The Wire is an example of the way that new technologies and methods of dissemination have made realism possible on television. Where broadcast TV required episodes that could be watched independently and that were structured by the need for commercial interruptions, pay networks such as HBO and the more recent streaming services allow for long-form narratives that develop over many weeks and stretch on for years. The Wire has been widely recognized for its realism, which, however, is usually equated with what is seen as the program’s accuracy. I show how it makes use of conventions of realism inherited from nineteenth century fiction, which are enabled by its structure as a long-form program. The Wire makes use of genres not typically associated with realism, including crime fiction (the police procedural), TV’s police melodramas, and the ancient genre of tragedy as a plot form in Hayden White’s sense. The series incorporates this variety of genres in the service of a vision of ordinary life that continually surprises the viewers. The Wire thus demonstrates the power of new forms of television to represent social complexity to a degree not found in media other than print.