The integration of original music into television series has seen a notable resurgence recently, exemplified by productions like NBC’s “Smash” in 2012, ABC’s “Galavant,” and CW’s “Crazy Ex-Girlfriend.” While the staying power of such concepts remains debated – “Smash” concluded after two seasons, and the latter two, though critically acclaimed, weren’t ratings juggernauts – these shows, alongside the fondly remembered “Galavant,” and the devoted following of “Smash,” owe a significant creative debt to a predecessor: “Cop Rock.” This groundbreaking, albeit short-lived, series premiered in September 1990 amidst considerable anticipation, largely due to the involvement of Steven Bochco, co-creator with William M. Finkelstein, who had previously revolutionized the police drama genre with “Hill Street Blues” in the 1980s.
Bochco himself reflected on the genesis of “Cop Rock,” recalling, “When I was making ‘Hill Street Blues,’ a Broadway producer talked to me about the possibility of doing ‘Hill Street’ as a Broadway musical. For all sorts of practical reasons, that wasn’t possible, but the idea of a musical cop show stuck with me.” This concept gestated until “Cop Rock” emerged, a series Bochco described as “the most challenging show I’ve ever done, and the most fun, despite its failure.” His perspective on its current relevance is modest: “In all candor, I haven’t watched it since the days when we produced it, so I have no idea if it holds up or not.” However, revisiting “Cop Rock” today reveals a striking prescience, as its storylines resonate with contemporary themes.
The series opens with a pivotal event: a white police officer, LaRusso (played by Peter Onorati), fatally shooting an unarmed Black suspect. This incident ignites the narrative engine of “Cop Rock,” propelling the series into explorations of racial tensions both within the police force and between the police and the community they serve. Furthermore, “Cop Rock” delves into storylines that foreshadow modern political dramas, tackling “Scandal”-esque crisis management, the murky waters of campaign finance irregularities, and the intrusions of celebrity stalkers. While it would be inaccurate to claim Bochco possessed prophetic abilities, “Cop Rock” serves as a stark reminder that many issues perceived as uniquely modern have deep historical roots. The series, therefore, offers a valuable, if musically inclined, reflection on enduring societal challenges within the framework of a police procedural.
