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. 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. 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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