Homicide: Life on the Street

Homicide: Life on the Street is an American police drama television series chronicling the work of a fictional version of the Baltimore Police Department's Homicide Unit. It ran for seven seasons and 122 episodes on NBC from January 31, 1993, to May 21, 1999, and was succeeded by Homicide: The Movie (2000), which served as the series finale. The series was created by Paul Attanasio and based on David Simon's book Homicide: A Year on the Killing Streets (1991). Many of the characters and stories used throughout the show were based on events depicted in the book.

While Homicide featured an ensemble cast, Andre Braugher emerged as a breakout star through his portrayal of Detective Frank Pembleton. The show won TCA Award for Outstanding Achievement in Drama in 1996, 1997, and 1998. It also became the first drama ever to win three Peabody Awards for Drama, those being in 1993, 1995, and 1997. It received recognition from the Directors Guild of America Awards, Humanitas Prize, Q Awards, Writers Guild of America Awards and Primetime Emmy Awards. In 1997, the fifth-season episode "Prison Riot" was ranked No. 32 on TV Guide's 100 Greatest Episodes of All Time.

In 1996, TV Guide named the series "The Best Show You're Not Watching". The show placed #46 on Entertainment Weekly's "New TV Classics" list. In 2007, it was listed as one of TIME magazine's "Best TV Shows of All-TIME." In 2013, TV Guide ranked it #55 on its list of the 60 Best Series of All Time.

Homicide: Life on the Street was adapted from Homicide: A Year on the Killing Streets, a non-fiction book by Baltimore Sun reporter David Simon, based on his experience following a Baltimore Police Department homicide unit in 1988. Simon, who became a consultant and producer with the series, said he was particularly interested in the debunking of the American detective. While detectives are typically portrayed as noble characters who care deeply about their victims, Simon believed real detectives regarded violence as a normal aspect of their jobs.

Simon sent the book to film director and Baltimore native Barry Levinson with the hopes that it would be adapted into a film, but Levinson thought it would be more appropriate material for television because the stories and characters could be developed over a longer period of time. Levinson believed that a television adaptation would bring a fresh and original edge to the police drama genre because the book exploded many of the myths of the police drama genre by highlighting that cops did not always get along with each other and that criminals occasionally got away with their crimes.

Levinson approached screenwriter Paul Attanasio with the material, and Homicide became Attanasio's first foray into television writing. All episodes of Homicide display the credit, "Created by Paul Attanasio" at the end of their opening sequence, a credit which both Eric Overmyer and James Yoshimura dispute on the DVD audio commentary to the season 5 episode, "The Documentary", claiming instead the show was created by Tom Fontana and Yoshimura. The series title was originally Homicide: A Year on the Killing Streets, but NBC changed it so that viewers would not believe it was limited to a single year; the network also believed the use of the term "life" would be more reaffirming than the term "killing streets". Levinson was indifferent to the change, asserting that viewers would probably casually refer to the series as "Homicide" in either case. The opening theme music was composed by Baltimore native Lynn F. Kowal, a graduate of the Peabody Institute of the Johns Hopkins University in Baltimore.

The greatest lie, I think, in dramatic TV is the cop who stands over a body and pulls up the sheet and mutters, 'Damn' and looks down sadly. To a real homicide detective, it's just a day's work.

Homicide's purpose was to provide its viewers with a no-nonsense, police procedural-type glimpse into the lives of a squad of inner-city detectives. As opposed to many television shows and movies involving cops, Homicide initially opted for a bleak sort of realism in its depiction of "The Job", portraying it as repetitive, spiritually draining, an existential threat to one's psyche, often glamour- and glory-free—but, nonetheless, a social necessity. In its attempt to do so, Homicide developed a trademark feel and look that distinguished itself from its contemporaries. For example, the series was filmed with hand-held 16 mm cameras almost entirely on-location in Baltimore (making the idiosyncratic city something of a character itself). It also regularly used music montages, jump cut editing, and the three-times-in-a-row repetition of the same camera shot during particularly crucial moments in the story. The episodes were also noted for interweaving as many as three or four storylines in a single episode. NBC executives often asked the writers to focus on a single homicide case rather than multiple ones, but the show producers tended to resist this advice.