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Speaker 1: On theme is a production of iHeartRadio and fair Weather

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Speaker 1: Friends Media. You Are.

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Speaker 2: Lights Camera. For decades, Hollywood has been setting the stage

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Speaker 2: for a real life horror show playing out in our cities.

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Speaker 2: With each heroic cop character, each criminal taken down in

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Speaker 2: a blaze of glory, the silver screen has reinforced a

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Speaker 2: dangerous myth that police can do no wrong, that they

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Speaker 2: are the infallible protectors we need more of on our streets.

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Speaker 2: From Beverly Hills Cop to Bad Boys Rush Hour to

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Speaker 2: Ride Along, a fictionalized narrative of noble warriors waging an

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Speaker 2: endless war on crime has been burned into our collective psyche.

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Speaker 2: But now the curtain is being pulled back on this

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Speaker 2: decade's long propaganda campaign we call copaganda. As communities rally

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Speaker 2: against the construction of urban police facilities like Atlanta's Cop City,

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Speaker 2: we can trace the roots of public acceptance for the

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Speaker 2: very concept back to our favorite TV shows in Blockbuster films.

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Speaker 2: On this episode Copaganda City, we'll examine how copaganda has

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Speaker 2: manufactured consent for the rapid expansion and militarization of law

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Speaker 2: enforcement across America. How the blurring of entertainment and reality

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Speaker 2: has led us to this dangerous crossroads.

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Speaker 3: I'm Katie and I'm Eves.

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Speaker 1: You'll never look at your favorite cop drama the same

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Speaker 1: way again.

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Speaker 2: You know.

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Speaker 1: I love to define terms so that we're all on

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Speaker 1: the same page. How would you define copaganda?

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Speaker 2: Uh? I found a definition from Francesca Willow that I

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Speaker 2: think really nailed it. Francesca is a blogger who writes

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Speaker 2: about sustainability and racial justice. So Francesco says, copaganda is

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Speaker 2: any form of media, news coverage, or social media content

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Speaker 2: that portrays police in law enforcement in favorable ways to

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Speaker 2: the public. The image of policing it creates often serves

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Speaker 2: to shield police from accountability and skeptical coverage. It boots

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Speaker 2: public relations of police departments and portrays a version of

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Speaker 2: policing that is dramatically different from reality, especially when it's

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Speaker 2: regarding the working class and other marginalized communities.

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Speaker 1: Okay, so copaganda can be in the news, movies, TV,

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Speaker 1: or even on Twitter and other social media.

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Speaker 2: Yeah, it's abundant, But that wasn't always the case. Before

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Speaker 2: the nineteen fifties, cops were often portrayed as bumbling fools

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Speaker 2: who couldn't do anything right, and that was aligned with

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Speaker 2: the public's perception of cops at the time. Take Charlie

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Speaker 2: Chaplin's nineteen seventeen Easy Street, for example, it was all

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Speaker 2: about the police failing to maintain law and order. But

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Speaker 2: TV shows like the nineteen fifties Dragnet established a formula

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Speaker 2: of depicting heroic white police officers defeating criminals who are

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Speaker 2: more often than not black or Latino. The LAPD. We

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Speaker 2: even reviewed Dragnet scripts before airy and required changes if

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Speaker 2: they disapproved of any elements ensuring it portrayed police favorably.

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Speaker 3: Okay, So they didn't even try to be subtle.

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Speaker 2: And now we have black copaganda. So I thought I'd

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Speaker 2: break down some common copaganda tropes we use seeing black

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Speaker 2: people and connect the trope back to its real world implications.

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Speaker 3: Sound good, Yeah, I'm cool with that.

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Speaker 2: Okay. So the first trope the woke cop. That sounds

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Speaker 2: oxymeronic to me. So the woke cop aims to portray

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Speaker 2: the pigs as enlightened allies who understand and empathize with

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Speaker 2: the struggles of the black community against systemic racism and

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Speaker 2: police brutality. Maybe they themselves have been the victim of

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Speaker 2: racism by other cops. Take, for example, Terry Cruise's character

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Speaker 2: in Brooklyn ninety nine. In season four, episode sixteen, Terry

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Speaker 2: Cruz's character, who is also named Terry, is racially profiled

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Speaker 2: while walking around his neighborhood after dark.

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Speaker 3: I was just walking down the street.

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Speaker 2: There's nothing suspicious or illegal about that.

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Speaker 1: Okay, you and I both you don't exactly look like

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Speaker 1: you belonged in that neighborhood.

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Speaker 2: I lived there. Terry goes to his boss, another black

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Speaker 2: and openly gay man, and Terry wants to file a complaint,

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Speaker 2: but his boss, Captain Holk, gives him this advice, the

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Speaker 2: most powerful action you can take is the rise through

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Speaker 2: the ranks so that you can make large scale changes.

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Speaker 2: Captain Holt convinces Terry to not file a report. So,

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Speaker 2: despite having firsthand knowledge of how cops unfairly target black folks,

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Speaker 2: their solution is to keep on keeping on. And that's

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Speaker 2: the problem with the woke cop. The woke cop never

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Speaker 2: actually takes meaningful action to dismantle the systemic racism. They acknowledge.

