<div>Many television critics, legions of fans, even the president of the United States, have cited <I>The Wire</I> as the best television series ever. In this sophisticated examination of the HBO serial drama that aired from 2002 until 2008, Linda Williams, a leading film scholar and authority on the interplay between film, melodrama, and issues of race, suggests what exactly it is that makes <I>The Wire</I> so good. She argues that while the series is a powerful exploration of urban dysfunction and institutional failure, its narrative power derives from its genre. <I>The Wire</I> is popular melodrama, not Greek tragedy, as critics and the series creator David Simon have claimed. Entertaining, addictive, funny, and despairing all at once, it is a serial melodrama grounded in observation of Baltimore's people and institutions: of cops and criminals, schools and blue-collar labor, local government and local journalism. <I>The Wire</I> transforms close observation into an unparalleled melodrama by juxtaposing the good and evil of individuals with the good and evil of institutions.<BR> </div>