Cops Tv Show Quotes

It's like we stepped into some TV show about cops or spies. Only we're not cops or spies. We're teenagers.

Here is your law enforcement and media question of the day: Was the TV show COPS real or BS? It might have been real incidents, but it wasn't really all that real. They edited the episodes to make it appear as if black people were committing fewer crimes. That is what the show creator John Langley said in a 2009 interview in response to people who were unhappy his long-running reality show, COPS, was showing too many black people getting arrested. What irritates me sometimes is critics still watch and say, 'Oh look, they misrepresent people of color.' That's absolutely not true. To the contrary, I show more white people than statistically what the truth is in terms of street crime..It's just the reverse. And I do that intentionally, because I do not want to contribute to negative stereotypes, said Langley, the show's producer, in 2009.

The best book ever written about cops is Homicide: A Year on the Killing Streets by former Baltimore Sun crime reporter David Simon. The best TV show about cops is The Wire, created by David Simon. You may start to see a theme here.   16

He feels a little better while watching the guy on TV or thinking of him. Still, he feels insignificant. He has a few heroes whom he sees on other TV shows: sports figures, a tough cop or a late-night talk show host. He lives vicariously through all of them. Unbeknownst

Once upon a time, mystery fans had to solve puzzles on their own; now, you not only didn’t need to be the one to solve it, you didn’t even need to be hanging around on the website where someone else had solved it. An Ana Lucia flashback episode in the second season showed Jack’s father, Christian, visiting a blonde Australian woman. Not long after it aired, I saw someone on the Television Without Pity message boards passing along a theory they had read on a different site suggesting that this woman was Claire’s mother, that Christian was her father, and that Jack and Claire were unwitting half-siblings. I hadn’t connected those dots myself, but the theory immediately made sense to me. When I interviewed Cuse that summer, he mentioned Christian Shephard, and I said, “And he’s Claire’s father, too, right?” Cuse looked like he was about to have a heart attack.

would become known to a nation of television fans as the “Hill Street Blues” precinct because it is where the opening scenes of the popular 1980s show were filmed. To those of us who worked the murders, it was just Maxwell Street Homicide.

What you have heard is true. I was in his house. His wife carried a tray of coffee and sugar. His daughter filed her nails, his son went out for the night. There were daily papers, pet dogs, a pistol on the cushion beside him. The moon swung bare on its black cord over the house. On the television was a cop show. It was in English. Broken bottles were embedded in the walls around the house to scoop the kneecaps from a man's legs or cut his hands to lace. On the windows there were gratings like those in liquor stores. We had dinner, rack of lamb, good wine, a gold bell was on the table for calling the maid. The maid brought green mangoes, salt, a type of bread. I was asked how I enjoyed the country. There was a brief commercial in Spanish. His wife took everything away. There was some talk of how difficult it had become to govern. The parrot said hello on the terrace. The colonel told it to shut up, and pushed himself from the table. My friend said to me with his eyes: say nothing. The colonel returned with a sack used to bring groceries home. He spilled many human ears on the table. They were like dried peach halves. There is no other way to say this. He took one of them in his hands, shook it in our faces, dropped it into a water glass. It came alive there. I am tired of fooling around he said. As for the rights of anyone, tell your people they can go f--- themselves. He swept the ears to the floor with his arm and held the last of his wine in the air. Something for your poetry, no? he said. Some of the ears on the floor caught this scrap of his voice. Some of the ears on the floor were pressed to the ground.

However popular Candid Camera may have been, though, it represented a genre—with the exception of a few popular shows like COPS, Real World, and America’s Funniest Home Videos—that lay dormant on American prime-time television until the late 1990s. Then, stung by a loss of viewers and watercooler buzz to more innovative, more targeted, and more creatively unshackled cable operators, network television programmers revisited reality. The show that ushered in the new era in network programming debuted in the summer of 2000 on CBS, and it became a ratings powerhouse known as Survivor.

The whole country had gone through a spasm of shudders during those eight months, but she had hardly noticed. The marches, the cops in their crash helmets and gas masks, the mounting attacks on the press by Agnew, the Kent State shootings, the summer of violence as blacks and radical groups took to the streets—those things might have happened on some TV late show.

You know those FBI shows on TV? Where they do the profiling?” “Yeah.” “Cops hate that stuff. While it's all well and good to sit behind a desk and have assigned characteristics and fancy medical names for criminals,” Jerry said in a prissy voice, “at the end of the day, you just don't know what anybody's gonna do. You gotta prepare for everything. Human beings are unpredictable. After three decades with PD, I still get surprised.

Left to its own devices, my mind spends much of its time having conversations with people who aren’t there. I walk along defending myself to people, or exchanging repartee with them, or rationalizing my behavior, or seducing them with gossip, or pretending I’m on their TV talk show or whatever. I speed or run an aging yellow light or don’t come to a full stop, and one nanosecond later am explaining to imaginary cops exactly why I had to do what I did, or insisting that I did not in fact do it.

