Is Justice Truly Just?

Is Justice Truly Just?

Back in the spring I had an interaction with the law. The story begins just as many people have interactions with the law, over speeding tickets. I had been driving for over four years at this point. No car accidents or any injuries to my vehicle and only a singular speeding ticket which occurred in my first year of driving. Growing up in Chicago, I learned quickly that not being a confident and conscious driver would leave you with tickets and/or car accidents. I’ve prided myself on being a good driver, but what I didn’t expect was the way in which I received my second driving ticket.

I was driving myself and a friend home during a weekend last spring. An hour into my drive I was passing through Mooresville, Indiana on Indiana State Road 67. I was driving the speed limit, listening to some music, and ready to get home. Out of nowhere, the car in front of me slammed on their breaks. Thankfully, I was enough distance behind them to slow down and not crash into them. I swiftly changed lanes to get away from the car in front of me, but the car in front of me did the same. He begins to pick his speed back up and I do the same to get back to the speed limit. It was at this moment that it occurred to me why he had slammed on his breaks, he saw a cop car on the other side of the road. We were near an area in the road where police cars could park or make U-turns, and before I could blink his lights were on.

I was unphased by this, I knew I had done nothing wrong besides being attentive to the car in front of me. However, the police car was behind me so I pulled over to the side of the road. Not only did the police driver pull over as well, but the car in front of me. At this point I was just confused. Was I getting pulled over? Was the car in front of me getting pulled over? What was going on?

My friend Jack in my passenger seat was just as confused and reassured me that I did nothing wrong. The police officer eventually gets out of his car and approaches mine. I tell him what happened from my perspective. He then goes to the other car to hear what they have to say. This is where my faith in police officers becomes diminished.

The car in front of me pulls off and drives away. The police officer comes back to my car and tells me that I was speeding. I was not speeding. Not only was I not speeding, I was going under the speed limit to change lanes and get away from the other car. If I was speeding, the car in front of me would also have to have been speeding. So why was I getting accused of this? After the officer tells me this, he then peeks inside my car and asks, “Is anyone else in here?” Jack and I look at each other extremely confused and I tell him it’s just us two and all our belongings. The officer goes back to his car and after 20 minutes of waiting returns. He gave me a hefty speeding ticket which required a few hundred dollars. He lets me know that he was “doing me a favor” for letting me off with just this. I bit my tongue, pulled off, and continued my drive home.

What the hell just happened? How was the driver in front of me completely let off in the matter of two minutes and I was left with a ticket? As I continued my drive, a few things occurred to me. The car in front of me had an Indiana license plate, mine was Illinois. The driver in front of me was a man, I am a woman. The driver in front of me was an older man, I was a twenty-year-old woman. Who would a Mooresville police officer rather let off or believe, the other driver or me? The answer then seemed clear. This police officer dictates the law and enforces his subjective opinion on the matter. He served “justice”, but what kind? Subjective justice? This type of decision making is historically common of police officers or law officials, and is commonly depicted in television drama shows.

Writers of television dramas depict subjective justice within the narratives of their shows. Writers accomplish this in three main ways. First, by establishing power dynamics among characters. Second, by classifying characters with a specific race, religion or subculture. Finally, by attributing humanistic qualities to characters to evoke sympathy for viewers. These three elements of drama television are seen in many, if not all drama shows. Three popular television dramas that provide examples of these elements are: Battlestar Galactica, Homicide: Life on the Street, and Justified.

The concept of justice concerns the quality of righteousness and lawfulness. In most cases, people associate justice with the government’s “justice” system. The system is made up of law enforcement, the correction system, and the court system. The purpose being to charge those who have broken laws with penalties, prevent future crimes, and help victims who’ve been affected. However, justice is more than what is determined within the justice system. Moral justice is something all people feel in different ways regarding situations. Along with their beliefs on how situations should be addressed and handled. This understanding illustrates how the idea of justice in and of itself, is subjective. Television dramas often depict the differences and conflicts of interests between moral justice and the justice system by the power dynamics present.

