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The category “television drama” includes episodic crime series and nongenre series that have a strong criminal justice component. Examples of the latter include the nongenre series I'll Fly Away (NBC, 1991–1993). This critically acclaimed but shortlived series, set at the dawn of the civil rights era, was narrated by a young African American woman (Regina Taylor), who worked as the housekeeper for the district attorney (Sam Waterson) in a southern town. Also set in the South, the Lifetime series Any Day Now (1998–2002) chronicled the renewed interracial friendship between the two female protagonists. Rene (Lorraine Toussaint) was a lawyer, the daughter of a civil rights attorney, who has returned to Atlanta. Mary Elizabeth (Annie Potts), wife, mother, and would-be writer, had been her best friend when they were children. Although set in modern-day Birmingham, Alabama, each episode included flashbacks to the 1960s when Mary Elizabeth's uncle, who was both a sheriff's deputy and a member of the Ku Klux Klan, symbolized the corrupt criminal justice system. As television dramas, I'll Fly Away and Any Day Now were rare exceptions to standard primetime programming. Dramas that focus with sensitivity and depth on race/ethnicity and criminal justice have not been standard television fare. Until the 1960s, with the exception of situation comedies in which they were cast as servants or in stereotypical roles, African Americans and other racial/ethnic minorities were a barely visible presence on television. This entry examines the progression of the representation of race/ethnicity in television crime dramas.

Crime Series

In 1965, I Spy, a groundbreaking series, debuted on NBC. Reflecting the popularity of James Bond films, I Spy (1965–1968) featured two American espionage agents who traveled the world posing as a professional tennis player (Robert Culp) and his trainer (Bill Cosby). The first primetime drama to feature an interracial partnership, I Spy was also the first television drama to feature an African American actor (Cosby) in a starring role.

During the civil rights era, a number of other series debuted featuring racial/ethnic minority characters as law enforcement officers. Among these series, Mod Squad (1968–1973) featured a trio of young undercover cops (one White male from a wealthy family; one attractive blonde White female from a troubled home; one intense, brooding Black male). The three worked undercover for a middle-aged, White male police supervisor who had recruited them for assignments involving the 1960s counterculture (i.e., hippies, drugs, political and social conflicts). Other crime shows, such as Adam-12 (1968–1975), Hawaii Five-O (1968–1980), The Rookies (1972–1979), and Police Woman (1974–1978), featured police officers of color as part of an ensemble cast.

Although the presence of a laugh track precludes describing this show as a drama, Barney Miller (ABC, 1975–1982) often took on serious issues (including ageism, sexism, and racism). Set in a New York City police precinct, the characters were as diverse as those of any crime drama on television. Captain Barney Miller (Irish American) was in charge. The squad room regulars included Fish (White, elderly, and Jewish); Harris (African American); Wojciehowicz (Polish American); Amanguale (Puerto Rican American); and Yemana (Japanese American). The presence of these characters and the two female detectives and a brainy White detective (Dietrich) who appeared later in the series fueled debates about attitudes and perceptions. In a memorable fifth season episode (“The Harris Incident,” November 30, 1978), Harris's colleagues are shocked by his emotional response when he is shot at by two White patrol officers who mistook him for a suspect.

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