"I don't know what you kids are up to, but I do know one thing: laws are threats made by the dominant socio-economic, ethnic group in a given nation. It's just a promise of violence that's enacted and police are basically an occupying army, you know what I mean? You guys want to make some bacon?"

Oh, dropout is doing copaganda now?

The fuck? In my mind Dropout is still this little niche thing that few people know or care about. Seeing it arrive in the mainstream feels crazy. I've always been a sucker for crossover stuff, so I guess I'll gobble this straight up.

Nathan: So where were you when it happened?
Sam: I was here.
Nathan: And you were here the whole time?

Brennan clears throat, adjusts glasses, makes prolonged eye contact with everyone in the room simultaneously

"Okay. OKAY. I have been sitting with this for six hours and I cannot physically contain it anymore.

The Thin Blue Line narrative—and I mean this with my whole cardiovascular system—is one of the most effective and insidious propaganda apparatuses in the history of American mass media. And it works because the characters are GOOD. They're charming! They're funny! They have FEELINGS and RELATIONSHIPS and they are genuinely trying to do the right thing, and that is EXACTLY how hegemony sustains itself. It doesn't show you the institution. It shows you Tim Bradford, and you love Tim Bradford, and now you have quietly absorbed an entire framework for how crime and punishment and community and safety are supposed to function in a civilized society WITHOUT EVER BEING ASKED TO CONSENT TO THAT LESSON.

And I'm—look. I'm not saying don't watch it. I watch it. I'm ON it right now. I'm saying watch it awake. Watch it with the part of your brain that remembers that the writers' room is making choices, that the network has relationships, that the genre itself has a politics that predates everyone in this room.

...Does anyone want to do a Cop Cuties bit with me?"

Paywalled :/