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Speaker 2: Their words are just empty rhetoric meant to placate viewers

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Speaker 2: and perpetuate the illusion of reform from within the system.

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Speaker 2: In the real world, this trope is insidious because it

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Speaker 2: creates the false impression that having more black officers who

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Speaker 2: get it is a solution. Rather than implementing comprehensive policy

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Speaker 2: changes and accountability measures. It reduces a systemic issue to

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Speaker 2: merely one of representation. Cop trope allows copaganda to pay

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Speaker 2: superficial tribute to the need for police reform without truly

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Speaker 2: challenging the rampant abuse of power, militarization, the lack of

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Speaker 2: transparency that plays law enforcement. It's a smoke screen that

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Speaker 2: preserves the racist status quo under the guise of understanding

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Speaker 2: the problems with policing. So, while seeming progressive on the surface,

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Speaker 2: this trope actually undermines radical change by perpetuating the myth

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Speaker 2: that enlightened individuals can fix these issues, issues that require

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Speaker 2: dismantling oppressive structures and holding police accountable.

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Speaker 1: Yeah, how wo can you get as a cop on

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Speaker 1: a TV show?

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Speaker 3: Like what is the peak of wokeness? What can a

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Speaker 3: cop do?

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Speaker 2: I think that's the thing. All it is is talk

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Speaker 2: like they can acknowledge, like oh this really messed up,

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Speaker 2: Like even they did this to me and I'm a cop,

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Speaker 2: Like you know what happened to the blue brotherhood.

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Speaker 3: They can't go any farther than that.

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Speaker 2: I don't think so. And I think we see this

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Speaker 2: in reality too. You know, you'll have people running as

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Speaker 2: the per agressive prosecutor, Like, you know, how how progressive

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Speaker 2: can you be if your job is locking eggs up?

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Speaker 3: Girl?

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Speaker 1: It's so interesting to me when you see people this

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Speaker 1: isn't in media, but in real life, speaking of real life,

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Speaker 1: who were like in the civil rights movement and like

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Speaker 1: literally fought fist fought cops and like turned into cops

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Speaker 1: later on, especially for like huge departments like the NYPD.

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Speaker 3: I just wonder, like what happened between then and now.

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Speaker 1: I know it's different for everybody, but I think if

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Speaker 1: there is a fictional account like that, could that person

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Speaker 1: be more of a woke cop because they were kind

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Speaker 1: of like woke before they were a cop.

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Speaker 3: What do you think about that?

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Speaker 2: No, Okay, I think it kind of goes to the

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Speaker 2: like bad apples, Like, oh, it's just like the bad

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Speaker 2: apples that we need to get rid of and then

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Speaker 2: everything will be good. But I think the system itself

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Speaker 2: is corrupting. So I do think there are people that

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Speaker 2: go into law enforcement thinking that they're going to make

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Speaker 2: a difference, they're going to be like officer friendly and

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Speaker 2: like everyone's going to love them. But we just see

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Speaker 2: like it's a systemic issue. So you could be a

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Speaker 2: good person in your heart, but one good person is

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Speaker 2: not going to change this, you know, decades long institution.

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Speaker 2: So like when you see like Terry Creuse's character, for example,

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Speaker 2: like wanting to say something, but his boss kind of

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Speaker 2: encouraging him to, you know, not make a fuss, And

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Speaker 2: it's really indicative of what you see in the real world,

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Speaker 2: the blue code of silence. I know in twenty twenty,

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Speaker 2: when a lot of people were talking about police brutality

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Speaker 2: in Atlanta, they called out with the blue flu like,

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Speaker 2: oh you don't want cops, Well, we're not going to

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Speaker 2: answer any emergency services. So like people are saying, hey,

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Speaker 2: stop killing black people, and your responses, well, that's my

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Speaker 2: whole job, so I'm gonna call out. I'm not going

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Speaker 2: to do anything. So I think it's a really interesting

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Speaker 2: interplay between the TV and the real world.

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Speaker 1: Do you mean that these cops are being affected by

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Speaker 1: propaganda that's spreading on social media?

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Speaker 3: What you mean in the instance you used.

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Speaker 1: Where there's a cop like saying, oh, y'all, y'all are

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Speaker 1: saying this, and I just won't. We'll just not show

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Speaker 1: up for the day. Like, do you think think part

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Speaker 1: of that is them being affected by like rhetoric that

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Speaker 1: they may misunderstand by being too deep into social media.

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Speaker 2: I don't think they misunderstand it. I think they understand

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Speaker 2: that first and foremost there are allegiance is with being

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Speaker 2: a cop, like when they say blue lives matter, like

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Speaker 2: there's no such thing as a blue life. Like you

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Speaker 2: are a human being, but you identify so much with

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Speaker 2: your job that you are willing to not do your

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Speaker 2: job if someone's saying, y'all aren't doing it correctly, you're

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Speaker 2: killing us, and we would like you to stop. And

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Speaker 2: that is so offensive to them because they identify so

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Speaker 2: much with this corrupt system.

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Speaker 1: Yeah, and they will often go into it under this

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Speaker 1: guise of like I'm helping people, I'm doing this for

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Speaker 1: a greater cause, and then tell on themselves when they

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Speaker 1: can't even handle being criticized, which is like, if there

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Speaker 1: is any position that you should be criticized, and it's

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Speaker 1: in it's one in which your motto or your supposed

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Speaker 1: guiding principle is to protect and serve.

