Grandmother: Up there, there will be ample room.
Leads up to the attic.Ĭathy: You want us to play in an attic? Grandmother: No running around or yelling or crying.Ĭhristopher: They're good kids, but they need somewhere to play and make noise. First of all, you'll keep this room neat and tidy. Grandmother: I've written out a list of other rules. Don't waste one bite of it, you understand? And if you're very good, I may bring you some fruit.Ĭhristopher: Thank you. There'll be eggs for breakfast, sandwiches for lunch, and chicken for dinner. Grandmother: I can't be running up and down the stairs! The servants might get suspicious. That food has to last you the entire day. Grandmother: Uh, uh, uh! Get your hands off that. It focuses on how the model can be used in the classroom to address the justice implications in Prime Suspect and media productions more generally.Cory: Where's the sun? It's still night?Ĭathy: Cory, don't! The chapter concludes with a discussion of the theoretical and pedagogical implications of Prime Suspect and the model of progressive moral fiction. It compares Prime Suspect with other contemporary police procedural dramas. The chapter draws on the work of feminist critical race scholar Patricia Hill Collins (2000) in her work Black Feminist Thought to describe a “both/and” perspective for understanding Tennison's character. It suggests that Tennison's flaws can actually enhance debates about gender and justice. It elaborates apparent flaws in the character of Jane Tennison: incidents of personality issues and unethical behavior that appear in the series. It identifies ways that the conventions of the crime genre and the strictures of television work against the transformative potential of the series. This chapter discusses the strengths and limitations of Prime Suspect as a work of progressive moral fiction.
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