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Another reason the show may feel different than a lot of television: our model is not quite so Shakespearian as other high-end HBO fare. The Sopranos and Deadwood -- two shows that I do admire -- offer a good deal of Macbeth or Richard III or Hamlet in their focus on the angst and machinations of their central characters (Tony Soprano, Al Swearingen). Much of our modern theatre seems rooted in the Shakespearian discovery of the modern mind. We're stealing instead from an earlier, less-traveled construct -- the Greeks -- lifting our thematic stance wholesale from Aeschylus, Sophocles, Euripides to create doomed and fated protagonists who confront a rigged game and their own mortality.

But instead of the old gods, The Wire is a Greek tragedy in which the postmodern institutions are the Olympian forces. It's the police department, or the drug economy, or the political structures, or the school administration, or the macroeconomics forces that are throwing the lightning bolts and hitting people in the ass for no reason. In much of television, and in a good deal of our stage drama, individuals are often portrayed as rising above institutions to achieve catharsis. In this drama, the institutions always prove larger, and those characters with hubris enough to challenge the postmodern construct of American empire are invariably mocked, marginalized, or crushed. Greek tragedy for the new millenium, so to speak.