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Speaker 2: I think they do. You protect and serve certain communities,

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Speaker 2: certain property owning communities. I think that's the true nature

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Speaker 2: of the police, is protecting property first and people third

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Speaker 2: or fourth, if at all, But black folks not on

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Speaker 2: their protect and serve list. Unfortunately, after the break, we're

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Speaker 2: debunking more copaganda, so stay with us. Before the break,

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Speaker 2: we broke down the woke cop found in copaganda. So, Katie,

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Speaker 2: what trope is next? Troupe number two, the delinquent turned

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Speaker 2: law enforcer. Have you noticed this in TV and movies?

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Speaker 1: Yes, I have noticed that in TV and movies, and

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Speaker 1: I've also noticed that in the like person who turns

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Speaker 1: into a life coach route. In the real world, it's

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Speaker 1: the cop that used to be in the streets but

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Speaker 1: eventually saw the light and now protects and serves exactly.

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Speaker 2: The delinquent turned law enforcer is a former troubled youth

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Speaker 2: or even ex criminal who was able to turn their

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Speaker 2: life around and find redemption by joining the police force.

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Speaker 2: We see characters like Officer Marcus Burnett in Bad Boys films,

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Speaker 2: who is portrayed as a former troublemaker from the streets

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Speaker 2: before joining the Miami PD or.

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Speaker 1: Axel Foley in Beverly Hills Cop played by Eddie Murphy.

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Speaker 2: The former Delinquence Abound. On the Beverly Hills Cop movie

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Speaker 2: fan page, Axel Foley's biography reads. Axel was born on

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Speaker 2: August twenty fifth, nineteen fifty seven, in Detroit, Michigan. He

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Speaker 2: attended Mumford High School and became a small time juvenile hoodlum,

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Speaker 2: but after a few years in which he was unemployed,

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Speaker 2: fully joined the Detroit Police Department in nineteen eighty three.

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Speaker 2: A talented policeman, Axel is also known to bend the rules,

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Speaker 2: which annoys his boss, Inspector Todd Hm.

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Speaker 3: Bending the rules interesting quality of a cop.

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Speaker 2: Yeah, so, the delinquent turned enforcer portrays black cops to

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Speaker 2: someone who understands the criminal element because they were once

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Speaker 2: a part of it. In reality, this trope reinforces racist

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Speaker 2: stereotypes that associates blackness with criminality from an early age.

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Speaker 2: It implies that black youth are inherently delinquent and need

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Speaker 2: harsh disciplining from law enforcement to get on the right path.

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Speaker 3: You might hear one of these characters say I used

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Speaker 3: to run the streets. Now I'm taking down punks just

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Speaker 3: like my whole self.

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Speaker 1: Yeah, or they'll say, growing up, I was headed down

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Speaker 1: a bad path.

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Speaker 3: Until the police gave me a wake up call. Now

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Speaker 3: I'm paying it forward.

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Speaker 2: Oh my god. This coppaganda can then attempt to justify

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Speaker 2: their use of excessive force or unethical tactics. It's okay

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Speaker 2: because it's root of an experience and understanding of the

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Speaker 2: delinquent environment, Like we have to beat up these kids

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Speaker 2: standing on the corner. It's the only way to inspire

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Speaker 2: the use to change.

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Speaker 3: Like me.

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Speaker 2: This trope validates oppressive policing methods under the guise of

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Speaker 2: officers having street smarts and personal redemption narratives. Yeah, I

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Speaker 2: hate this one, and particularly why because it's giving trader

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Speaker 2: like you came from the streets. Yeah, now you've beaten

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Speaker 2: up talking about you know, like be sofferal right now.

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Speaker 2: We saw this over the summer in Atlanta at Emory

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Speaker 2: and across the United States with college kids, you know,

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Speaker 2: protesting Israel's genocide in Palestine. They were whooping their asses

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Speaker 2: and I can just see I can just see them like,

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Speaker 2: oh yeah, I'm from the streets, like I didn't get

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Speaker 2: to go to college, and they're wasting their opportunities. So

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Speaker 2: it's like you're seeing the same tactics the idf uses

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Speaker 2: being used on college campuses in the United States, in

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Speaker 2: cities where they're trying to build cop cities where they

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Speaker 2: would train more Israelis to kill Palestinians and train mo

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Speaker 2: niggas to kill niggas. It's just like it's just such

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Speaker 2: a mind fuck to see the layers and how like

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Speaker 2: the copaganda just like keeps perpetuating itself, because like we said,

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Speaker 2: it's not just it's not just fictional narratives, it's the news,

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Speaker 2: it's social media. I've seen a lot of like TikTok

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Speaker 2: pages of the friendly cops and the friendly soldier like

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Speaker 2: get ready with me as I get ready for work

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Speaker 2: and I don't think like a hot cop. Yeah, and

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Speaker 2: it's like, oh I'm on the beat, come right with me,

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Speaker 2: and people in the ciments like oh I got arrest

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Speaker 2: me missed the officer, like stand up. So yeah, just

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Speaker 2: seeing like the impact that like not only these fictional narratives,

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Speaker 2: but these nonfictional real world narratives like play into each other,

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Speaker 2: like they're feeding each other. The movies and the TV shows,

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Speaker 2: you know, influence the watchers and then they grow up

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Speaker 2: like idolizing the cops and then become cops and then

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Speaker 2: you know, have this whole good guy narrative in their head,

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Speaker 2: even if they're beating up a college kid about the

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Speaker 2: head for protesting a genocide.

