Television Review: Wu's on First? (Homicide: Life on the Street, S5X15, 1997)

Wu’s on First? (S05E15)

Airdate: 7 February 1997

Written by: David Simon & Anya Epstein
Directed by: Tim McCann

Running Time: 46 minutes

Homicide: Life on the Street occupies a unique niche in television history not only for its gritty, authentic portrayal of urban policing but also as the spiritual precursor to The Wire, David Simon’s magnum opus on systemic decay in Baltimore. While both series share a foundation in Simon’s firsthand reporting for The Baltimore Sun, their scopes diverge sharply: The Wire expanded into a sprawling critique of institutions like education, media, and politics, whereas Homicide remained anchored to the immediacy of crime and its human toll. Simon’s experiences as a reporter, including his time embedded with the Baltimore Police Department, informed Homicide, but his later vision in The Wire proved more nuanced and ambitious. Season 5 episode Wu’s On First?, though rooted in Simon’s journalistic ethos, exemplifies the unevenness of Homicide’s later seasons. The episode tackles themes of media ethics and familial dysfunction with uneven success, leaving its potential largely unrealised.

The episode’s central plot revolves around the murder of a Calvert County sheriff’s deputy, a “red ball” case (a term for high-priority investigations) that draws the attention of Baltimore’s Homicide Unit. Detective Pembleton’s suspicion that drugs played a role intersects with the determined reporting of Baltimore Sun journalist Elisabeth Wu (Joan Chen). Wu’s resourcefulness is immediately evident: in a sharp opening scene, she outmanoeuvres a rival TV reporter by sabotaging a payphone at the crime scene, securing exclusive footage. Yet her professionalism unravels when an anonymous source implicates a drug dealer in the killing, claiming the deputy was a buyer who “went berserk.” Wu hastily publishes the accusation without corroboration, only for the autopsy to confirm the victim’s addiction but disprove the dealer’s self-defence claim.

The fallout is swift: Wu’s editors punish her by demoting her to writing obituaries—a humiliation she accepts stoically, acknowledging her mistake. Colonel Barnfather, meanwhile, publicly praises her “cooperation,” a hollow gesture underscoring the tension between media sensationalism and institutional complicity.

The main storyline takes a backseat to the episode’s other anchor: the ongoing saga of Detective Mike Kellerman (Reed Diamond). Struggling with career stagnation and personal despair, Kellerman is confronted by his estranged brothers, Drew (Eric Stoltz) and Greg (Tate Donovan), who arrive in Baltimore under the guise of mending family ties. Their true motive? To evade bookies and involve Kellerman in their shady dealings. Torn between loyalty and duty, Kellerman succumbs to alcohol, lands in jail alongside his brothers, and is bailed out by his ex-girlfriend, Dr. Julianna Cox (Michelle Forbes), and partner Meldrick Lewis (Clark Johnson).

The subplot, while laden with potential for exploring familial betrayal and moral ambiguity, devolves into soap opera tropes. Kellerman’s perpetual victimhood—here framed as a pawn in his brothers’ schemes—feels repetitive, a recurring narrative crutch for the character. Yet Diamond’s performance anchors the scenes, particularly in his portrayal of Kellerman’s inner turmoil, while Stoltz and Donovan bring welcome gravitas to otherwise clichéd roles.

Co-written by Simon and Anya Epstein, the episode grapples with complex themes: the ethical tightrope journalists walk between truth and sensationalism, and the moral compromises inherent in law enforcement. The interplay between Wu and the police—particularly her manipulation by the system to “set up” the dealer—echoes The Wire’s later critiques of institutional corruption. However, the script’s ambitions are undermined by miscasting and a simplistic resolution.

Joan Chen, while a gifted actress, is ill-suited to the role of Elisabeth Wu. Her Chinese heritage and accent clash with the character’s portrayal as a seasoned street reporter; Wu’s ethnicity, though plausible, feels tacked-on rather than integral to the narrative. Meanwhile, the resolution of her arc—relegated to obituaries—is disappointingly perfunctory, lacking the moral complexity one might expect from Simon.

The episode’s fatal flaw is its attempt to juggle two undercooked subplots. Kellerman’s storyline, already overexposed in prior seasons, adds little new. His brothers’ dysfunction—gambling debts, petty crime—reads as a tired melodrama, relieved only by occasional dark humour. The decision to shoehorn this into an already crowded episode dilutes its impact, making Wu’s arc feel secondary despite its thematic weight.

Simon’s reliance on niche cultural references—such as the Abbott and Costello routine Who’s On First? inspiring the title, or a digression into baseball history—adds a veneer of local authenticity but alienates broader audiences. These touches, while endearing to Baltimoreans, do little to elevate the episode beyond its mediocrity.

Wu’s On First? is emblematic of Homicide’s later struggles to balance ambition with execution. While its themes of media ethics and familial dysfunction resonate, the script’s uneven pacing, miscasting, and reliance on clichés prevent it from reaching the heights of the series’ finest episodes. Reed Diamond and Eric Stoltz deliver capable performances, but the writing fails to capitalise on their strengths.

RATING: 5/10 (++)

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