When Brooklyn Nine-Nine premiered in 2013, it entered the television landscape at a time when police procedurals were dominated by dramas like Law & Order and NCIS, which typically presented law enforcement as heroic, unassailable figures. In contrast, Brooklyn Nine-Nine offered a fresh and comedic take on police work, blending humour with heartfelt moments while providing a light-hearted depiction of life inside a New York City police precinct. However, as the show evolved and real-world conversations around police accountability grew louder, Brooklyn Nine-Nine faced the challenge of reconciling its portrayal of police with the complex realities of modern policing. Through its nuanced characters, its willingness to address social issues, and its eventual self-reflection, Brooklyn Nine-Nine contributed to—and critiqued—the depiction of police in pop culture, particularly in the wake of social justice movements.
Early Seasons: A Lighthearted Approach to Policing
In its early seasons, Brooklyn Nine-Nine stood out for its irreverent, comedic portrayal of policing. The show focused on the quirky personalities of the detectives at the fictional 99th precinct, particularly Jake Peralta (Andy Samberg), a lovable yet immature detective. Much of the humour revolved around the antics of Peralta and his colleagues, as they solved crimes in a seemingly carefree manner. While the cases often involved serious crimes, the show maintained a balance between police work and situational comedy, making the precinct feel more like an office sitcom than a crime drama.
This approach to policing was in line with the genre of workplace comedies, with the precinct serving as the backdrop for the characters’ interpersonal relationships, growth, and humorous dynamics. It was a portrayal that, for many, felt far removed from the darker, grittier portrayals of police work in other shows. Audiences appreciated the humour and the humanity of the characters, seeing the officers not as authoritarian figures but as relatable, flawed individuals.
However, the show’s lighthearted tone and focus on character development meant that it largely sidestepped the more controversial aspects of policing, especially early on. The show’s writers were aware of the real-life implications of police work but chose to emphasize inclusivity, camaraderie, and humour over addressing systemic issues.
Shifting Perspectives: Addressing Social Issues in Later Seasons
As Brooklyn Nine-Nine progressed, it began to delve deeper into more serious social issues, reflecting the changing climate around police work and public perception of law enforcement. Episodes started to tackle topics like racial profiling, LGBTQ+ representation, and workplace discrimination—all through a comedic lens but with a deeper sense of awareness.
One of the most poignant episodes addressing race was ‘Moo Moo’ (Season 4, Episode 16), in which Sergeant Terry Jeffords (Terry Crews), a Black man, is racially profiled while off-duty in his own neighbourhood. The episode shows the emotional toll this incident takes on Terry, as he struggles with whether to file a complaint against the white officer who stopped him. The show used this storyline to highlight the uncomfortable realities of racial profiling, making a powerful statement while still operating within its comedic framework.
Similarly, the show’s portrayal of Captain Raymond Holt (Andre Braugher), an openly gay Black man in a position of authority, broke new ground in television. Holt’s experiences with discrimination, both as a gay man in the NYPD and as a Black man rising through the ranks, were woven into the show with subtlety and care. Holt’s character challenged stereotypes of what police captains—and authority figures in general—look like, offering a refreshing portrayal of leadership, professionalism, and vulnerability.
By addressing these issues, Brooklyn Nine-Nine began to push back against the overly idealized or one-dimensional portrayals of law enforcement in other media. It acknowledged that, while the precinct was a place of humour and friendship, it also existed within a flawed system that could be unjust to marginalized communities.
The Influence of Real-World Events: Policing in the Age of Accountability
The murder of George Floyd in 2020 and the subsequent rise of the Black Lives Matter movement sparked widespread conversations about police brutality, systemic racism, and the need for police reform. These events had a profound impact on public perception of law enforcement and forced many police-themed shows to confront their role in shaping the narrative around policing.
Brooklyn Nine-Nine was no exception. As a comedy centered on a group of “good” cops, the show was put under a microscope. Could a series that often portrayed police as likable, funny, and well-intentioned continue to exist in a climate where demands for police reform were louder than ever?
The creators of the show were quick to acknowledge the need for change. In response to these real-world events, the show’s producers and cast made the decision to overhaul parts of the final season, scrapping scripts and reworking episodes to reflect the current moment. They sought to approach policing with more complexity, acknowledging the criticisms levelled at law enforcement while staying true to the show’s core themes of friendship, humour, and community.
The final season of Brooklyn Nine-Nine reflected this shift. It addressed police accountability more directly, with characters like Rosa Diaz (Stephanie Beatriz) leaving the force to become a private investigator after becoming disillusioned with policing. This decision was a critical moment for the show, as Rosa’s character gave voice to a growing sentiment: that it was difficult to reconcile being part of the system with a desire for justice and change.
Jake Peralta, the show’s protagonist, also underwent significant character development in the final season. While he had always been portrayed as a good-hearted, albeit immature, detective, his journey in the last season showed him grappling with the role of police in society. The show allowed its characters to express uncertainty, frustration, and disillusionment with the system, providing a more honest and self-reflective portrayal of law enforcement than in earlier seasons.
Critiquing the Genre: A New Kind of Police Procedural
What set Brooklyn Nine-Nine apart from many other police procedurals was its willingness to critique itself and the genre. While most police shows present their protagonists as heroes without question, Brooklyn Nine-Nine demonstrated that even well-intentioned officers can operate within a flawed system. By addressing issues of racial injustice, systemic bias, and police reform in its later seasons, the show offered a more thoughtful depiction of law enforcement, showing that policing is not without its ethical challenges.
In many ways, Brooklyn Nine-Nine subverted the traditional cop show format. It wasn’t about solving crimes to maintain law and order—it was about the people behind the badge and their moral dilemmas. By focusing on character growth, the show encouraged viewers to think critically about the role of police in society without offering easy answers.
Also Read: Adult Swim and the Rise of Absurdist Comedy
A Legacy of Self-Awareness and Change
As Brooklyn Nine-Nine concluded, it left behind a legacy of self-awareness and evolution. What began as a lighthearted police comedy ultimately grew into a show that tackled some of the most pressing issues of our time, offering both critique and celebration of law enforcement.
In the broader context of pop culture, Brooklyn Nine-Nine stands out for its willingness to reflect the complexities of modern policing while maintaining its comedic heart. It didn’t shy away from difficult conversations, and in doing so, it helped redefine what a police show could be in an era of increased demand for accountability.
–Silviya.Y