From cops who are paragons of virtue, to cops who are as bad as the bad guys...from surly loners, to upbeat partners...from detectives who pursue painstaking investigation, to loose cannons who just want to kick down the door, the heroes and anti-heroes of TV police dramas are part of who we are. They enter our living rooms and tell us tall tales about the social contract that exists between the citizen and the police. Love them or loathe them--according to the ratings, we love them--they serve a function. They've entertained, informed and sometimes infuriated audiences for more than 60 years. This book examines Dragnet, Highway Patrol, Naked City, The Untouchables, The F.B.I., Columbo, Hawaii Five-O, Kojak, Starsky & Hutch, Hill Street Blues, Cagney & Lacey, Miami Vice, Law & Order, Homicide: Life on the Street, NYPD Blue, CSI, The Shield, The Wire, and Justified. It's time to take another look at the "perps," the "vics" and the boys and girls in blue, and ask how their representation intersects with questions of class, gender, sexuality, and "race." What is their socio-cultural agenda? What is their relation to genre and televisuality? And why is it that when a TV cop gives a witness his card and says, "call me," that witness always ends up on a slab?

From cops who are paragons of virtue, to cops who are as bad as the bad guys...from surly loners, to upbeat partners...from detectives who pursue painstaking investigation, to loose cannons who just want to kick down the door, the heroes and anti-heroes of TV police dramas are part of who we are. They enter our living rooms and tell us tall tales about the social contract that exists between the citizen and the police. Love them or loathe them--according to the ratings, we love them--they serve a function. They've entertained, informed and sometimes infuriated audiences for more than 60 years. This book examines Dragnet, Highway Patrol, Naked City, The Untouchables, The F.B.I., Columbo, Hawaii Five-O, Kojak, Starsky & Hutch, Hill Street Blues, Cagney & Lacey, Miami Vice, Law & Order, Homicide: Life on the Street, NYPD Blue, CSI, The Shield, The Wire, and Justified. It's time to take another look at the "perps," the "vics" and the boys and girls in blue, and ask how their representation intersects with questions of class, gender, sexuality, and "race." What is their socio-cultural agenda? What is their relation to genre and televisuality? And why is it that when a TV cop gives a witness his card and says, "call me," that witness always ends up on a slab?

Genre and Television proposes a new understanding of television genres as cultural categories, offering a set of in-depth historical and critical examinations to explore five key aspects of television genre: history, industry, audience, text, and genre mixing. Drawing on well-known television programs from Dragnet to The Simpsons, this book provides a new model of genre historiography and illustrates how genres are at work within nearly every facet of television-from policy decisions to production techniques to audience practices. Ultimately, the book argues that through analyzing how television genre operates as a cultural practice, we can better comprehend how television actively shapes our social world.

#1 NEW YORK TIMES BESTSELLER • LOOK FOR THE NETFLIX ORIGINAL DOCUMENTARY SERIES • “Both an American tragedy and [Grisham’s] strongest legal thriller yet, all the more gripping because it happens to be true.”—Entertainment Weekly John Grisham’s first work of nonfiction: a true crime masterpiece that tells the story of small town justice gone terribly awry. In the Major League draft of 1971, the first player chosen from the state of Oklahoma was Ron Williamson. When he signed with the Oakland A’s, he said goodbye to his hometown of Ada and left to pursue his dreams of big league glory. Six years later he was back, his dreams broken by a bad arm and bad habits. He began to show signs of mental illness. Unable to keep a job, he moved in with his mother and slept twenty hours a day on her sofa. In 1982, a twenty-one-year-old cocktail waitress in Ada named Debra Sue Carter was raped and murdered, and for five years the police could not solve the crime. For reasons that were never clear, they suspected Ron Williamson and his friend Dennis Fritz. The two were finally arrested in 1987 and charged with capital murder. With no physical evidence, the prosecution’s case was built on junk science and the testimony of jailhouse snitches and convicts. Dennis Fritz was found guilty and given a life sentence. Ron Williamson was sent to death row. If you believe that in America you are innocent until proven guilty, this book will shock you. If you believe in the death penalty, this book will disturb you. If you believe the criminal justice system is fair, this book will infuriate you. Don’t miss Framed, John Grisham’s first work of nonfiction since The Innocent Man, co-authored with Centurion Ministries founder Jim McCloskey.

