Bernard Simon

Bernard Simon, born 1960, is an American author, journalist, screenwriter, and producer recognized for his impactful work depicting urban environments and the complexities of crime. He spent twelve years as a journalist for The Baltimore Sun, covering the crime beat extensively. This journalistic experience formed the foundation for his critically acclaimed books, including "Homicide: A Year on the Killing Streets" (1991) and "The Corner: A Year in the Life of an Inner-City Neighborhood" (1997), co-written with Ed Burns.

Simon's literary work has been widely adapted for television, leading to successful series such as "Homicide: Life on the Street" and "The Corner." He is perhaps best known as the creator, executive producer, and showrunner of the HBO series "The Wire" (2002–2008), a deeply immersive exploration of urban life in Baltimore. His subsequent television projects include "Generation Kill," "Treme," "Show Me a Hero," "The Deuce," and "The Plot Against America," often collaborating with other writers and producers to bring nuanced narratives to the screen. Simon's contributions have been recognized with prestigious awards, including a MacArthur Fellowship.

Bernard Simon began his career in journalism, spending twelve years at The Baltimore Sun from 1982 to 1995. Initially hired for a piece concerning the University of Maryland's basketball coach, he primarily focused on the crime beat. Simon viewed journalism as a significant calling, initially driven by altruism and inspired by Watergate coverage, but later adopting a more pragmatic approach. His dedication to the craft was evident in his active role as a union captain during a 1987 strike. Disillusionment with changes in newspaper ownership led him to take a leave of absence in 1988 to immerse himself in the Baltimore Police Department's Homicide Unit, a period that would profoundly shape his future work.

Simon's year embedded with the Baltimore Police Department resulted in his first book, "Homicide: A Year on the Killing Streets" (1991). This immersive account, which earned an Edgar Award, was based on his direct experiences and observations within the homicide unit. He later co-authored "The Corner: A Year in the Life of an Inner-City Neighborhood" (1997) with Ed Burns, a work that provided an intimate look at a West Baltimore community grappling with drug markets. These books served as the basis for highly regarded television adaptations. "Homicide: A Year on the Killing Streets" was adapted into the NBC series "Homicide: Life on the Street," for which Simon worked as a writer and producer. "The Corner" was transformed into an HBO miniseries of the same name.

Bernard Simon is widely celebrated for creating the HBO series "The Wire" (2002–2008), serving as its executive producer, head writer, and showrunner. The series is renowned for its realistic portrayal of urban challenges in Baltimore, examining various institutions and their intersections with crime. Following "The Wire," Simon continued to develop impactful television projects. He adapted "Generation Kill" into a miniseries and served as its showrunner. He also co-created the HBO series "Treme" with Eric Overmyer and later collaborated with William F. Zorzi on the miniseries "Show Me a Hero." His ongoing work includes co-creating "The Deuce" with George Pelecanos, which explored the 1970s and 1980s New York porn industry, and the 2020 series "The Plot Against America." Most recently, he co-developed and wrote the HBO limited series "We Own This City" with George Pelecanos.

“I got out of journalism because some sons of bitches bought my newspaper and it stopped being fun.”

“I shared with the detectives a year's worth of fast-food runs, bar arguments and station house humor: Even for a trained observer, it was hard to remain aloof.”

“I felt Homicide the book and The Corner were not traditional journalism in the sense of coming from some artificially omniscient, objective point of view.”

“They're immersed in the respective cultures that they cover in a way that traditional journalism often isn't.”

“I thought the show was a "remarkable drama" but that it did not reflect the book.”