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For its entire history, SVU has served as a mirror of attitudes about criminal justice and feminism — not the attitudes of Americans generally, but of the fairly liberal audience it targets.
In its first decade, the detectives would make light of prison rape and vilify defendants. Today, the show often takes pains to acknowledge the humanity of even suspects who turn out to be guilty.
If you want to see how the conversation on criminal justice and sex crimes has evolved over the past two decades, you could do a lot worse than binge-watching SVU.
It shares the "ripped from the headlines" hustle of the original, but both because its breakout lead character is a woman — Detective Olivia Benson, played by Mariska Hargitay — and because of its subject matter, it has cultivated a different, less conservative image.
Most cop procedurals have a fairly utopian view of law enforcement: Police usually play by the rules, defendants are frequently assigned excellent representation, and the main challenge is dotting the prosecution's i's and crossing its t's so key evidence doesn't get tossed out on a technicality.
SVU , by contrast, is focused on crimes traditionally minimized by the police, a fact that it rarely forgets. Its victims are overwhelmingly women and children.
Its perps are almost always men — usually white, frequently rich and powerful. The dean of a major business school poured out a similar confession, as did a senior editor at a newsmagazine.
The girlfriend of one of my Slate colleagues. Always high-powered. The original cast contained no women. The executive assistant district attorney was always a man, either Jack McCoy Sam Waterston , Ben Stone Michael Moriarty , or Michael Cutter Linus Roache.
The two lead homicide detectives were always men. In a typical season, the only female main cast members would be S.
Epatha Merkerson as Lt. Anita Van Buren and whichever something ADA is working under McCoy at that moment.
SVU , by contrast, always had a female lead detective in Benson. The ADA was, until season 14, always a woman. Medical examiner Melinda Warner Tamara Tunie has been a crucial part of the show since season two.
The audience was two-thirds female, young women, for the most part — the same demographic that drives fan fiction, romance novels, and vampire stories.
The latter typically involves few plot twists, focusing instead on legal strategy, which limits how convoluted the story can get. SVU is typically percent investigation, with only the occasional episode featuring time at trial.
That means writers can pack in even more twists and turns, taking plots into genuinely bizarre, implausible, and wacky places.
This creates a distinctive pulpy tinge that ultimately sets the show apart from its parent series. It barely has a sense of humor.
SVU , largely because of its greater penchant for twists, is a deeply, deeply silly and mercifully self-aware show.
It is soapy nonsense of the finest quality — despite, or perhaps as a respite from, its focus on the immensely serious and sensitive topic of sexual violence.
The result was a public that was still terrified of crime and had high confidence in police. A Gallup poll in found that 62 percent of Americans worried "a great deal" about crime.
By , that was down to 53 percent. In , before the Ferguson protests raised the profile of criminal justice as an issue, only 39 percent said they worried a great deal — a point drop from Prisoners' suffering was disregarded or played for laughs.
That's how many days you get to play his girlfriend. On another occasion, ADA Casey Novak Diane Neal gloats to a serial killer played by Jared Harris about the new prison assignment she got him: "You're gonna love Florence supermax — hour lockdown, no visitors, no mail, no phone calls.
No human contact for the rest of your life. The audience is supposed to view this treatment as a victory. Any notion that sex offenders could benefit from treatment or rehabilitation was strictly absent.
Benson responds not by trying to pair the boy with a therapist but by trying to build a case against him, telling his mother, "We believe that he's been abusing Cory.
Lest you think the detectives learn a valuable lesson about the perils of prosecuting thought crime, or about targeting people who come to them trying to do the right thing, it ultimately turns out the kid has abused someone.
Any chance the episode had of painting a nuanced, empathetic portrait of "gold star pedophiles" — people with pedophilic urges who do not act upon them — went out the window.
Suspects are, once again, liars to be treated with suspicion and hostility. But even as the show exhibited a callous disregard for the rights and humanity of suspects and perps, it never wavered in its core commitment to believing the victims.
From the very start, the show went to great lengths to emphasize that victims' past sexual history has no bearing on the merit of their allegations.
Sex workers are frequently featured as victims, but their career is never treated as a reason not to believe them.
Boston College's Lisa Cuklanz and Middlebury's Sujata Moorti conducted a content analysis of all episodes of the show's first five seasons and are even more rapturous in their conclusions.
