A loving farewell to the “Brooklyn Nine-Nine” hero cops who finished this journey just in time

Any law enforcement official who harbors an action movie super cop fetish is on the hunt for compensation. by Andy Samberg “Brooklyn Nine-Nine” hero Jake Peralta is not immune to this fact.

At various points throughout the show’s eight seasons, Jake’s “Die Hard” worship and the generalized fandom for classics full of other bullets got him in trouble. We usually laugh at the scrapes Jake gets.

A recent episode called “The Set Up” concludes this series. What started when Jake was excited about being handed a case involving bomb threats on a bus – “Speed!'” He dizzyingly calls it that, but the cinematic compromises – it ends with his suspension.

That’s fair punishment because Jake arrests an innocent man. The resulting wrongful arrest causes the man to lose his job, so he sues the department.


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This is not a sufficient deterrent to stop our hero. Suspecting this season’s nemesis, a factory hired by the hilariously crooked, wanton union president Frank O’Sullivan (John C. McGinley), to ruin Jake’s star record, Jake chases the man during his off hours.

But . . . why? The answer, according to John McClane, is that O’Sullivan did this to destroy the police reform pilot program led by Jake’s wife, Amy Santiago (Melissa Fumero).

This has been Jake’s MO for eight seasons of the comedy on Fox and NBC, and it’s a major reason why “Brooklyn Nine-Nine” installations work. For the detective, every little misdemeanor and trivial thing has the potential to be part of a grand conspiracy, and his devious theories and stubborn skepticism often pay off. After all.

Not this time. His unnecessary oversight earns him additional intimidation charges and a five-month cooldown.

The show’s eighth and final season kicked off a few weeks ago. strange position of conditions. Season 7 aired in April 2020, before the murder of George Floyd and subsequent calls. save the policereapportioning exorbitant police department budgets to programs devoted to promoting mental health and nonviolent response.

It was hard to see how these tense and necessary discussions would match up with the show’s portrayal of a New York City police district that honestly cares about the people it serves. To their credit, co-creators Dan Goor and Michael Schur have not tried to soften our stances on policing.

Instead, they endorsed them while closely guarding the image of a dumb good cop committed to being a good person.

So, when Jake does a terrible search that has a real cost to another human and then doubles down, he doesn’t seem to be twisting his way out of it. He claims he made a mistake and takes the blow.

Of course, we don’t see him exhausted during his dismissal, as he enlists Sergeant Terry Jeffords (Terry Crews) in part to uncover another mystery hidden in the family tree of his best friend, Charles Boyle (Joe Lo Truglio).

The next episode, and the penultimate episode of the series, marries Jake’s unquenchable thirst for perceiving the sitcom’s final standard, a wedding. Essentially, it’s a vow renewal – one that takes the entire gang and ex-detective Rosa Diaz (Stephanie Beatriz) on a final adventure with Jake’s surrogate “daddy” boss Raymond Holt (Andre Braugher).

Note that these last half-hours revolve less around the lives of people in the area, deliberately reminding us that while “Brooklyn Nine-Nine” is a police show, it is first and foremost a workplace comedy.

It’s also a tried-and-true comedy in previous seasons, and this season it tries to walk the fine line between bringing out and highlighting the goodness and goodwill of its character and being honest and honest about policing in America and its cops.

Jumped into topics like past seasons racial profiling, homophobia and corruption, while fulfilling its obligation to make us laugh, as fearlessly as a gentle comedy can.

“Brooklyn Nine-Nine” references in its best parts and most, it was a reliable feel-good sitcom. Even when Holt ran for commission and lost a stop-and-frisk-happy shoe, he and those who worked for him took action and continued to strive to do the right thing.

I anticipate that he will continue to fill this role in his streaming and syndicated life. But I also wonder if in the years to come people will notice how the series so kindly supports the honest hero cop legend.

The writers cover this in “The Establishment,” and Holt displays the height of his anger – a situation he calls “huffy” – punishing O’Sullivan’s refusal to hold aggressive, discriminatory cops accountable. Holt recalls that the police lose public trust when officers are not held accountable for their mistakes.

Earlier in the same half hour, Amy lectures O’Sullivan for trying to thwart the pilot program, which enacts recommendations designed to reduce interactions where armed police unnecessarily engage with civilians. “It can save lives and restore trust in society.”

Two episodes later, both he and Holt are promoted and given the power to implement these reforms. Wish fulfillment is another staple of the sitcom’s goodbyes, with marriages right there. This is absolutely heartening. It also supports the unrealistic idea that it’s out there somewhere. Those beautiful apples that Trevor Noah was talking about – the ones we’ve never seen stop the bad guys.

But “Brooklyn Nine-Nine” die-hards won’t miss this show because of its procedural accuracy. They will miss the inclusive and hospitable family he created over eight seasons and two networks. The show may be ending at a time when parody of police drama excesses stops feeling completely right, but it’s hard to let go of a series that’s been this long, and it’s even harder for fans to say goodbye knowing they’ve recorded it once.

Still, Goor, Schur and the writers did a good job guiding us through an honorable farewell station through to this week’s finale. We will miss the way Jake, Amy, Rosa, Charles, Terry, Holt, those idiots Scully (Joel McKinnon Miller) and Hitchcock (Dirk Blocker) and longtime grumpy executive Gina Linetti (Chelsea Peretti) build a stable family. selection that brings out the best in each other.

But this latest voyage, including “The Establishment,” offered the most convincing argument that the time was right for comedy to honorably succumb.

The two-part series finale of “Brooklyn Nine-Nine” will air on Thursday, September 16 at 8 PM on NBC.

https://www.youtube.com/watch?v=yGXdJEgY8vw

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