I don't know, Capo. I loved "The Wire" but I can see where Reed is coming from on some things. He's actually discussed class quite a bit. Check out "MultiAmerica" which he wrote and edited or also "Airing Dirty Laundry".

Reed was active in the arts and progressive movements in the fifties and sixties with Baraka and that entire crowd so he's quite familiar with all of the arguments about the intersectionalities of race, class, gender etc. I won't pretend to speak for him since he does that so well for himself but from a certain perspective class is subsumed by race. Or, more to the point, in some societies, race is virtually determinative of class. This was certainly the case for any black person that grew up, as Reed did, during segregation and before the changes in the sixties and seventies. Sometimes class isn't THE issue.

Check out some of his writings if you haven't already.
I don't imagine that you will agree with him much but he definitely has debated and discussed at length some of the issues you raise. As Reed states repeatedly his issue is not with white writers, it's with particular white writers and dramatic emphasis on black pathology. I think he's wrong on this particular series but the larger points remain.

As far as UndercoverBlackMan aka David Mills, I was fortunate enough to have some interactions with David Mills before he passed. He was an interesting fellow to say the least. But as you know he was a writer for Homicide, The Wire and NYPD Blue so one must keep in mind that his defense of some things could be overlaid with self-interest. He actually got his gig writing for NYPD Blue when he challenged David Milch's assertion that black writers were locked into certain racialized perspectives while white writers were not and thus Milch didn't expect to hire any black writers. Ultimately THAT is the sort of thinking that both Reed and Mills detested and fought against, albeit in different ways.