Nightmares, flashbacks, anger, concentration problems, emotional detachment, avoidance of people and places... These are some of the signs of PTSD. As many as one in three cops may suffer from PTSD, a condition that could lead to depression, suicidal thorughts, addictions, eating disorders, as well as job and family conflict. CopShock prepares police officers for the aftermath of horrific trauma, helps families understand PTSD's effect on their loved ones, tells true stories of officers-men and women-with PTSD, and offers over 200 support sources. In the second edition of this much praised book on police trauma survival, almost 50 percent of CopShock has been expanded, revised or updated with new material, including self-tests for PTSD, Panic Disorder, and Depression. Law enforcement officers throughout the United States, Canada and 8 other countries have used this book in their peer support programs, police academies, and post-trauma units. Therapists recommend it to their patients, and many law enforcement college programs include it in their curricula. Since the publication of CopShock's first edition in 1999, the book has been reviewed and praised around the world. The A&E Television Network produced a documentary based on CopShock that is shown today in police academies, colleges, and peer support groups. In this new second edition, and in the aftermath of 9/11, the war on terror, and the consequences from natural disasters like hurricane Katrina, CopShock will help many more police officers, firefighters, first responders, and war veterans cope with the damaging effects of PTSD.

"Vice Patrol: Cops, Courts, and the Struggle over Urban Gay Life chronicles how local police and criminal justice systems intruded on gay individuals, criminalizing, profiling, surveilling, and prosecuting them from the 1930's through the 1960's. Anna Lvovsky details the progression of enforcement strategies through the targeting of gay-friendly bars by liquor boards, enticement of sexual overtures by plainclothes police decoys, and surveilling of public bathrooms via peepholes and two-way mirrors to catch someone "in the act." Lvovsky shows how the use of tactics indistinguishable from entrapment to criminalize homosexual men in public and private spaces produced charges brought forward and disputed by attorneys and evidence that had to stand before judges, who at times intervened against punitive policies. In Vice Patrol the author demonstrates how developments in the psychological, medical, and sociological handling of homosexuality filtered into police stations, courthouses, and the wider culture"--

When Harvard-trained sociologist Peter Moskos left the classroom to become a cop in Baltimore's Eastern District, he was thrust deep into police culture and the ways of the street--the nerve-rattling patrols, the thriving drug corners, and a world of poverty and violence that outsiders never see. In Cop in the Hood, Moskos reveals the truths he learned on the midnight shift. Through Moskos's eyes, we see police academy graduates unprepared for the realities of the street, success measured by number of arrests, and the ultimate failure of the war on drugs. In addition to telling an explosive insider's story of what it is really like to be a police officer, he makes a passionate argument for drug legalization as the only realistic way to end drug violence--and let cops once again protect and serve. In a new afterword, Moskos describes the many benefits of foot patrol--or, as he calls it, "policing green."

A true crime account of the old-school New York Police Department from the detective who helped catch the Son of Sam and waged a one-man war against the Mafia. In 1978, a gang war erupted in New York City, and the five boroughs ran red with blood. Men with names like “Matty the Horse” and “Tony Ugly” were found dismembered in garbage dumps, dead on the roadside in the far reaches of the Bronx, or suffocated in the trunks of cars parked at LaGuardia Airport. For years, the New York Police Department hadn’t bothered to investigate Mafia murders, preferring to let the mob handle its own bloody affairs—but that was about to change. The NYPD was going to war with the Cosa Nostra, and Det. Joseph Coffey would lead the charge. A hard-nosed veteran of the force, Detective Coffey took down some of the highest-profile organized-crime associations of the 1970s, from the conspiracy between the Mafia and the Catholic Church known as the Vatican Connection to the homegrown terrorists who called themselves the Black Liberation Army. In 1977, when the city was terrorized by serial killer David Berkowitz, better known as the Son of Sam, Coffey led the NYPD’s nighttime operations as they worked to lure the murderer into a trap. But the war against the mob would be his greatest challenge—one that would take him right into the heart of gritty, dangerous NYC. Cowritten by New York Daily News veteran Jerry Schmetterer, Coffey’s work is crime reporting at its finest. Fans of the two-fisted journalism of Jimmy Breslin and New York stories like The French Connection will find The Coffey Files has the thunderous intensity of a runaway subway train.

This is the first comprehensive investigation of British television police series from 1955 to the present. It reveals how the popular genre has developed along stylistic, thematic and philosophical lines, simultaneously providing a socio-political history of British class, culture and gender.

In Police, Provocation, Politics, Deniz Yonucu presents a counterintuitive analysis of contemporary policing practices, focusing particular attention on the incitement of counterviolence, perpetual conflict, and ethnosectarian discord by the state security apparatus. Situating Turkish policing within a global context and combining archival work and oral history narratives with ethnographic research, Yonucu demonstrates how counterinsurgency strategies from the Cold War and decolonial eras continue to inform contemporary urban policing in Istanbul. Shedding light on counterinsurgency's affect-and-emotion-generating divisive techniques and urban dimensions, Yonucu shows how counterinsurgent policing strategies work to intervene in the organization of political dissent in a way that both counters existing alignments among dissident populations and prevents emergent ones. Yonucu suggests that in the places where racialized and dissident populations live, provocations of counterviolence and conflict by state security agents as well as their containment of both cannot be considered disruptions of social order. Instead, they can only be conceptualized as forms of governance and policing designed to manage actual or potential rebellious populations.