“He was Drugged up on Something...” Portrayals of Drugs and Violence on Crime Scene Investigation (CSI) as System Justification

We conducted a content analysis of the first two and last two seasons of the popular crime drama Crime Scene Investigation ( CSI), to determine the extent to which depictions of the intersection of substance use and violence were consistent with research. Using the lens of system justification theory, we find that CSI focuses on aspects of crime that preserve the status quo, specifically it overemphasizes the negative impact of illicit substances as opposed to legal substances (such as alcohol), and it emphasizes the psychopharmacological role of drugs in violent crime compared to systemic violence related to the illegality of drug markets, even though research demonstrates that systemic violence makes up a large proportion of substance-related homicides. Despite significant changes in drug policy that occurred during the time that CSI was on the air, we find these portrayals are largely unchanged between episodes that were broadcast between 2000–2002 versus those that aired 2014–2015.

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Televisual waiting: Images of time and waiting in CSI

Time & Society ◽

10.1177/0961463x15604517 ◽

2015 ◽

Vol 27 (3) ◽

pp. 275-294

Author(s):

Anita Lam

Keyword(s):

Crime Scene ◽

Moral Authority ◽

Forensic Evidence ◽

Network Television ◽

Crime Scene Investigation ◽

Crime Drama ◽

Scene Investigation ◽

Forensic Scientists ◽

And Performance

As a massively popular crime drama, Crime Scene Investigation has circulated influential images and narratives that suggest that the processing and analysis of forensic evidence can be done in a swift and timely manner. The claim of such a CSI effect is based on the relative absence of waiting scenes within the series. This article examines the series’ multiple representations of time and waiting, linking the absence of waiting to the construction of forensic scientists as powerful figures of moral authority. In the episode Grave Danger, however, waiting is notably imagined as something that must be experienced and endured as a result of conviction. It is made analogous to death, and embodied through horizontality as well as by feminized waiters. Because the feminization of waiters also characterizes the representation of television viewers, I end by examining how the role of waiting in Crime Scene Investigation is intertwined with the viewer’s experience of watching the planned flow of network television. Ultimately, this article argues that the study of televisual waiting requires a recognition that images and narratives on network television emerge out of and depend on waiting as representation, experience, and performance.

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