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Speaker 1: Yeah, and this one is particularly good for visual storytelling though,

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Speaker 1: because you get that perfect arc of a person going

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Speaker 1: for some you go from quote unquote bad to quote

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Speaker 1: unquote good. It's like you there is a really easy end,

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Speaker 1: a really easy character to try to show someone who's

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Speaker 1: really completely did a one eighty and turned their life around,

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Speaker 1: because you've gone from supposedly being the bad guy and

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Speaker 1: harming others, like maybe without you know, thought about it,

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Speaker 1: and then you've gone to this person who's supposedly selfless

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Speaker 1: in their service to others.

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Speaker 3: You know.

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Speaker 1: I mean, I feel like that's another element of it,

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Speaker 1: because an easy way that cops can use to justify

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Speaker 1: it because they don't get paid a lot that they

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Speaker 1: can be like.

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Speaker 3: Oh, well, you know I'm doing this.

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Speaker 1: I'm not even making a lot of money, so they

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Speaker 1: can really make it look like they're doing it for

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Speaker 1: a higher purpose.

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Speaker 2: But you know what, on the money tip they get,

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Speaker 2: so many perks do you know, if a cop like

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Speaker 2: lives in an apartment, they don't pay for that apartment

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Speaker 2: because they're like police cards out there and they're like security.

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Speaker 1: I've heard that. And also there's the other thing of

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Speaker 1: like they get so much paid leave.

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Speaker 2: And when they fuck up, like when I'm in New York,

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Speaker 2: like it'll be like eight cops coming out too, like

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Speaker 2: a small smoothie chop and they're supposed to be like

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Speaker 2: getting the stuff for free, or they like won't protect

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Speaker 2: the smoothe chop.

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Speaker 1: Yeah, I feel like just also private businesses offer law enforcement.

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Speaker 2: Yeah, like y'all are fine. But also like going back

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Speaker 2: to your like narrative arc, it's interesting too because like

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Speaker 2: if you have a brain, the narrative arc just does

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Speaker 2: not work.

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Speaker 3: Talk about that more.

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Speaker 2: Because you're you're the bad guy, right, You're you know,

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Speaker 2: selling drugs, you know, presumably to people who want them,

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Speaker 2: and then you become a cop and you're like harming

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Speaker 2: these communities, so you're still like inflicting harm, but it's

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Speaker 2: like what's behind the harm is seen as good.

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Speaker 1: Yeah, I would say that those people aren't thinking about

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Speaker 1: the works that the cops are doing as harm.

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Speaker 2: Yeah, they show it. They'll be like, I solve this

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Speaker 2: case by beating up a homeless man who had the

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Speaker 2: knowledge but would not say anything. It's like, Okay, it's

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Speaker 2: like they show, but it's like it's still not clicking

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Speaker 2: to them.

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Speaker 1: There's another part to this where you have this arc

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Speaker 1: of going from a quote unquote bad guy to a

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Speaker 1: quote unquote good guy, is that the actual work or

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Speaker 1: field work that the cops are doing is like good work.

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Speaker 1: You know, like in reality, there are so many cops

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Speaker 1: who don't know what the hell they're doing. In general,

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Speaker 1: in film and television, there's a lot of things that

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Speaker 1: you have to play up for the craft itself, and

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Speaker 1: that stuff, I think can also plan to this propagandistic

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Speaker 1: narratives to where I remember back in I don't know

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Speaker 1: this was when we were going through some or other

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Speaker 1: reckoning in the United States when it comes to race

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Speaker 1: and police lynchings. People would say things like why didn't

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Speaker 1: they just like shoot them in the leg or something

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Speaker 1: like that. Joe Biden said that whoever said it, A

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Speaker 1: bunch of people said stuff like that, And I think

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Speaker 1: there's so much misrepresentation of violence that we've just gotten

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Speaker 1: so used to, you know, people walking into rooms and

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Speaker 1: not having their guns already racked is something that they

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Speaker 1: do in film and television that like somebody who's ready

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Speaker 1: to shoot somebody wouldn't do, or like having incredible aim

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Speaker 1: at moving targets the cops might in a show, or

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Speaker 1: having presence of mind like so many cops don't have

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Speaker 1: when they're in stressful situations. As we've seen time and

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Speaker 1: time again, there are so many things that they portray

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Speaker 1: with good cops that are not actually the truth because

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Speaker 1: cops are obviously fallible, you know, they are flawed.

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Speaker 3: They do a lot of fucked up stuff.

