Brother Lono takes the core of the original 100 Bullets, that sense of the panopticon for human interest, arising from the margins of society, and elevates it beyond what seemed possible.
Maybe NYPD Blue did it best, in those days Back When. At least Blue did it better than Homicide: Life on the Streets, when the two seemed in competition for the gritty-realism-brought-to-TV crown. It was that sense of the panoramic, but a panorama forced outwards to the edge of the scene. Each crime scene the intrepid detectives from the 15th found themselves investigating would be subjected to a panning shot, and usually thereafter a tracking shot or two to follow the detectives thru the same scene. Certain things would always hit. The old lady in her robe and slippers smoking, or maybe the Korean bodega owner, or maybe the homeless guy with the shiny, new watch.
It was a visually evocative, and ultimately, a beautiful way to tell a story. And in the Fall of 92, and for nearly every year later for a decade, it became a wonderfully elegiac way to shot New York, one that infused the TV show with that quintessential urban energy of the place itself. In the thousands of scenes that comprise the entire 12 seasons of NYPD Blue, the map and the territory become one.