NYPD Blue is a police procedural drama TV show that aired on ABC from 1993 to 2005. The series follows the work and personal lives of the detectives of the fictional 15th Precinct of the NYPD in Manhattan. The show was known for its gritty portrayal of police work and controversial topics such as nudity, sex, and violence.

Gotham is a television series that aired from 2014 to 2019. The show is based on the DC Comics character Batman and tells the story of the city before Batman's arrival. The main character is James Gordon, a detective who is trying to clean up the corruption in the police department and the city.

When billionaire software guru known simply as Mr. Finch develops a software program for computers that helps identify someone who potentially will become involved with violent crime he intended the program to help locate terrorists in our midst and prevent another disaster such as happened on September 11, 2001. As they work with the software it is soon learned there are other uses for it. The program can be set to detect those who run the risk of being involved in some sort of violent crime but cannot tell if those involved will become victims or perpetrator or simply witnesses to the crime. While crimes cannot be stopped before happening they do find it helpful in solving and making arrests. Helping Mr. Finch (Michael Emerson from Lost, The Practice) solve these crimes is John Reese (Jim Caviezel of Outlander, The Prisoner), formerly with the CIA and now presumed to be dead. Mr. Finch is also thought to be deceased and the two have worked out a plan to locate those singled out by the software program by use of their social security numbers.

"The Rookie: Feds" is a television series that first aired in 1993. The show revolves around a group of new recruits in the Federal Bureau of Investigation (FBI) and their training at the FBI Academy in Quantico, Virginia. The main character of the show is Kyle McCarty, a former police officer who is now starting his career as an FBI agent.

"The Chicago Code" has nothing to do with deep-dish pizzas or the cruelly cursed Cubbies. "The Chicago Code" openly, unabashedly, plain and simple, is all about good versus evil. The good guys following "The Chicago Code" are very very good, and the bad guys breaking the code are very very bad. The windy city itself, definitely a critical element in the drama's development, lives somewhere in-between. Chicago may be "the second city," but it stands out as America's number one oxymoron. "Hog-butcher to the world," Chicago also brought us Hemingway and Frank Lloyd Wright. Home to Picasso's breathtaking artistic monument, Chicago also has been home to some monumental con artists: Rod Blagojevich comes immediately to mind. "Blaggo" is to Chicago scams as the Picasso is to the city's art and architecture. More to the point of "The Chicago Code," in just over thirty years, thirty-one second city aldermen have been convicted of violent crimes or corruption. In Chicago, graft greases the wheels and gets your streets ploughed. Although corruption may be common as camel-hair coats on the Magnificent Mile, Chicago cops still want to collar the bad guys. "The Chicago Code" attempts to dramatize how and why they do it, and it packs a pretty good punch for a network production. Critics and home-grown Chicago viewers strongly suspect "The Chicago Code" would achieve its completely gritty potential on cable, but it's hard to complain about Jennifer Beals, still fit and fabulous all these years after Flashdance, going balls-to-the-wall against the bad guys in Monday night primetime.

Like fine red wines, pate de foie gras, and escargot, Criminal Minds probably is an acquired taste: The crime drama psychoanalyzes the psychoanalysts, definitely building tense drama, but ironically downplaying the crimes. The New York Times has described Criminal Minds as "cerebral," a euphemism for "nerds with guns." Brilliant writing and compelling characters, however, make it work. The stories represent an elite team of specialists"”the FBI's "Behavioral Analysis Unit" "” who, in just forty-four minutes, can deconstruct a crime, profile a criminal, and bring everything to a profound resolution complete with quotation from literature. Naturally, the feds encounter resistance from local enforcers eager to protect their turf. Just as naturally, many of the stories spark viewers' recognition, because they are "ripped from the headlines." Two features sustain viewers' interest in this sometimes too-heady-for-primetime series: First, every audience loves a good hunt for a psychotic serial killer; and, second, in Criminal Minds, many of the good guys are almost as twisted as the bad guys.