Power dynamics refer to the way different people or groups of people cooperate with one another when one side has more power, given the situation. Writers often establish certain power dynamics amongst characters. This is done to represent the subjective nature of how justice systems operate. Key themes within this depiction of power dynamics are intimidation and revenge. The writers of these shows illustrate power dynamics between characters to show viewers the subjectivity of how justice is regularly handled. This is seen in two episodes of the shows, HOMICIDE: LIFE ON THE STREET: Bop Gun and BATTLESTAR GALACTICA: Flesh and Bone.

BATTLESTAR GALACTICA is set in a distant star system where a human civilization fights against another race referred to as Cylons. The conflict stems from the humans creating Cylons in their likeness to serve as workers and soldiers. Eventually, the Cylons revolt and massacre most of the human civilization, resulting in only forty thousand humans left alive. The remainder of human civilization is left to seek shelter in aircrafts and a sole military capital ship known as the Battlestar Galactica. A large problem that occurs is the difficulty in knowing the difference between who’s human or Cylon as they look the exact same.

In the episode Flesh and Bone, the humans discover a Cylon is aboard one of their ships. When notified, President Laura Roslin orders him to be held captive and then interrogated by Kara, also known as Lieutenant Starbuck. As Starbuck interrogates the Cylon known as Leoben, he tells her his mission was to conduct sabotage. He also tells her he’s planted a nuclear bomb on one of their ships. Beyond this information, Leoben tells Starbuck nothing else useful. Instead, he goes on about his love for God, how he sees everything in the universe, and that he’s looking forward to spending more time with Starbuck. Annoyed and confused by all of this, Starbuck begins to have Leoben get beat by the guards. She returns to interrogate Leoben more and he continues to talk about God. Leoben breaks free from his restraints and pins Starbuck to the wall, but does not kill her. After this, she has Leoben waterboarded. She continues to interrogate him but gets no further. Eventually, President Roslin arrives and it’s discovered the bomb was a lie. She apologizes to Leoben for his treatment and he goes to hug her and tells her that her commander is a Cylon. Finally, the president has Leoben put in the airlock and his body is sucked into space.

The writers make it clear the humans and Cylons despise one another for their own reasons, but they depict the humans with the upper-hand of this power dynamic. It is evident this is not true. The humans are acting out in fear of what they have created and the devastation the Cylons, which they created, have caused them. In turn, the humans relinquish their power by having the upper-hand in their numbers. There is only one Cylon on their ship, but all of them which creates “power in numbers.” Although the humans have the power over Leoben, this power is out of their own intimidation and revenge of the Cylons. The humans are acting on moral justice because of their fear towards the Cylons. The human’s present power is seen through means of interrogation, battery, waterboarding, and ultimately death. Writers establish these power dynamics to better portray the ideals of how subjective justice can be when a group in power has the power to decide the outcome. In this case, the power belongs with the humans.

Power may be a main tool of who carries out justice. The person or group with the power can judge the person or group without this said power. This is also seen in the episode Bop Gun of the show HOMICIDE: LIFE ON THE STREET.

HOMICIDE: LIFE ON THE STREET is a police drama that centers on the homicide department of Baltimore, Maryland. It follows the extensive and brutal detective work that occurs among numerous crimes and scenarios that take place throughout the show. During the episode Bop Gun, a family’s trip to Baltimore ends in murder. The wife of a tourist is shot and killed during an armed robbery in front of her husband and two young children. Two detectives handle the case, Felton and Howard, and they eventually identify the shooters and the others present and involved. It’s discovered during the episode the murder was not pre-meditated and the group of young men decided to rob the woman when they saw her. The shooter, Vaughn, took the gun one of his friends had to keep the situation in control. However, he became scared of losing control of the robbery and ultimately shot her. Vaugh pleaded guilty and wanted to accept the consequences of what he had done.

