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\newcommand{\cops}{{\bf COPS }}
\title{Identity, Self-righteousness and \cops}
\author{Matthew Gray}
\begin{document}
\maketitle


\section*{Introduction}

The reasons for the success of the \cops television show are not
entirely clear.  FOX Television attributes its success and appeal to
the fact that it is ``unpredictable'', ``riveting'', and ``an
intimate, up-close look at life as seen through the eyes of the brave
police officers who patrol our cities.''  While these claims are
questionable (certainly the ``unpredictable'' claim), they don't
provide any deep understanding of the shows appeal.

\par

Seemingly obvious reasons for the shows popularity don't hold up
terribly well.  One might claim the shows ``excitement'' attracts
viewers.  Much of the time, however, \cops is not at all exciting, and
the segments revolve around minor, often mundane criminal activity.
Another possibility is a certain civil appreciation for law
enforcement, however after viewing the show a few times, this seems
rather unlikely.

\section*{Identity}

One possible, less obvious, alternative explanation for the show's
success is a sense of identification (and anti-identification) people
have with the show.  Some viewers who experience many of the minor to
moderate crimes such as those portrayed on \cops on a regular basis,
can identify with the police.  The police are thrust into a more
extreme version of the viewers' lives, complete with mundane, but
unpleasant crime.  The police, unlike the viewers, are capable of
taking quick, decisive legal action against the perpetrators, and in
\cops, reliably succeed.

\par

Equally so, there is, in some cases a sense of identity with the
perpetrators, though much less so.  Particularly in cases where the
police in the show are harassing or pursuing a suspect who is not
``obviously'' guilty, viewers may identify with the suspect.  This
provides an easy model for the viewer to cast themselves into the role
of the suspect, and the police into the role of any authority figure
or even society at large.  Seeing others in what is perceived as a
similar plight enhances the perception that theirs is a case of
injustice rather than justice they have misconstrued.

\par

Finally, there is a certain amount of ``anti-identification'' with
both the criminals and the the police, though more so the criminals.
This manifests itself as an outrage at the behavior and a strong sense
of identity that the viewer is {\em not} like the people portrayed.

\section*{Self-righteousness}

Related to, but different from this sense of anti-identification is a
sense of self-righteousness.  This occurs in viewing both the police
and the suspects.  In the case of the suspects, this primarily takes
form as thoughts to the effect of ``I'm smarter than that.'' or ``I'm
a better person than them because I'm not a criminal''.  Watching
suspects ``get busted'' reaffirms feelings that the fact that they are
a law-abiding citizen makes them ``better'' in some way.

\par

Similarly, there is a sense when viewing the police of ``I could do
that.'' or even, ``I could do that better''.  Though the status of
police has changed for the worse in recent decades, it is still a
relatively respeced and prestigious position, particularly for its
required level of education.  Viewers perception that they are equals
or better to police in competence, intelligence, or capability
enhances the feelings of self-righteousness.

\par

Overall, self-righteousness as an emotion helps the viewer identify
their place in society, and affirm them that it is sufficiently high.
Very much, the over all effect is the opposite of many other shows,
which enhance people's lives by providing vicarious experience.
Instead, \cops provides an experience that is {\em almost} familiar
and enhances their sense of identity without diverging too far from
their actual lives.

\section*{Conclusion}

The mundane but familiar qualities of \cops have contributed to its
success.  The fact that it is ``real'' further cements its role as a
concrete societal benchmark against which viewers measure themselves.
This is much of what happens with normal television, however \cops
succeeds in being a compelling benchmark more than most.  It does so
by being realistic and not setting the mark too high, and keeping a
fairly clear distinction in the two measures it provides.  The
criminals are reliably ``wrong'' and often stupid.  The police are
successful, but rearely outrageously so, and are reliably conspicously
imperfect.  This allows essentially all viewers to measure themselves
above the criminals, and often above the police, but usually on par
with them.

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