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Speaker 1: So as part of that trope and the propaganda, it's

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Speaker 1: also the elements of craft that are inserted, I think

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Speaker 1: in some ways sincere way for the craft itself, but

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Speaker 1: also still kind of a thoughtless way of doing things,

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Speaker 1: because it does perpetuate certain misinformation about the way that

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Speaker 1: law enforcement works, in the way that shooting works, in

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Speaker 1: the way that violence works, in the way that human

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Speaker 1: responses when you know your sympathetic nervous system is a

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Speaker 1: light works. There are so many things like that that

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Speaker 1: are misrepresented in fiction that leads into that propagandistic thinking too.

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Speaker 2: Yeah, because we saw in Uvaldi when there was an

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Speaker 2: active shooter in the elementary school. Cops were there for

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Speaker 2: so long, just standing outside, knew the person was in there,

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Speaker 2: knew they were shooting kids, and did not do anything.

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Speaker 2: A mom came to get her kids out. She came,

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Speaker 2: They handcuffed her, She got out the handcuffs, jumped a fence,

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Speaker 2: and then broke into the school to get her kids

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Speaker 2: while the shooter were still in there. You'd expect the

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Speaker 2: cops to do something like that. Yeah, it's a bunch

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Speaker 2: of y'all. Y'all got all this gear, but let a

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Speaker 2: nigga use a counterfeit twenty dollars bill, then it's on

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Speaker 2: and popping. They'd be on this stuff They like don't matter,

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Speaker 2: Like something that's not a threat, something that's not killing kids.

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Speaker 2: They're all about it. You know, there was this man

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Speaker 2: on the subway who was getting stabbed and there were

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Speaker 2: cops in the other car. But you know, you can

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Speaker 2: move across the cars in the subway. The cops was

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Speaker 2: just looking. They did not try to help this man,

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Speaker 2: and so he sued them saying like, oh, you should

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Speaker 2: have helped me. In the Supreme Court is like, oh,

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Speaker 2: they don't have the obligation to help you. So what

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Speaker 2: are you here for?

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Speaker 3: Yeah, to shoot?

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Speaker 1: Yeah, it's like they don't have the obligation to help you,

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Speaker 1: but there's good Samaritan laws around being protected.

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Speaker 3: If a normal citizen.

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Speaker 2: Yeah something with who probably doesn't have a gun, who

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Speaker 2: probably doesn't have training on what to do in this situation.

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Speaker 2: But the cops, who presumably do, they chilling.

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Speaker 1: Another thing that I was thinking about this is in

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Speaker 1: terms of storytelling, is that often you're talking about exceptional situations,

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Speaker 1: exceptional people, and exceptional experiences. So of course the story

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Speaker 1: that they're going to tell about this good cop at

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Speaker 1: the end of this narrative arc is going to be

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Speaker 1: someone who is larger than life and who has like

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Speaker 1: these perfect qualities. Because of that, and because that's kind

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Speaker 1: of how storytelling has to work, Like most of the time,

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Speaker 1: most people don't want regular stories.

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Speaker 3: They want stories about exceptionalism.

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Speaker 2: The cop who don't care and gets off, Yeah, hides

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Speaker 2: in the parking lot.

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Speaker 1: Hides in the parking lot, plants the drugs. That's that's

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Speaker 1: one of the accurate examples.

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Speaker 3: Yeah. So by nature of a cop appearing in a.

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Speaker 2: Show, I mean, it feels to be doing the most.

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Speaker 1: They have to be doing the most and that also

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Speaker 1: means that, like the propaganda's got to be there from

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Speaker 1: the beginning.

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Speaker 2: Yeah, but other jobs like don't have that, you know, Yeah,

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Speaker 2: like teachers.

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Speaker 3: I was thinking teachers.

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Speaker 2: Some of them are portrayed as like, oh, they're so great,

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Speaker 2: like what was that one? Freedom writers. Some of them

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Speaker 2: are portrayed that way. But some of them, I think

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Speaker 2: most of them are portrayed as just like regular ancillary

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Speaker 2: characters like you know, we have Abbot elementary, but they

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Speaker 2: are not, you know, saving the hood, not all of them.

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Speaker 1: The cop is more often the lead, yeah, not the

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Speaker 1: sub supporting character. I mean, they do have supporting characters,

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Speaker 1: but there are frequently cop leads shows.

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Speaker 3: Okay, Katie, bring it home.

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Speaker 1: What's the last copaganda trope that we have to develop?

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Speaker 2: An oldie but goody trope number three, the internal affairs cop.

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Speaker 3: Okay, I'm intrigued.

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Speaker 2: The internal affairs cop trope portrays them as the good

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Speaker 2: cops working to expose corruption and misconduct within the police

403
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Speaker 2: force from the inside. This trope avoids a meaningful criticism

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Speaker 2: of systemic issues and attempts to show that exceptional individuals

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Speaker 2: can reform the system. The internal affairs officer is a

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Speaker 2: principled outlier working to root out the stereotypical bad apples

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Speaker 2: within the department. They are portrayed as embodying the ideals

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Speaker 2: of law and order that their corrupt colleagues have abandoned.

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Speaker 2: This trope focuses on individual acts of heroism that expose misconduct,

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Speaker 2: but it diverts attention from the deeper issues that perpetuate

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Speaker 2: racist policing practices in the real world. It suggests meaningful

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Speaker 2: reform can come from simply having more good apples rather

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Speaker 2: than comprehensive policy changes.