During the episode, and prior to the police taking Vaughn into custody, they aggressively sought out to find the shooter. At first, they took to the streets and swarmed a group of men for information. They cuffed several random men and eventually got information from one of them by using their power and threatening him. Detective Felton threatens to arrest him for a crime if he does not give him any information he could have. He obtains information that ultimately leads him to some of the other men involved. The police have two suspects, Marvin and Tweety, and they aggressively interrogate them separately. They lie to Marvin and Tweety, telling them the other has told them everything to manipulate them. Ultimately, Tweety tells them the shooter is Vaughn. They arrest Vaughn, but don’t believe he’s the shooter due to the lack of crimes he’s committed compared to the others. Eventually, Vaughn writes an apology letter to the husband of the woman he shot and pleads guilty in court.

The detectives are shocked, especially Howard who can’t believe this. She continues to doubt and question the situation and continues to investigate. After visiting Vaughn in prison, she realizes the full truth and accepts it. And while justice has been served, it doesn’t seem that way. A young 19-year-old man who was associating with the wrong people, trying to control a situation he should have not been in, lost control and took a woman’s life.

The police attempt to relinquish the power dynamic of this situation by finding those responsible for the crime. They use their power to intimidate others into finding information, using their power to then intimidate their suspects into giving up the shooter, and finally use their power to arrest the shooter. The power dynamic is clearly in favor of the detectives and officers as they represent the law and what is just. This is not only seen in the show, but a representation of real life. The police or “the law” have the power to condemn those who act unjustly so that justice can then be served.

This can be depicted as problematic as seen in both Bop Gun and Flesh and Bone when these people of power begin to abuse this power. The phrase “innocent until proven guilty” represents the way in which people must be treated until they are proven guilty or innocent. In both episodes, those with power use this power against those without it. Whether it be through intimidation, interrogation, manipulation, physical abuse or to threaten them, those in power have the clear upper-hand when it comes to carrying out their subjective justice. And because of this power dynamic, those in power can act on their own moral justice and personal beliefs of the situation. Writers incorporate this element in drama television to represent the way power dynamics have a large effect on the subjective nature of justice.

Power plays a large role in the depiction of justice, but what gives people power over others? The belief that someone has power over others may come with the understanding that those not in power are without power for a reason. Many times, the people not in power are those not of the social norm. This includes people considered minorities. Writers of drama television classify characters by race, religion, or subcultures to further depict the subjective nature of justice systems. This is seen in two episodes: BATTLESTAR GALACTICA: Flesh and Bone and JUSTIFIED: Fire in the Hole.

The show JUSTIFIED centers on Deputy Raylan Givens as he handles criminals in his own style for the U.S Marshals Service. In the episode and beginning of the series, Raylan is relocated from Miami back to his hometown in Kentucky. As soon as he arrives, he goes to work on a current case involving an intentional explosion of a church and a murder. Raylan quickly realizes the main suspect is an old friend of his, Boyd Crowder, who he used to work with in coal mines. As the episode progresses, it becomes clear Boyd is the leader of a white supremacy/neo-Nazi group that acts like a small militia in the area. Boyd is responsible for launching a rocket-launcher into an African American church, as well as killing a fellow group member over a wrongful suspicion. Raylan recognizes this, but he must catch Boyd in the act to arrest him. Later, Raylan and Boyd eventually reunite and talk about their current lives. Boyd threatens Raylan’s life if he doesn’t leave town. Ultimately, Raylan’s able to catch Boyd in an unlawful act, but Raylan shoots Boyd in self-defense in the process. Raylan intentionally has the shot be a non-fatal one, most likely because of their old friendship.

