Culture And Commerce September 2007

Beautiful Minds

On television shows like CSI and Numb3rs, scientists are still weird—but a geeky glamour has replaced the old stereotypes.

Of course, the glamour is an illusion. The TV scientists are unusually good-looking and well-dressed, and their techniques and equipment are more varied and efficient than the real world allows. A real Charlie Eppes, the math whiz on Numb3rs, wouldn’t use a different algorithm for every problem, and he’d require more data than the scripts often give him. Real crime-scene investigation is less dramatically lit and much more tedious than the TV version. “My job at the FBI was looking through the microscope for five hours a day or so, five days a week,” says Max Houck, now the director of West Virginia University’s Forensic Science Initiative. He spent the rest of his time on paperwork and phone calls, including two weeks cold-calling manufacturers to track down the origins of a single fiber. Not exactly the stuff of great television.

But all TV dramas gloss over the boring aspects of professional life, as any lawyer, cop, doctor, or journalist can testify. They edit out the distracting details (even if, as in CSI, they leave in some blood and guts) to create an idealized world into which the audience can project itself. The question is why so many people find these particular portraits compelling.

The answer, most obviously, is that CSI and Numb3rs align scientific curiosity with justice. Science, they promise, will judge fairly. It will not be warped by politics or public opinion. By pursuing and revealing the truth without prejudice, it will protect the innocent. The shows do more than repeat the traditional portrait of the Sherlock Holmes-ian scientific detective, who identifies the guilty and restores the social order. Science here speaks for the victim and also for the wrongly accused. Scientists use their power—and their fearless willingness to deviate from the norm—in the service of the powerless.

In an early CSI episode, Grissom reexamines the evidence in an arson case, responding to a plea from a prisoner who maintains his innocence. His day-shift counterpart, Conrad Ecklie, who first handled the case, objects.

Grissom: What are you so afraid of, Conrad? We’re just a couple of science geeks. Why can’t we work together?

Ecklie: No. We are public servants. We investigate cases as efficiently as we can, and then we move on. We’re not a clearinghouse for defendants on the eve of trial who don’t like what we’ve turned up.

Grissom: Yes we are, if it’s our mistake that put them there.

The accused arsonist is in fact innocent. The fire was an accident.

Even science for the sake of science may vindicate the wrongly accused. In a Numb3rs episode centered on sabermetrics, the mathematical analysis of base- ball statistics, Charlie’s physicist friend Larry, the show’s quintessential science nerd, notes that “in a 1993 article in The American Statistician, J. Bennett, using sabermetrics, analyzed ‘Shoeless Joe’ Jackson’s career. He was able to prove that Jackson played up to his full potential in every one of the 1919 ‘Black Sox’ series,” which Jackson was accused of throwing. “Math restored a man’s good name and reputation after 70 years. I find that rather beautiful.” Science, these shows promise, will see you—innocent or guilty—for who you really are. (CSI’s theme song is the Who’s “Who Are You.”)

Instead of alienating scientists from the rest of humanity, the eccentricity of people like Grissom and Charlie makes them more perceptive and, in many cases, more empathetic. They are not easily deceived by artifice and appearance. Charlie’s special gift is to perceive patterns others miss. Grissom’s is to view nothing human as alien—a profound difference from Victor Frankenstein’s disgust at his creature’s ugly visage.

A recurring theme on CSI is the contrast between Grissom’s humane, scientifically informed objectivity and the horror and hatred that less-rational people find in the “deviations from the accepted way of life,” whether transgendered people or Buddhist monks. “What people will endure to be normal,” Grissom sighs, as the medical examiner explains the painful bone-lengthening procedures evident in the legs of a murdered dwarf. Two episodes of the show have featured murders committed by relatives—a father and a brother—to stop young women from marrying genetic “freaks,” the dwarf and a man with congenital hypertrichosis, or “werewolf syndrome,” which causes thick hair to grow everywhere on his body. To the scientist’s eye, cruelty, not deformity, defines the monsters among us.

Rather than releasing the Monsters of the Id, science provides a bulwark against them. “You spend your life uncovering what goes on beneath the surface of civility and acceptable behavior,” the insightful dominatrix Lady Heather tells Grissom in the first of her recurring appearances, “so it’s a release for you to indulge in something like high tea, where it seems, if only for a moment, the world really is civilized.” People don’t need science or advanced technology to do terrible things to each other.

The scientist heroes of past dramas were mostly medical researchers, saving lives with new cures, or explorers, seeking out new frontiers. Their science was the science of power, freedom, and escape—with all the dangers those entail. Closely allied to technology, their science reshaped physical reality. Today’s heroes emphasize not power and control but understanding and insight. Against the normal impulses of jealousy and rage, hatred and shame, the cool deviance of scientific objectivity offers a chance for truth, justice, and sympathy. These scientists are still weird. But they’re also good—a new version of the stereotype, and a hopeful one.

Virginia Postrel is an Atlantic contributing editor and the author of The Substance of Style (2003) and The Future and Its Enemies (1998). Her blog, the Dynamist, can be found at www.dynamist.com/weblog.
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Virginia Postrel is an Atlantic contributing editor and the editor in chief of deepglamour.net. She is writing a book about glamour. More

Contributing editor for The Atlantic and author of The Substance of Style and The Future and Its Enemies. Editor-in-chief of DeepGlamour.net.
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