Linda Williams in her book on the "Wire" makes a concerted argument that the Wire--she concurs in praising it--should not be considered as a tragedy (which she thinks rarely applies to modern conditions) but as a melodrama. For Williams, melodrama is the modern genre par excellence. Her book is an attempt to ennoble it as it were. The key ingredient might be called Utopian imagination that something else is possible (a la Jameson), or hope. The brilliance of the Wire is to keep hope alive as it were but not to instantiate it. The hope is an awareness that things could be different but without resolving these terrible situations.
That being said, her anthropological and sociological analysis of Baltimore is very thin.
Further, if not "tragedy", then the Wire resolves frequently into a form of the comedic. There are one or two references to Shakespeare but it is not pursued.
For us, we would add Pathos. It screams out for more attention. However, her thesis--repeated at least fifty times--that the Wire is melodrama and not tragedy gets in her way.
Reminder: pathos first appeared as a breach of the tragic in Corneille.