“Man suck my clip, swallow my bullets and don’t you spit!” ~Lil Wayne, “We Be Steady Mobbin’”
It is interesting how the only medium available for the development of characters like Omar Little are in imagined communities where the scapegoat is the understanding that “this is just fiction.” With a limited discourse for homosexuality (especially in the black community), shows like The Wire and their representations of inner city black men provide enough critical distance where at least the prospect of a homosexual thug is somewhat accepted and open for discussion.
On the flip side of that observation also lies the notion that while fictitious, Omar is still subjugated to a realistic solution to his existence– his murder by a green, wannabe thug. On the surface, Omar’s death may seem demonstrative of the street code – “it’s all in the game.” Symbolically, however, Omar’s death signifies the silenced gay black man. He is returned to the shadows where, though lurking, he is still perceived to be a non-threatening entity.