George Floyd’s death after a quarrel with Minneapolis police changed Hollywood, as did culture as a whole.
Suddenly, portraying heroic officers in any capacity became “problematic” for the waking elites – from Hollywood citizens to journalists covering the industry. Long-running shows like “Live PD” and “Cops” made their pink slip within a few weeks.
Even “Paw Patrol” was captured in the recent culture war.
The waking wave forced the comedian “Brooklyn Nine Nine” to scrap scripts for its eighth and final season. The show’s creative team feared that anything considered police-prepared could be the cause of cultural cancellation.
The NBC sitcom, which returned on August 12, follows an eccentric band of cops, none of whom spend their days systemically abusing colorful people. Regardless, the show had to change its tone and quickly, given the Liberals’ stranglehold on pop culture.
Now we see the fruits of that pressure.
The new tease for the final sections avoids any waking renovation. It’s all nostalgia and yuks that let the audience enjoy the show’s cast in its final hurray.
Awakened storytelling is typically pushed under the rug by the marketing team.
Still, early reviews in season eight suggest that the series’ writing team swallowed the Black Lives Matter mantra all over police enforcement. Here is the far left rolling stone that both praises its waking makeover and suggests that nothing can save a show where we are asked to commit to law enforcement.
The premiere involves Jake and Rosa Diaz (Stephanie Beatriz) looking at a situation where a black woman was beaten by NYPD officers who appear to have stopped her for no probable cause. When they investigate her case, they find not only systemic advice in the department, but a surrounding community of civilians who look on guys like Jake with suspicion and contempt.
The show refuses to throw its iconic characters under the bus, as does Andy Samberg’s kind-hearted cop.
There’s an ongoing gag in the first episode about how Jake keeps insisting he’s one of the good guys’ and then realizes how fake it sounds, yet Nine-Nine treats him and the other fixed (well, maybe not Hitchcock and Scully) the road.
Last season introduces a bad cop named O’Sullivan (John C. McGinley), but even that is not enough for Rolling Stone.
… by leaning so heavily on O’Sullivan, the show allows for the largely avoidance of the question of whether there is anything fundamental to the work of the police that continues to attract so many Derek Chauvin types.
One wonders what kind of cop comedy this critic would cheer for, and would there be a single laugh between the lectures?
Here we are guessing that we will not see a ripped from the headline police theme this season. The advent of Defund the Police led directly to more crime across the country. These victims will not see “Brooklyn Nine-Nine,” and no critic will connect the dots between extreme anti-cop rhetoric and the realities of the place.
Of course, it’s hardly fodder for humor, but neither is it demonizing officers or the characters the audience has grown to love over the course of seven seasons.
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Far left Vanity Fair still dreams of a Defund the Police-style finale.
It was fun to imagine that season eight was going to start, where the whole troupe withdrew in protest or shame and instead became social workers.
Yes, it would be a riot, like the massive rise in crime that would leave the fictional citizens of “Brooklyn Nine-Nine” helpless.
Vanity Fair cheers on an explosion of awakened propaganda, brought to life by veteran comedy actor Joe Lo Truglio. His character, Boyle, “goes over the top in his anti-racist self-upbringing and flashy alliance.” The sound you hear is thousands of former “nine-nine” fans watching what else is going on at the moment.
The magazine is still concerned about the show’s existence, no matter how much the awake lobby bullied it this year.
The premiere acknowledges that it is hollow to gesture against the idea that any officer is one of the “good” when a given officer can only be as “good” as an inherent racist institution allows. But that’s exactly how we should think of Brooklyn’s characters, even in a post-George Floyd world.
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It’s easy to snark about NBC bowing to the BLM story. What choice did the network have? Companies are crumbling to raise claims across the board. An eighth season that continued as if Floyd were still alive would be beaten by journalists, progressive activists and Big Tech.
None of the cast would stand up for their own art.
What the show’s devolution reveals, however, is another opportunity for free-thinking artists to tell cops in more vivid ways. Imagine a series or movie that captures the complexity of police life without pre-packaged narratives to follow.
Good luck getting that show on NBC or another mainstream platform.