Almost to the finish line, and you should know the deal by now: we're going to talk about season one of "The Wire" in two versions: one for viewers new to the show who don't want later events spoiled for them, and one for people who have seen and can talk about everything from first episode to last.

This is the latter; scroll down for the newbie-safe version.

"The stars are coming out in droves to thank the millions of fans who showed their love and support by voting," Burnett continued.

"And with exclusive sneak peeks » - The first teaser trailer for "The Runaways" finally arrived.

So Fanning spirits Hudson out of police custody and they hit the road together like a gender-switched Huck and Jim.

Hudson is escaping prosecution; Fanning is escaping abusive, possessive dad Paul Bettany, and searching for a connection to the mother she accidentally shot to death.

In small-town North Carolina, a shell-shocked black cop (Tristan Wilds) stands a few feet away from the unarmed white suspect he’s just gunned down.

Kidd's novel had a heavy dose of sweet whimsy, and the film cranks that up, but it isn't cloying so much as toothless: In its '60s idyll, sadness proves more dangerous than stirred-up segregationists, and other racial elements—like Fanning's discomfort over how her skin color excludes her from the bonding between the sisters and Hudson—barely get a mention.

The film floats along on its own sunny breezes: It's pleasant and often touching, and the well-chosen cast sells what little drama they get, but there's no depth and little affect, and every would-be conflict peters out noncommittally.

Spoilers for the penultimate, Pelecanos-ian episode of season one, "Cleaning Up," coming up just as soon as I find out who makes the best chili dogs in Newark... "Cleaning Up" is considered by many "Wire" fans to be the series' best -- and most painful -- episode ever, but its genius illustrates why even asking the Best Ever question is besides the point with this series.

So much of what makes it great comes from everything we've seen before: our knowledge of the Bodie/Poot/Wallace friendship; of how much work the detail has put into getting Avon and stringer, of how far Daniels has come from being a company man to being someone who cares about doing good policework, politics be damned; of how much D'Angelo sees of himself in Wallace, and of how he tried desperately to nudge Wallace out of a life he knows himself to be trapped in by circumstance and blood.