TV Series

Columbo

Name: Columbo
Released: 1971

1971 • Crime, Drama, Mystery • 10 Seasons

Woke Score

out of 10

Series Overview

When you first saw him, Lieutenant Columbo looked like a bum that just came off the street. He had a bumbling demeanor, was overly polite and seemed to chomp on the same short cigar on a daily basis. However, beneath all that comical exterior was probably the most dogged investigator in the Los Angeles Police Department. Columbo was often called on to investigate high profile murders that involved the rich and famous. The culprits were often amused by him, and just as they thought they were going to get away with murder, Columbo would find a way to trap them or find enough evidence to make them confess.

Overall Series Review

Columbo is a classic '70s detective series that centers its conflict on the perennial battle between the working class and the wealthy elite. The show is not a vehicle for modern ideological messaging; it is fundamentally a moral drama about objective justice. Lieutenant Columbo is a detective whose success relies entirely on his intellectual merit, his keen observation, and his ability to leverage the class snobbery of his high-society suspects. The perpetrators are overwhelmingly affluent, accomplished, and highly privileged individuals—often white males—who see themselves as above the law, a dynamic that serves as the show's primary social critique. The narrative consistently champions the common man's intellect and moral fiber over the corrupting influence of unearned wealth and social status. While the series reflects the social attitudes and limited diversity of its 1970s broadcast era, its core theme is a universal call for accountability, regardless of social standing.

Categorical Breakdown

Identity Politics2/10

The narrative's primary conflict is one of class, pitting the working-class Columbo against the financially privileged Los Angeles elite, most of whom are white. This serves as a critique of corruption enabled by economic privilege, not a vilification of 'whiteness' or an attack on immutable characteristics. The casting reflects the limited diversity of its 1970s network TV era, with very few prominent minority roles. Success is determined purely by Columbo's merit-based intellect, not his social standing or identity.

Oikophobia1/10

The series strongly upholds the Western tradition of law, order, and objective justice, represented by Columbo's dogged commitment to his duty within the police institution. The show's critique is focused on the moral corruption of the domestic elite—those who have abandoned civic duty for greed and murder—not on Western civilization, home culture, or ancestors as being fundamentally corrupt or racist. Columbo's personal values, including his constant mention of his unseen wife and his loyalty, align with traditional institutions.

Feminism3/10

Female characters, including many of the killers, are frequently portrayed as intelligent, powerful, and successful career women in their own right, avoiding the 'bumbling idiot' male trope. However, the show is a product of its time, featuring some 'benign misogyny' from Columbo, such as using his wife as a recurring punchline or making era-appropriate comments about female bosses. The show does not promote 'Girl Boss' ideology and instead references Columbo's traditional, supportive, and un-seen 'Mrs. Columbo,' which foregrounds a conventional family structure.

LGBTQ+1/10

The series focuses exclusively on traditional male-female relationships, most notably Columbo's constant references to his unseen wife. There is no presence of alternative sexual ideologies, deconstruction of the nuclear family unit, or discussion of gender theory. The structure remains entirely within the normative male-female pairing as the standard setting.

Anti-Theism1/10

The entire dramatic structure is built upon the existence of an objective moral law: murder is wrong and must be exposed. The series' pursuit of 'the truth' aligns with a transcendent morality rather than moral relativism. Religion is not a central theme, nor is it actively demonized; when faith-based characters appear, they are part of the setting's tapestry and are not universally portrayed as villains or bigots.