All television programs are rooted in drama and conflict: good versus evil, cops versus robbers, doctors versus devastating illnesses, space explorers versus evil alien invaders. Siskel & Ebert was the first and perhaps greatest TV show in history where the struggle between the two antagonists was entirely intellectual. Tensions were never resolved with fistfights or shoot-outs, but with conversation and analysis. Hell, for the entirety of their twenty years on television, Roger and Gene clashed and quarreled without ever getting out of their seats-comfy chairs in a Chicago studio designed to look like a cozy movie theater balcony. And yet their verbal sparring matches often contained more suspense than the movies they reviewed.

Byrne,” I said. Cops answer phones like cops even when they’re home. “They f—d us, Gary! They f—ed us!” “Whoa, whoa. Calm down. Who f—ed us? What are—?” “I can’t believe it! I can’t believe it! Are you watching? They f—ed us, Gary! They released the g-ddamn tapes! Our depositions are playing on the damn television. We’re all over the g-ddamn news! They’re showing our faces!” She kept repeating

Yeah,” Snell said, waving a Ferrari past the truck but looking at Eve as he did it, “the same people you’re giving blow jobs to every day to get your TV show. The only difference between you and Detective Garvey is that he earned his badge and doesn’t have to betray other cops to get ahead.

Cops aired for thirty-two seasons and was canceled by Fox in the wake of the 2020 murder of George Floyd by a Minneapolis police officer. For years prior, Cops had been criticized as evidence of an unholy alliance between law enforcement and media—the show was dependent on the police allowing TV crews to shadow their street work, which would only be allowed if the police were featured in a positive light. When public sentiment toward law enforcement collapsed, the very premise of a program delivered from that viewpoint was seen as irredeemable. There was, however, an ancillary aspect to Cops that played an underrated role in its watchability: the uniqueness of its geography. Cops was filmed in multiple cities across multiple states, and since the sole focus was on criminal activity, it ended up featuring neighborhoods and communities that would never appear on TV for any other reason. It’s possible to argue that Cops was a soft form of fascism, but that it was also an unorthodox form of tourism.

Joe, you’re thinking in slogans,” Lucas said. “You don’t talk to cops, you don’t inform on anybody, you don’t respond to threats. You’ve got to listen to what I’m saying. This isn’t make-believe. This isn’t political bullshit, or a TV show—this is a real thing.

to [David] Simon and his partner, Ed Burns, The Wire was explicitly a piece of social activism. Among its targets, large and small, were the War on Drugs, the educational policy No Child Left Behind, and the outsize influence of money in America's political sytem, of statistics in its police departments, and of Pulitzer Prizes at its newspapers. The big fish, though, was nothing less than a capitalist system that Burns and Simon had begun to see as fundamentally doome. (If Simon was a dyed-in-the-wool lefly, Burns practically qualified as Zapatista; by ex-cop standards, he might as well have been Trotsky himself.) In chronicling the modern American city, Simon said, they had one mantra, adapted from, of all sources, sports radio personality Jim Rome: "Have a fucking take. Try not to suck." Neither Burns nor Simon would ever seem entirely comfortable acknowledging the degree that The Wire succeeded on another level: as beautifully constructed, suspenseful, heartfelt, reasonant entertainment. [...] "It's our job to be entertaining. I understand I must make you care about my characters. That's the fundamental engine of drama," Simon said dismissively. "It's the engine. But it's not the purpose". Told that The Wire had trascended the factual bounds that, for all its good intentions, had shackled The Corner, he seemed to deliberately misunderstand the compliment: "I have too much regard for that which is true to ever call it journalism." The questioner, of course, had meant the opposite: that The Wire was too good to call mere journalism. As late as 2012, he would complain in a New York Times interview that fans were still talking about their favorite characters rather than concentrating on the show's political message.

Of course, there was no reason she should update me. She was not her Dexter’s keeper, and if she was finally beginning to realize that, so much the better. So I was completely content, not at all miffed with my sister, when she showed up at last to claim her child. It was almost midnight when she finally arrived, and Nicholas and I had watched several more news bulletins, and then the lead story on the late news itself, all pretty much repeating that first tiresome bulletin. Heroic officer injured while catching cop killer. Ho-hum. Nicholas showed no sign of recognizing his mother when she appeared on television. I was quite certain that Lily Anne would have known me, whether on TV or anywhere else, but that did not necessarily mean there was anything actually wrong with the boy. In

Jeez, on those TV real-life cop shows they don’t do this. They got all kinds of guys with microscopes and computers figuring shit out.’ ‘We’re a small department,’ Jesse said. ‘We can’t afford smart people.’ ‘This could be a total waste of time,’ Simpson said. ‘Ah,’ Jesse said, ‘you are beginning to understand the intricacies of police work.

All my life, since I could remember, I wanted to be a cop. That’s all I ever wanted to be. Watched the shows on TV, all the movies. I wanted that to be me. So I made that me. I love my job. I’m proud of what I do. And ever since I knew about girls and knew I’d someday have one of my own, I knew the kind I wanted. Just like knowin’ I wanted to be a cop, I knew the kind of woman I wanted for me. So I found that woman and she’s sittin’ on this couch.