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Speaker 1: Even if a show or a movie is critiquing the police,

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Speaker 1: it's almost like the only counter force is other noble police.

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Speaker 2: Yeah. That reminds me of a twenty twenty three Medium

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Speaker 2: post by Julian A. Kil Rose. In it, Rose states

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Speaker 2: cop shows that critique cops are still copaganda. The purpose

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Speaker 2: they serve is to justify the existence of police and

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Speaker 2: policing by framing virtuous cops as the antidote to a

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Speaker 2: disease institution. You'll see this in the moving Training Day,

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Speaker 2: where a cop takes down Denzel who plays a crooked

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Speaker 2: LAPD officer, or in twenty one Bridges where Chadwick Boseman

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Speaker 2: Rip plays a detective who exposes a dirty cop for

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Speaker 2: trafficking drugs. The internal affairs trope often still upholds an

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Speaker 2: uncritical view of policing itself. The cops may be taking

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Speaker 2: down bad cops, but they are working to preserve the

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Speaker 2: integrity of the institution, rather than questioning its fundamental role

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Speaker 2: in perpetuating racial injustice. This trope may intend to show

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Speaker 2: how accountability exists within law enforcement, but it ultimately protects

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Speaker 2: the status quo. It reduces systemic racism to a problem

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Speaker 2: of a few bad apples that can be rooted out

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Speaker 2: by heroic individuals, and it avoids the need for real

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Speaker 2: structural or forms and policing.

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Speaker 3: Who want to do all that work for real? For real?

436
00:23:17,720 --> 00:23:19,680
Speaker 1: Why are you trying to do all that work of

437
00:23:20,680 --> 00:23:22,640
Speaker 1: trying to change something from the inside.

438
00:23:22,840 --> 00:23:27,320
Speaker 2: I think it's a folly of youth. And then you

439
00:23:27,359 --> 00:23:29,800
Speaker 2: get into these institutions when you're young, and then you

440
00:23:29,840 --> 00:23:31,280
Speaker 2: kind of realize you can't change it.

441
00:23:31,840 --> 00:23:33,640
Speaker 3: But you got to pinch it now, or you don't

442
00:23:33,680 --> 00:23:34,480
Speaker 3: want to change it.

443
00:23:34,880 --> 00:23:37,320
Speaker 2: Or you really have bought in, or you think you

444
00:23:37,760 --> 00:23:40,000
Speaker 2: are doing good, and you are kind of confused and

445
00:23:40,280 --> 00:23:41,879
Speaker 2: the cops are the good guys, and I think it

446
00:23:42,680 --> 00:23:45,760
Speaker 2: changes you ultimately, how.

447
00:23:45,680 --> 00:23:47,000
Speaker 3: Do you think it changes the person?

448
00:23:47,680 --> 00:23:50,600
Speaker 2: Just make them a part of the system, a cog.

449
00:23:51,480 --> 00:23:54,280
Speaker 2: You know, you got to keep it moving. And I've

450
00:23:54,280 --> 00:23:56,120
Speaker 2: been in jobs where I'm like, oh, I'm gonna make

451
00:23:56,160 --> 00:23:58,440
Speaker 2: these changes and make those changes. I never been a cop.

452
00:23:58,720 --> 00:23:59,800
Speaker 3: Check that to be clear.

453
00:24:00,920 --> 00:24:02,520
Speaker 2: But you think like, oh, yeah, I'm gonna do this,

454
00:24:02,560 --> 00:24:04,000
Speaker 2: I'm gonna do that, and it's like, no, you're not

455
00:24:06,160 --> 00:24:10,200
Speaker 2: this company, this police force, this whatever has been around

456
00:24:10,280 --> 00:24:12,320
Speaker 2: before you, and it's gonna be around after you. And

457
00:24:12,480 --> 00:24:16,040
Speaker 2: ain't too much gonna change from what you're doing on

458
00:24:16,080 --> 00:24:21,240
Speaker 2: the inside, filing your little report, stop writing on them papers.

459
00:24:22,240 --> 00:24:25,720
Speaker 2: I feel like Atlanta is the most known cop city,

460
00:24:25,800 --> 00:24:28,320
Speaker 2: but there are cop cities that are popping up all over.

461
00:24:28,720 --> 00:24:31,760
Speaker 2: Mayor Eric Adams in New York announced that he wanted

462
00:24:31,800 --> 00:24:34,280
Speaker 2: to build a cop city in New York. There's one

463
00:24:34,760 --> 00:24:38,920
Speaker 2: proposed in Baltimore. They're all over the country, And you know,

464
00:24:39,119 --> 00:24:41,600
Speaker 2: a lot of copaganda shows were put on pause during

465
00:24:41,600 --> 00:24:44,320
Speaker 2: the twenty twenty uprising, like Girl. They even tried to

466
00:24:44,320 --> 00:24:51,359
Speaker 2: cancel pop patrol. They did, they paused cops. You know

467
00:24:51,680 --> 00:24:56,080
Speaker 2: that I remember those they pause cops, and you know,

468
00:24:56,880 --> 00:25:00,600
Speaker 2: I think that shows that they know that the propaganda

469
00:25:00,800 --> 00:25:03,880
Speaker 2: is linked to all the brutality, because if there wasn't

470
00:25:03,960 --> 00:25:08,680
Speaker 2: any association or correlation, would be the point of pausing

471
00:25:08,680 --> 00:25:14,240
Speaker 2: these shows. But now the shows are back and better

472
00:25:14,240 --> 00:25:17,879
Speaker 2: than ever, and we see kind of like the backlash

473
00:25:17,920 --> 00:25:21,800
Speaker 2: of people like standing up to this, you know, militarized

474
00:25:21,840 --> 00:25:22,520
Speaker 2: police force.

