The police procedural is possibly the television genre par excellence, ever since Dragnet debuted in 1951 and spawned a wave of imitators. Though the sitcom may be the most perfect televisual form, the police procedural is the one best suited to the rhythm of broadcast, each twist and turn toward the mystery of the crime’s resolution keeping the viewer engaged through ad breaks. No other genre has endured so long and changed so little, with some shifts in style, sure, but virtually none in the basic formula.
On just the Big Four networks (plus the CW), in the current television season, there are some fifteen or so police procedurals on the air, including Blue Bloods (in its 9th season), NCIS (in its 16th season) and Law & Order: Special Victims Unit (in its 20th season). Note my count excludes three superhero shows (Gotham, The Flash, Arrow) whose protagonists are police officers of some kind, as well as any shows about people investigating crimes who aren’t cops. And those are just the ones still in production. The most cursory channel surfing will lead you to a hundred different channels who almost exclusively broadcast reruns of old police shows, from Kojak to NYPD Blue to the lately departed CSI franchise.
Cops shows are popular, ubiquitous and seemingly infinite. When one falls, another rises to take its place. They’re incredibly long-lived compared to other genres: NCIS started during the first term of George Bush’s presidency and it was the most-watched television show in the entire world in 2014 and 2015. They’re beloved by people of all ages, but particularly the middle-aged and elderly. This makes it all the more concerning that cop shows are, intentionally or not, mass propaganda for the carceral state.