That’s how they pay you at DSS. Old Baggy has been at it so long she’s got no more reason to live, working two shifts a day, going home to her crap duplex in Duffield owned by her cousin that gives her a break on the rent. If you are the kid sitting across from her in your caseworker meeting, wearing your two black eyes and the hoodie reeking of cat piss, sorry dude but she’s thinking about what TV show she’ll watch that night. Any human person with gumption would have moved on to something else by now, the military or selling insurance or being a cop or even a teacher. Because DSS pay is basically the fuck-you peanut butter sandwich type of paycheck. That’s what the big world thinks it’s worth, to save the white-trash orphans.

The masculine wants to feel the bliss of a life lived at the edge, and if he doesn’t have the balls to do it himself, he’ll watch it on TV, in sporting events and cop shows.

Images of poor, inarticulate people are disturbing to audiences, especially upscale ones (read: people with disposable incomes who can respond to advertising). That’s why we don’t show poverty on TV unless we’re laughing at it (Honey Boo Boo) or chasing it in squad cars (Cops).

I know the cops don’t like you to mess with the body. I watch this show on TV. It’s got this hot lady cop and her husband, this guy who writes books. It’s clever, the solutions they come up with. The writer guy is pretty smart.

Obviously.” I rolled my eyes. “Well, you need to think harder. Get out there and hit the streets!” I laughed. “Granny, this isn’t an eighties TV cop show.” “Well, it’s a good thing. You’re certainly no Magnum, PI.” “You know, I thought grandmothers were supposed to be sweet old ladies who loved to bake goodies and knit you an endless supply of sweaters.” “I’m a ghost, dummy!” Granny threw up her arms. “You’ll have to make your own crap.

What really gets me is when you see the cop shows on TV, they get to crash cars, leave buildings burnt to the ground and beat confessions out of their suspects. And get medals for bravery.

Previously, leaving the couch and walking up to the television to change the channel might cost more effort than merely enduring the awful advertisement and associated anxiety. But with a remote in hand, the viewer can click a button and move away effortlessly. Add cable television and the ability to change channels without returning the set (not to mention hundreds of channels to watch instead of just three), and the audience's orientation to the program has utterly changed. The child armed with the remote control is no longer watching a television program, but watching television—moving away from anxiety states and into more pleasurable ones. Take note of yourself as you operate a remote control. You don't click the channel button because you are bored, but because you are mad: Someone you don't trust is attempting to make you anxious. You understand that it is an advertiser trying to make you feel bad about your hair (or lack of it), your relationship, or your current SSRI medication, and you click away in anger. Or you simply refuse to be dragged still further into a comedy or drama when the protagonist makes just too many poor decisions. Your tolerance for his complications goes down as your ability to escape becomes increasingly easy. And so today's television viewer moves from show to show, capturing important moments on the fly. Surf away from the science fiction show's long commercial break to catch the end of a basketball game's second quarter, make it over to the first important murder on the cop show, and then back to the science fiction show before the aliens show up.

He kept his eye open for other events that looked like the place to be and became drawn to them, looking for any opening to create news and enhance his value further. One such event was the Arnold Classic, held on March 2nd in Columbus, Ohio. The Arnold Classic was an annual bodybuilding event traditionally held at the Greater Columbus Convention Center. It served as something of a melting pot, luring agents, pornstars, hustlers, fans and wannabe stars to one venue with its gravitational pull. “If you like fake tits that’s the place to go”, jokes Kim Wood. “It’s a cesspool, there’s drug dealers…you just wallow in the sleaze.” Pillman’s visit was dual-purpose – in addition to hanging out at the expo, he was filming a commercial to plug his hotline to air on Hardcore TV. ECW’s television crew Stonecutter Productions, headed by Steve Karel, put it together with Brian. In what would become an unfortunate, ironic twist of fate, it was Karel, the same man who told Kim Wood about the WCW-ECW connection which led to Pillman becoming the talk of the industry, that took Brian to the Arnold Classic. Of course, a lot of the attendees were wrestling fans and with Brian in character, he was getting almost as much attention as Arnold himself. Brian and Karel took the sleaze a step further, going back and forth between strip shows and nude woman contests, when Pillman came across a model that caught his eye. In this case, however, it wasn’t a female. One of the sponsors of the Arnold Classic was Hummer. Schwarzenegger fell in love seeing a fleet of military Humvees roll past the set of Kindergarten Cop in 1990 and wanted one of his own. Arnie finally convinced AM General to produce them, and it was Schwarzenegger himself who purchased the first Hummer off the assembly line. Since then he was linked with them and with the bodybuilding expo bearing his name, it was only natural to have a number of floor models on display. Pillman loved the look of one of the Hummers in particular and since the ones being showcased had to be gotten rid of, Karel, with his connections, was able to get Brian a pretty good deal if he wanted to purchase it there and then. Despite all his hard work being with the goal of cashing in and making it out on the other end financially better off, Pillman’s focus lapsed amidst the intoxicating vibe of working everybody and living his character. Against his prior instincts, he bought the vehicle.