475
00:25:22,920 --> 00:25:25,639
Speaker 1: It's like a school to prison pipeline. Really there could

476
00:25:25,680 --> 00:25:29,040
Speaker 1: be an observer or a watcher or a media consumer

477
00:25:29,200 --> 00:25:33,720
Speaker 1: to militia man pipeline. Oh absolutely, you know for some

478
00:25:33,800 --> 00:25:36,040
Speaker 1: people it's you know, that's not how all people get

479
00:25:36,040 --> 00:25:38,240
Speaker 1: into it. Obviously, we have all these other things conditioning

480
00:25:38,240 --> 00:25:40,239
Speaker 1: the indoctrination that we get from our parents and our

481
00:25:40,320 --> 00:25:43,160
Speaker 1: upbringing and our environment and all that kind of stuff

482
00:25:43,160 --> 00:25:46,880
Speaker 1: like who's in our life, But there is a direct

483
00:25:46,960 --> 00:25:49,080
Speaker 1: line from like seeing these people on television and seeing

484
00:25:49,119 --> 00:25:52,440
Speaker 1: how they're uplifted in the roles on television and then

485
00:25:52,920 --> 00:25:55,560
Speaker 1: being like, well, that's kind of cool. I want to

486
00:25:55,600 --> 00:25:58,800
Speaker 1: be that. I remember, I don't know where I was at,

487
00:25:58,920 --> 00:26:03,480
Speaker 1: but man, this kid who had to be like three

488
00:26:03,800 --> 00:26:06,680
Speaker 1: two three was decked out in cop stuff, like had

489
00:26:06,680 --> 00:26:09,280
Speaker 1: a cop car, on the shirt cop on that cop car,

490
00:26:09,359 --> 00:26:10,760
Speaker 1: on that hat cop car.

491
00:26:10,880 --> 00:26:11,920
Speaker 3: He was rolling his hand.

492
00:26:11,920 --> 00:26:14,439
Speaker 1: I was like, dangn And he was talking about being

493
00:26:14,440 --> 00:26:16,399
Speaker 1: a cop, and she was like his mom, I'm assuming

494
00:26:16,400 --> 00:26:19,600
Speaker 1: who that was, but family member was just like, oh yeah,

495
00:26:20,000 --> 00:26:23,040
Speaker 1: like the yeah, you're a cop, Johnny or whatever his

496
00:26:23,160 --> 00:26:25,040
Speaker 1: name was, Like she was like kind of hyping up

497
00:26:25,080 --> 00:26:27,800
Speaker 1: the cop thing because he was clearly into it. So

498
00:26:28,400 --> 00:26:32,240
Speaker 1: you go from consuming the media and then you go

499
00:26:32,440 --> 00:26:34,840
Speaker 1: to being like, yeah, maybe I want to do that,

500
00:26:34,960 --> 00:26:36,960
Speaker 1: to being like, yeah, I actually can do that, because

501
00:26:37,000 --> 00:26:40,320
Speaker 1: in the United States it's pretty easy to so easy

502
00:26:40,600 --> 00:26:42,600
Speaker 1: organized as a militia if you want to.

503
00:26:43,000 --> 00:26:45,240
Speaker 2: Or even easy to become a cop, or easy to

504
00:26:45,280 --> 00:26:49,640
Speaker 2: become a cop that too. What I know for sure

505
00:26:49,800 --> 00:26:53,240
Speaker 2: is for too long we've been indoctrinated by fictionalized narratives

506
00:26:53,280 --> 00:26:56,679
Speaker 2: pedaled through our screens, a steady diet of copaganda that

507
00:26:56,680 --> 00:27:01,160
Speaker 2: has manufactured consent for the unchecked militarization of American law enforcement.

508
00:27:01,800 --> 00:27:05,440
Speaker 2: As far as our bulldoze in this expanding police state

509
00:27:05,560 --> 00:27:08,760
Speaker 2: encircles of black communities, we must reckon with the true

510
00:27:08,760 --> 00:27:11,080
Speaker 2: costs of the stories we've allowed to shape our reality.

511
00:27:11,440 --> 00:27:14,439
Speaker 2: Every fictionalized hero cop blasting their way through city streets

512
00:27:14,440 --> 00:27:17,199
Speaker 2: brought us one step closer, one step closer to wit

513
00:27:17,280 --> 00:27:21,560
Speaker 2: and seeing those same streets transformed into battlegrounds, battlegrounds patrolled

514
00:27:21,560 --> 00:27:25,800
Speaker 2: by real life militarized forces. The copaganda era is over.