The series rejects the assumption that only virtuous and sexually chaste women can be violated … SVU offers an unequivocally feminist understanding of sexual assault in its depiction of power imbalances as causing rape.
The authors do note that SVU showcases disproportionate number of female perpetrators — but when it comes to debunking rape myths, the show rarely if ever wavers.
Even when individual characters express belief in rape myths, they are immediately rebuked. And, not unrelatedly, campus, military, and celebrity sexual assault started to be reported on and treated as serious issues in a way they never had been before, with the kind of feminist analysis of rape SVU had adopted and propounded — victims should not have to be perfect, their past sexual behavior is irrelevant, rape is about power, not sex, victims should be believed — gaining new prominence in turn.
Olivia Benson, specifically, became a kind of cult heroine for activists and writers working on sexual assault issues.
And the show and its crew returned the love, adopting the vernacular of sexual assault advocates; the term "slut shaming" has appeared in SVU scripts repeatedly.
Hargitay pivoted heavily into actual activism, founding the Joyful Heart Foundation , which focuses on preventing sexual assault and domestic violence and supporting survivors.
The "ripped from the headlines" aspect of the show — while still a recipe for lurid, uncomfortable content on occasion — also became a way for it to retell stories in the news with a pro-victim, anti-slut-shaming slant.
SVU handled the situation by pointedly refusing to place the blame on the student whose claims fell apart. In the SVU version, the student really was assaulted, by one classmate — and, because of pressure from the press and an irresponsible professor, embellished the events into a gang rape.
They thought this would be the case that would change rape culture, and it did. It set the clock back 30 years. But if SVU was ahead of its time on its treatment of rape and consent, it lagged behind public opinion in its treatment of crime in its first decade, with DAs threatening tortuous solitary confinement and detectives joking about the assaults suspects would endure in prison.
By the s — when the Trayvon Martin and Michael Brown cases and the crime decline increased support for criminal justice reform and raised the profile of racial bias by police — that approach appeared increasingly untenable.
This, necessarily, caused some tension. Many sexual assault advocates viewed the answer as tougher enforcement of the law.
Most criminal justice reform advocates, by contrast, view this approach as fundamentally flawed. Some have accused prison-focused sexual assault groups like RAINN of embracing a "carceral feminism," which serves to bolster a system of overcriminalization and mass incarceration that ultimately hurts women.
This dispute has spilled over into legislatures. That cycle, in the '80s and '90s, left us with mass incarceration.
It would have been simple for SVU to react to this trend by embracing carceral feminism. Why not exploit greater awareness and interest in sexual assault issues by locking up more rapists?
But the show, pointedly, refused to go that route. Instead, the '10s featured a remarkable pivot in which SVU suddenly took police racial bias and mass incarceration seriously.
Of course, this being SVU , it went about this transition in an over-the-top, occasionally ham-handed way. The season 14 episode "Monster's Legacy" was, on paper, an excellent step forward.
Featuring Andre Braugher's character Bayard Ellis, a civil rights attorney whose presence gives the show an opportunity to look critically at law enforcement, it centers on a death row inmate whom Benson and Ellis attempt to save from execution.
They learn that the inmate had been repeatedly sexually abused as a child, and that his murder victim wasn't a stranger, as the prosecution had alleged, but a much older man who'd paid him for sex and had gang-raped him the night before the murder with three other men.
No one even questions that he should be in prison. The problem was that, in a bit of unfortunate stunt casting, the inmate was played by Mike Tyson, who served three years in prison for rape.
Was Martin really blameless? Initially, the police are sympathetic to Castille. The boy she shot was a suspect in a string of rapes; she claims he was trying to rape her as well.
Then another suspect is found to have committed the serial rapes. But the most striking shift in SVU can be seen in episodes where it refuses to demonize even characters suspected of heinous sex crimes.
But the show pulled it off. The shift began tepidly with season 16's "Perverted Justice. Für das Ermittlerduo keine einfach Sache, denn Detective Elliot Stabler ist selber Familienvater.
Da ist es auch nicht immer leicht, solche Tragödien aus dem Privatleben herauszuhalten. Unterstützt werden die beiden Ermittler von ihrem Chef Detective John Munch Richard Belzer sowie Brian Cassidy Dean Winters und Monique Jeffries Michelle Hurd.