Law & Order and the Rise of the Pop Cultural Prosecutor
Years before Law & Order ended its incredible twenty-year run on May 24, 2010, the series had staked its claim to being the longest-running primetime series featuring lawyer characters. In addition, the series included an important change in how the heroic pop cultural lawyer is represented. In earlier lawyer shows with especially lengthy runs, such as Perry Mason in the 1950s and ‘60s and Matlock in the 1980s and ‘90s, the lawyer hero was customarily a criminal defense lawyer. Even the fictional firm of McKenzie, Brackman, Cheney & Kuzak in L.A. Law had a department devoted to criminal defense work. In Law & Order, by contrast, the heroic lawyers are always prosecutors.
What explains this very popular shift in imagery? Part of the reason is the general sense that crime has run amuck. Starting in the 1980s, a commitment to crime control replaced the drive for racial and economic justice as the preeminent domestic policy. Any politician on the local, state, or national level who seems “soft on crime” is doomed at the polls. More generally, the Reagan Presidency marked a national turn to the right, and in subsequent decades even the Democrats who have occupied the White House have been moderates. The heroic pop cultural prosecutor is well suited to crack down on crime and to embody conservative values.
Over the years, Law & Order became a genuine cultural phenomenon. The series’ popularity led to spin-offs and to countless reruns of both the original episodes and the spin-offs. In the end, Law & Order in all its forms not only reflected a public sentiment and emergent politics but also powerfully reinforced that sentiment and politics.