Boyd’s character representing white supremacy and neo-Nazi ideals further establishes reasoning for justice to be served. By classifying him as this, writers further depict the classification that is often seen through the means of subject justice. Instead of his character being seen just as a crazed criminal and killer, it is taken one step further to elaborate on the morality of his character. This plays into the idea of moral justice, as many viewers may further despise Boyd’s character for his beliefs and practices. Often, writers do this to reflect the truths often seen within justice systems, while also adding this further classification to establish characters to be more than just a killer.

The classification of characters to provide further reasoning of their injustice is common in drama television. By doing so, viewers may be able to have a better understanding or opinion on the characters and situation. Another example of this is seen in BATTLESTAR GALACTICA: Flesh and Bone.

Within this episode, the classification of the Cylons defines the justice that occurs. The humans despise the Cylons for betraying them and almost eliminating humanity. While the Cylons look like humans, they are not. The humans had created them and viewed them as robots. They do not see them as people. This provides the humans with even more reasoning to their subjective justice of killing Leoben, a Cylon. Along with giving viewers a better understanding as to why the humans would want to seek justice through the idea of moral justice. Writers include this classification of Cylons as another race to further the idea and reasoning that the nature of justice is subjective. The humans have their own beliefs as to the rightfulness of their actions being taken against the Cylons, due to the nature of the situation. This can be paralleled to any circumstances where a person or group believes their actions are just.

Classifying characters in this way gives writers the opportunity to elaborate, and viewers the opportunity to better understand characters in the context of subjectivity in justice. By showing characters to be more than one thing, criminals or victims, a further conversation and message is seen. This also represents discrimination, which is prejudiced treatment of people from others based on factors they cannot control such as race, age, or gender. This kind of treatment which is dealt with in society is also made visible within these shows. Another way writers may display this idea is through attributing humanistic qualities to specific characters to evoke sympathy from viewers. This is seen in all three episodes: BATTLESTAR GALACTICA: Flesh and Bone, JUSTIFIED: Fire in the Hole, and HOMICIDE: LIFE ON THE STREET: Bop Gun.

Throughout the episode of HOMICIDE: LIFE ON THE STREET: Bop Gun, there are several moments which humanize the killer, Vaughn. The detectives talk to family members of Vaugh and learn about the difficult life he’s had, including the unsolved murder of his father. They learn he’s a shy, well-mannered boy. Before being arrested, we see Vaughn playing in an arcade like a normal kid. And when Vaughn is eventually arrested, he writes an apology letter and pleads guilty to the murder. Vaughn wants to accept his punishment because he feels he deserves it. This kind of remorse and regret shapes Vaughn into someone viewers can sympathize with. While Vaughn is the killer in this situation, he is also a victim himself. Of life and of circumstance. This is also represented in the context of race. A comment is made in the episode about how this murder would be treated differently if the woman killed was black and not white. Writers of drama shows intentionally create two dimensional criminals to further the viewers understanding of them. This plays into an important idea that criminals may very well be victims themselves.

However, sometimes it’s harder to sympathize with criminals or killers even if they do have some humanistic qualities attributed to them. While Vaugh’s regretful and understanding of his wrongdoings, many criminals are not. This is especially true of Boyd’s character in the episode JUSTIFIED: Fire in the Hole.

The very name of the title “Fire in the Hole”, is just another reason it’s difficult to sympathize with the killer, Boyd. This is because it was this phrase that Boyd used with ease as he destroyed a church, putting lives at risk. It also represents his wreckless morals which also led him to murder a group member on a false suspicion. Nothing about Boyd’s characters deems sympathy. And unlike the character Vaughn, Boyd does not regret any of his actions. However, while viewers may not sympathize with Boyd directly, writers have included a piece of information that is meant to humanize Boyd.

