‘NCIS: New Orleans’ slams police, attacks them over ‘systematic racism’, talks about BLM ‘peaceful protests’

HOLLYWOOD, CA- A tale of two shows on the same network. While the police drama Blue Bloods didn’t fall into the politically correct trap of “bad, evil cops” and play into the Black Lives Matter propaganda, the same cannot be said about the New Orleans version of the NCIS franchise, also on CBS, Fox News is reporting.

On Sunday, NCIS: New Orleans played right into the mainstream media, politically correct rabbit hole by once again attempting to portray the riots that have been taking place across the country as “peaceful” protests.

This harkens back to last summer where, despite our own eyes as we watched buildings being burned to the ground in the background, we were being told the “protests” taking place across the country were in fact “peaceful.” Lindsay Kornick from the Media Research Center took the show to task for its portrayal of the protests despite overwhelming evidence to the contrary.

In her commentary on the episode from January 3, Kornick wrote:

“The latest episode somehow went further to appease a ‘burn the establishment’ progressive and her mostly ‘peaceful’ crowd,” Kornick wrote.

“The January 3 episode ‘Operation Drano, Part 1’ has NCIS Agent Pride (Scott Bakula) taking part in a commission put forth by the mayor to solve the issues plaguing the city. Sadly, that does not include the actual issues in New Orleans like high crime or taxes but rather the vague progressive issues of ‘systemic inequality.’

 In fact, Pride himself claims the city ‘was born’ of systemic inequality. This leads to a heated argument between former police superintendent Michael Holland (Gareth Williams) and progressive voice Allie Briggs (Hannah Hodson).”

Kornick noted the dialogue between the show’s characters mirrored Democrats talking points and much of the mainstream media, as Briggs urges leaders to “burn down” the establishment while criticizing police.

The characters then went on to talk about educational racism, rental and mortgage bias, racial and gender wage gap, homelessness…all the liberal talking points.

The show then goes on to slam the New Orleans police department. How so?

In talking about the problems within the department, the character Briggs says:

“Let me count the ways…discrimination, corruption, brutality…”

When Holland talks about his reforms of the department, Briggs comes back:

“You put a band-aid on a gaping chest wound. Retired with honors. But our cops think they run this city. They forget they’re supposed to work for the people.”

The characters then engage in dialogue, with Briggs saying:

“I call out fascism when I see fascism….people are dying in the streets and you expect them to compromise? We don’t have to burn down the city. Just the establishment.”

“Of course, the one person who doesn’t think the police are racist is seen as the unreasonable one,” Kornick wrote.

“This leads to Pride trying to get Holland to reconsider his mindset on viewing the city as inherently racist. He even goes so far as to peddle the usual lie that the ‘vast majority’ of [Black Lives Matter] BLM protestors are just peaceful idealists being dragged by a few bad actors. Strange how the police never get that benefit of the doubt.”

For some context as to the media narrative of the “peaceful protests,” an MSNBC reporter, Ali Velshi, reporting live from Minneapolis after the death of George Floyd was speaking about the “protests” taking place in back of him, telling viewers that those involved were “not generally speaking unruly” as buildings burned behind him.

Then in July, an ABC reporter filed a similar report in describing a California protest as “peaceful,” which included “protesters” lighting a courthouse on fire, vandalizing a police station, and shooting commercial grade fireworks at police officers.

In a rare moment of accidental honesty, CBS Evening News anchor Norah O’Donnell admitted that “mostly peaceful” protests would cost between $1 to $2 billion in claims as a result of damage from looting and arson. Yet another reporter from the king of fake news, CNN was reporting from Kenosha, Wisconsin during protests following the shooting of Jacob Blake.

National correspondent Omar Jimenez while reporting live with a building on fire behind him had the chyron at the bottom of the screen reading, “FIERY BUT MOSTLY PEACEFUL PROTESTS AFTER POLICE SHOOTING.”

Getting back to “NCIS: New Orleans,” the character who was “pro cop” eventually “relents to the BLM message and even agrees to work with the commission to try to reform the cash bail system,” Kornick wrote.

“To see a long-running show like ‘NCIS: New Orleans’ to so low as to sell out New Orleans to appease whiny progressives like Allie is disappointing on its own. To see it sell out New Orleans while still peddling BLM lies is just the final nail in the coffin,” Kornick finished.

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Meanwhile, for more on how the long-running NYPD cop drama Blue Bloods handled the BLM issue, we invite you to read our prior reporting on that.


A recent episode of the CBS hit series “Blue Bloods” offered a refreshing counter to the anti-police rhetoric that has injected much of pop culture, Hollywood and network tv productions. 

And frankly, the show’s episode didn’t even do anything that radical to accomplish it – the episode’s theme merely portrayed one of the series’ protagonists as not subscribing to the notion that systemic racism is rife within policing. 

It’s a rather peculiar spectacle to be astonished that a character story arc in a tv drama is doing something bold or refreshing by both presenting an allegory of a current, real-world social topic and showcasing the juxtaposed perspectives related to said social topic. 

But as other police dramas on tv have done as of late, the narrative related to racism in policing is getting a prominent spotlight by crafting storylines to imply it’s existence in police forces as being endemic.

Recent examples include episodes from “Chicago PD” and “Law and Order: SVU“. 

But with the December 4th season premiere of “Blue Bloods”, we see Tom Selleck’s character – Commissioner Frank Reagan – getting confronted by Whoopi Goldberg’s character – City Council Speaker Regina Thomas – over allegations of “system racism” in the police force. 

Whoopi Goldberg’s character alleges that the NYPD has a serious problem with systemic racism and racial profiling, which her character rhetorically asks if Selleck’s character: 

“Do you really not see what’s going on here?”

Selleck’s character quickly responds to that question with his take on what he’s observing in the presented narrative: 

“I do. Every single cop is being painted with the same brush. And when anyone in my rank and file conducts themselves in a way that is not worthy of the uniform, they get dealt with.”

The exchange continues, mirroring real-world talking points that have been hurled back and forth in the recent months. Goldberg’s character snaps back with: 

“Every cop is wearing the same uniform, so if you get stopped walking while black, how do you know which one is walking up on you?”

Once again, Selleck’s character responds noting that the same sentiment can be experienced on both sides of the hypothetical scenario: 

“Okay, how’s a cop to know what he’s walking up on? See, that fuse gets lit both ways. At least we can agree on that.”

As the show’s episode progresses, viewers are treated to perhaps one of the most respectable adaptations of the ongoing discourse between the anti-police crowd and those who are backing up police. 

Not because it portrays some sort of vehement tribalism – but because it creates a platform in which the nuance of the matter can be explored. 


Throughout the episode, Selleck’s character acknowledges that when police officers step over the proverbial line, then they’re dealt with accordingly. 

But from what Selleck’s character also acknowledges during the episode when conferring with Goldberg’s character, is that even if he conveyed to critics of the NYPD and police that he does handle bad cops efficiently those critics would likely never believe him. 

After coming to that realization, Selleck’s character in the show came close to even resigning as the police commissioner. That is, until one of his colleagues on the show explains that “a willingness to speak the unpopular or inconvenient truth,” is needed in police leadership. 

Luckily, that perspective within the episode afforded Selleck’s character a change of heart when it came to resigning from the force. 

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Author: Pat Droney

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