reporter David Simon joined the Baltimore Police Homicide Unit as a civilian assistant in order to chronicle a year in the life of a big-city homicide squad. His extensive notes, interviews, and observations were eventually published as the book, "Homicide: A Year on the Killing Streets." This book served as the inspiration for the TV series Homicide: Life on the Street (1993). Much of the first and second seasons are taken from actual events recounted in the book.
- GoofsIn a number of episodes, in-vehicle shots with a "back seat" perspective often show that the vehicle being filmed in is in fact a Chrysler-produced sedan. Note the older star-in-pentagon emblem on the steering wheel instead of the Chevy Cavaliers that the detectives drive. This is likely due to the lower headroom in the Cavalier, making it difficult to film that perspective.
- Quotes
Det. Frank Pembleton: You know, every day I get out of bed and drag myself to the next cup of coffee. I take a sip and the caffeine kicks in. I can focus my eyes again. My brain starts to order the day. I'm up, I'm alive. I'm ready to rock. But the time is coming when I wake up and decide that I'm not getting out of bed. Not for coffee, or food or sex. If it comes to me, fine. If it won't, fine. No more expectations. The longer I live, the less I know. I should know more. I should know the coffee's killing me. You're suspicious of your suspicions? I'm jealous, Kay; I'm so jealous. You still have the heart to have doubts. Me? I'm going to lock up a 14-year-old kid for what could be the rest of his natural life. I got to do this. This is my job. This is the deal. This is the law. This is my day. I have no doubts or suspicions about it. Heart has nothing to do with it any more. It's all in the caffeine.
- ConnectionsFeatured in The 45th Annual Primetime Emmy Awards (1993)
Two things kept this show from legendary status: First, for most of it's run, it suffered from a terrible schedule spot, Friday. Second, it was a challenging show. In no way is that a denigration, in fact, the opposite. The levels of meaning presented in the writing and reinforced by the camera style and acting required a level of attention that people normally bring with them to watch the theatre.
Regarding it's lack of very many Emmy's, it was produced outside of Hollywood, yet was made with substantive quality and artistic integrity. My guess is that it therefore lacked clout and engendered jealousy at the same time.
It's cliché, but HLOTS was ahead of it's time. Many shows on today echo much of the style and substance HLOTS pioneered. Look no farther than THE SHIELD, NIP TUCK or THE SOPRANOS for dramatic quality similar to what HLOTS was doing 10+ years ago.
There are other good dramas on TV today, but HLOTS connected so consistently on an emotional and aesthetically fulfilling level that I felt like I had lost a friend when it finished it's run. I can't say that about anything I've seen before or since.
- matthewfahey
- Jun 24, 2005
- Permalink