Boyd and main character Raylan used to be friends. The two grew up together and worked in the coal mines. They were essentially partners. Including this information about Boyd creates a deeper understanding of his character. Raylan must now prove his old friend is a criminal and killer which even leads to Boyd threatening Raylan’s life. Ultimately, Raylan shoots Boyd in self-defense, but this is not easy for him to do. It’s apparent Raylan and Boyd are emotional after this, but Raylan has intentionally shot Boyd non-fatally. A flashback of the two men in a coal mine appears which further evokes the sympathetic nature of the situation. While viewers are sympathizing with Raylan for having to do this, Boyd is humanized into being more than just a murderer. He was a friend.

Vaughn and Boyd are very different characters. The only thing that relates to them is killing someone. Everything about their situations are different and it’s clear that Boyd is much more flawed than Vaughn is. However, in both situations, they are murderers. Writers have attributed humanistic qualities to both characters to evoke sympathy with viewers. By doing so, there is a deeper level of understanding which implores the idea of justice being subjective. Another example of this is seen in BATTLESTAR GALACTICA: Flesh and Bone.

In the episode Flesh and Bone, it is made clear that Leoben is not a human. While he looks, acts, and speaks like a human, he is not. The history of his kind, Cylons, is explained and further illustrates him as a murderer of humans. But as the interrogation between Leoben and Starbuck continues, it becomes harder and harder to view Leoben in this way. He spends most of his time talking about God and the concept of love. The first thing he tells Starbuck as she enters the interrogation room is that he’s praying. He denies Starbuck’s claims of him, or Cylons in general, of being evil. In addition, Leoben is tortured and later killed.

The humanistic qualities writers have attributed to him go beyond his human appearance. The aspect of religion and God plays a large part in the humanization of his character. His perspective of the world and of love may be like many people’s views in our own society. Seeing Leoben tortured and killed also adds a humanistic side of him, which may easily evoke sympathy from viewers. While Leoben is the criminal, he’s seen to be more than just a Cylon or killer. His own comprehension of God, love, and life itself humanizes him. Depicting a criminal in a way that reminds viewers they are also a person opens the door to seeing justice beyond the confines of the justice system. Writers have again attributed these qualities to evoke sympathy from viewers when it comes to recognizing the subjectivity of justice.

When it comes to television dramas, writers of these shows use three main elements to depict the subjectivity of justice. First, by establishing certain power dynamics amongst characters. This is seen within the conflicts of BATTLESTAR GALACTICA: Flesh and Bone and HOMICIDE: LIFE ON THE STREET: Bop Gun. Second, by classifying characters with a specific race, religion or subculture. This is shown through Boyd’s character in JUSTIFIED: Fire in the Hole, and Leoben’s character in BATTLESTAR GALACTICA: Flesh and Bone.

Finally, by attributing humanistic qualities to characters to evoke sympathy for viewers. This is seen in all the episodes previously discussed, especially pertaining to the characters Vaughn, Leoben, and Boyd.

The concept of justice revolves around the ideas of righteousness, lawfulness, or fairness. But who has the say of what is just? All people have their own understanding or desire to seek justice, and all people are different. What one person may believe is just, may differ from what the next person believes is so. The nature of justice is subjective. Writers of television dramas recognize this and depict subjective justice within the narratives of their shows. In part to reflect and comment on justice systems in place, while also addressing the nature of justice itself.

So I ask myself, did I deserve that speeding ticket? Was the police officer carrying out justice when he pulled me over and gave me the ticket, or was it his own subjective justice that caused him to do so? The power dynamic was in his favor, him an “enforcer” of the law, and myself just a law-abiding citizen. Had he classified me for being a young woman from Illinois and favored the older man from Indiana? Absolutely. When he told me he was doing me a favor by giving me the ticket and a couple hundred dollar fine, was he trying to humanize himself or collect sympathy from me? While the officer clearly had a reason for pulling me over, it could be assumed maybe I was speeding. Maybe I was driving in a way that granted the ticket I received from him. I do not believe this is true, but he did. In the end, the police officer carried out what he believed was just. His subjective idea of the situation at hand allowed this to occur. And just as this type of justice occurred in my situation, similar acts of “justice” occur all the time.