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Judge Judy: Neoliberalism and (In)Justice on Daytime Television
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31
NOTES
1
My analysis is based on 30 episodes of Judge Judy appearing between January 2001 and
August 2002.
2
The court genre is not new to television. It can be traced to early programs like People in
Conflict (1959), in which a “moderator and a panel of experts a lawyer, a welfare worker, and a psychologist offer advice to guests seeking help,” including a typical “19-year-old who got his girlfriend pregnant but doesn’t want to marry her.” Another early prototype was The Verdict is Yours (1958, a simulated courtroom trial program featuring cases like a “jealous husband accusing his neighbor of being overly friendly to his wife.” In the 1980s, the daytime court program gained some notoriety with The People’s Court and Divorce Court, which used actors to present marital conflicts before an actual judge; both programs were revived in the mid-1990s. What is new is the proliferation of the format and its self-conscious positioning as an educational (or what I am calling governmental) device that replaces public processes and state deployments of power.
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| | Authors: Ouellette, Laurie. |
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31
NOTES
1
My analysis is based on 30 episodes of Judge Judy appearing between January 2001 and
August 2002.
2
The court genre is not new to television. It can be traced to early programs like People in
Conflict (1959), in which a “moderator and a panel of experts a lawyer, a welfare worker, and a
psychologist offer advice to guests seeking help,” including a typical “19-year-old who got his
girlfriend pregnant but doesn’t want to marry her.” Another early prototype was The Verdict is
Yours (1958, a simulated courtroom trial program featuring cases like a “jealous husband
accusing his neighbor of being overly friendly to his wife.” In the 1980s, the daytime court
program gained some notoriety with The People’s Court and Divorce Court, which used actors
to present marital conflicts before an actual judge; both programs were revived in the mid-
1990s. What is new is the proliferation of the format and its self-conscious positioning as an
educational (or what I am calling governmental) device that replaces public processes and state
deployments of power.
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