I really do not expect Brooklyn Nine-Nine, a sitcom, to reflect every aspect of our current reality.
In reality, many police departments around the country - including the NYPD - have low vaccination rates. Then it quickly flashes forward to the present day, where Holt crows that everybody can hang out again, because they’re all vaccinated. “The Good Ones” opens with a very brief flashback to the days of masked-up Covid-19 quarantine, when Rosa quits the force after George Floyd’s murder. The episode ends on his inability to say anything in defense of the job he loves.
The systems that protect the police are so deeply entrenched that changing them is beyond the abilities of any one group of officers. They fail to do anything other than get the spurious charges against the woman dropped, and in the process, they realize just how difficult it would be to punish the offending officers with even so much as a slap on the wrist. The action of “The Good Ones” brings the two back together, as they attempt to solve a case Rosa is working that would aim to bring two officers who assaulted a young Black woman to justice. Rosa withdraws from Jake because she knows he thinks the NYPD can reform itself, and she’s given up on that idea. Rosa was their friend! They live in a sitcom! Friends don’t give up on each other in sitcoms! They mostly agree with her that policing is terribly broken, but they do feel a bit hurt. The other characters, especially Detective Jake Peralta (Andy Samberg), one of Rosa’s close friends, aren’t exactly thrown by this decision. She reasons that as a PI, she can do the thing she loves about her job - solve crimes and help people who’ve been wronged - without propping up an institution that is rotting from within. NBCĮarly in “The Good Ones,” the first episode of Brooklyn Nine-Nine’s final season to air (as part of a two-episode, hour-long premiere), Detective Rosa Diaz (Stephanie Beatriz) quits the force to become a private investigator. The season 8 premiere sets up an intriguing idea that Brooklyn Nine-Nine can’t really explore yet Jake and Boyle (Joe Lo Truglio) celebrate finding a way to high-five amid Covid-19. Brooklyn Nine-Nine wants you to know it’s been paying attention - but for now, at least, the show is still stuck being itself. But Brooklyn Nine-Nine is a network sitcom, and that means the level of mess can only rise so high.īrooklyn Nine-Nine and the rise of the cutecomĪnd so we come to the final season of the show, produced amid the Covid-19 pandemic and in the aftermath of the summer 2020 protests against police violence spurred by Derek Chauvin’s murder of George Floyd. Some shows would thrive amid that contradiction, exploring the messy realities of a cop who wants to be a good person doing the right thing. The tension between its setting and its attempts to prove its left-leaning bona fides has always been the central contradiction that Brooklyn Nine-Nine could never quite resolve. The show has aired memorable episodes about racial profiling, workplace sexual assault, and coming out as bisexual. Its core cast features two Black men and two Latinas, and its characters, both regular and recurring, include several queer people. Yet Brooklyn Nine-Nine is beloved by many a young progressive for its diversity and its attempts to tell stories about some of the more difficult aspects of American life right now.
Samberg plays Jake Peralta, a detective who can figure out anything except “how to grow up.” It’s easy to miss a sitcom’s conservatism when the jokes are good, but Brooklyn Nine-Nine is dead-set on maintaining the shiny-on-the-surface, gross-on-the-inside legacy of the Bloomberg/Ray Kelly era.
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Nine-Nine is one of this TV season’s top new shows, garnering critical raves and strong enough support from its network, Fox, that it’s going to follow the Super Bowl this year. In 2013, early in the show’s very first season, the New Republic’s David Grossman wrote: But from its earliest days, Brooklyn Nine-Nine has been forced to contend with the fact that it is a comedy about cops in a country where police violence is a serious problem that dominates headlines.Ĭriticism of Brooklyn Nine-Nine creating a cuddlier version of the NYPD dates back to the show’s beginning, even if it never seemed particularly loud. On some level, that quality is core to the American sitcom’s appeal.
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The series is a largely conventional TV comedy, and as such, it’s always peddled an idealistic vision of a workplace where everybody treats each other like family. At the beginning of its eighth and final season, Brooklyn Nine-Nine, NBC’s venerable comedy about New York City cops, has found itself desperately outrunning its own fantasy.
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