515
00:27:26,080 --> 00:27:29,040
Speaker 2: It's time we start writing our own narrative, one of liberation,

516
00:27:29,480 --> 00:27:32,919
Speaker 2: one of courage in the face of an increasingly dystopian landscape.

517
00:27:33,320 --> 00:27:36,400
Speaker 2: A story where the people, not the police, are the heroes.

518
00:27:39,000 --> 00:27:41,280
Speaker 2: And now it's time for roll credits, the segment where

519
00:27:41,280 --> 00:27:43,560
Speaker 2: we give credit to a person, place, or thing that

520
00:27:43,600 --> 00:27:45,920
Speaker 2: we encountered during the week eves. Who are what would

521
00:27:45,960 --> 00:27:46,840
Speaker 2: you like to give credit to?

522
00:27:47,520 --> 00:27:51,760
Speaker 1: I would like to give credit to long drives and silence.

523
00:27:53,280 --> 00:27:58,119
Speaker 1: Usually I'm very inundated with noises and all kinds of media,

524
00:27:58,720 --> 00:28:01,000
Speaker 1: and I know that I shouldn't be doing more than

525
00:28:01,040 --> 00:28:02,560
Speaker 1: one thing at the same time. A lot of the

526
00:28:02,600 --> 00:28:04,760
Speaker 1: time when I am doing it, doing too much, like

527
00:28:04,800 --> 00:28:08,679
Speaker 1: I'm on my phone on driving, No, not when I'm driving,

528
00:28:08,840 --> 00:28:10,840
Speaker 1: just in general, like on my phone, on the on

529
00:28:10,880 --> 00:28:13,800
Speaker 1: the computer, you know, on all these watching TV, doing

530
00:28:13,920 --> 00:28:17,000
Speaker 1: multiple things that want washing dishes, you know, lighting candles,

531
00:28:17,040 --> 00:28:20,040
Speaker 1: whatever I'm doing all at the same time, and I

532
00:28:20,080 --> 00:28:21,800
Speaker 1: think the car is a nice place to have an

533
00:28:21,840 --> 00:28:24,800
Speaker 1: excuse to remove distraction. Not like I need one, but

534
00:28:24,920 --> 00:28:27,440
Speaker 1: you know, it's easy to get wrapped up in that

535
00:28:27,480 --> 00:28:28,840
Speaker 1: when you're not in the car. When you're in the car,

536
00:28:28,920 --> 00:28:34,120
Speaker 1: you're trapped in this moving sauna. Right now, it's hot,

537
00:28:34,320 --> 00:28:35,040
Speaker 1: so it's a sauna.

538
00:28:35,400 --> 00:28:35,640
Speaker 2: Yeah.

539
00:28:35,640 --> 00:28:37,119
Speaker 3: So that's what I want to give credit to today.

540
00:28:37,880 --> 00:28:41,560
Speaker 2: I appreciate a silent drive. I would like to give

541
00:28:41,560 --> 00:28:45,239
Speaker 2: credit to phone calls. I feel like they're a lost art.

542
00:28:46,720 --> 00:28:49,040
Speaker 2: There's not that many people that I can just call

543
00:28:49,160 --> 00:28:51,880
Speaker 2: up and it's normal. I caught up this one friend.

544
00:28:52,280 --> 00:28:53,800
Speaker 2: We were like to him and it's in the conversation,

545
00:28:53,880 --> 00:28:57,280
Speaker 2: He's like, is everything okay? Like what's going on? I

546
00:28:57,360 --> 00:29:00,160
Speaker 2: was like, I'm never calling you again. I'm not. But

547
00:29:00,200 --> 00:29:01,760
Speaker 2: so I appreciate those people where you can just call

548
00:29:01,800 --> 00:29:04,400
Speaker 2: them up. They call you. You don't guy to schedule it. Yeah,

549
00:29:04,440 --> 00:29:06,200
Speaker 2: and shout out to DD because that's who I be

550
00:29:06,240 --> 00:29:10,040
Speaker 2: calling my friend Indidi and with that we will see

551
00:29:10,080 --> 00:29:10,760
Speaker 2: you next week.

552
00:29:11,280 --> 00:29:11,640
Speaker 3: Bye.

553
00:29:12,440 --> 00:29:12,680
Speaker 2: Hie.

554
00:29:15,320 --> 00:29:19,240
Speaker 1: On Theme is a production of iHeartRadio and Fairweather Friends Media.

555
00:29:19,800 --> 00:29:22,920
Speaker 1: This episode was written by Eves, Jeffco and Katie Mitchell.

556
00:29:23,240 --> 00:29:25,680
Speaker 1: It was edited and produced by Tari Harrison.

557
00:29:26,240 --> 00:29:26,960
Speaker 2: Follow us on.

558
00:29:26,920 --> 00:29:30,320
Speaker 1: Instagram at on Themeshow. You can also send us an

559
00:29:30,320 --> 00:29:34,680
Speaker 1: email at hello at on Theme dot Show. Head to

560
00:29:34,720 --> 00:29:36,520
Speaker 1: on Theme dot Show to check out the show notes

561
00:29:36,560 --> 00:29:41,240
Speaker 1: for episodes. For more podcasts from iHeartRadio, visit the iHeartRadio app,

562
00:29:41,480 --> 00:29:45,200
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.