RIP Andre Braugher: The vital revolution of Captain Holt

"Every time someone steps up and says who they are, the world becomes a better, more interesting place. So, thank you." In a particularly gut-punch of an episode, Captain Raymond Holt, essayed to perfection by the late Andre Braugher, relayed these monumental words of encouragement to Rosa Diaz (Stephanie Beatriz). The moment was not out of place or forced. The words came at a time when, perhaps, more than Rosa, the world needed for them to be said out loud.

Such was the inspiring magic of Andre in Brooklyn Nine-Nine. A spectacular arc ornamented Captain Holt's character, peppered with nuance, comedy, wit, unexpected bouts of emotional displays, and an ability to look vital issues in the eye without a trace of fear or cowardice. Such was the vital revolution of Captain Holt.

The struggle

Captain Holt's character was rather unique. Robotic in his mannerisms, Holt's persona did not betray the relentless racism and discrimination he faced on account of him being an openly queer, black officer, who braved the system whilst wearing those labels with pride. However, his actions and unabashed sense of confrontation told another tale.

Everything Holt did was to make an already battered system a better place. He founded communities for those who shared his struggles, and stood up to those who threatened his officers. Not much fazed Holt, given the avalanche of profiling, homophobia, and slander he had already faced in his past years, and he would point out the same nonchalantly when threatened. He had goals, and he worked steadfastly towards them. Sometimes he would slip up, but he would eventually find himself ferociously looking adversity in the eye, always ready to overcome and march ahead.

Relationships

Despite his stoic demeanour, Holt still cared. He loved, laughed, lost, and longed. When he was made the Commanding Officer of the Nine-Nine, he revealed that years of mind-numbing work had led him to preside over his own precinct. However, this came with a certain level of immersion in the lives of his officers, and he left his unique footprint in each of their stories by the final season.

When it came to Jake Peralta (Andy Samberg), he was, quite evidently, a father-figure, who, in many ways, reparented Jake into the dependable adult (and father) that he eventually becomes. For Amy Santiago (Melissa Fumero), he was a mentor who not only guided her, but healed her, in many ways. Even though the connection is never made explicitly, it is revealed that Amy was sexually harassed by a former superior officer. For her to then learn from the ever-courteous and professional Holt is a catalyst for her to blossom, as she does. She rises through the ranks and has Holt to thank as her guiding light.

Holt establishes camaraderie in varying capacities with other characters, such as one of tomfoolery with Gina Linetti (Chelsea Peretti) and one of solidarity with Terry Jeffords (Terry Crews). However, his friendship with Rosa is, perhaps, one of the most profound relationships on the show. They share similar personalities, and are both queer people of colour. Their exchanges range from wacky to heartfelt, as they share emotionally charged gratitude in as few words as possible, all while fully fathoming what the other means.

The multi-facetedness of Holt's character is also outlined by his immense love for his husband, Kevin Cozner (Marc Evan Jackson), and his dog, Cheddar. His bouts of domesticity highlight that under that rock-hard exterior, he is just a man who loves in whatever capacity he can, and has found someone who loves him for the same. Through Holt's relationships, being Holt is subtly normalised and humanised in a way that many other shows fall short of when trying to carve a niche for a character with quirks. Consequently, where Holt struggles to find a sense of belonging in the early years, his taking over the 99th precinct and entering the officers' and audience's lives paves a path for infinite acceptance.

Locking horns and vulnerability

Even though he's a cop, Holt understands that the system he works for is flawed. After all, this is the same workplace that questioned if he was turning himself in when he entered for his first day of work. Be it Terry's run-in with a white cop who profiles him (which takes a little convincing), his setting up of a foundation for African-American queer officers, or even his fiery tête-à-tête with Frank O'Sullivan (John C. McGinley), the embodiment of the "Blue Lives Matter" movement, Holt was not afraid to let things get political or take strides that threatened his career.

"It's been a tough year to be a Black man. And a police captain. And a human." Holt's admission in the final season of the show comes at a time when the real world was grappling with a life-altering pandemic, the rise of the Black Lives Matter movement following the brutal massacre of George Floyd, a growing resentment for the police force, and widespread demonstrations calling for justice. In a sea of chaos, it was Holt who proved to be a reliable bridge between reality and fiction - unafraid to have important conversations about internal shortcomings and horrors of a system he was a part of, all while being dedicated to addressing the same to the best of his ability.

It is thus that, with Andre's recent passing, a profound sense of grief has settled in. One must now come to terms with the fact that Captain Holt will never again proclaim, "Hot damn!" triumphantly. Rewatches of Brooklyn Nine-Nine are the only way to keep Holt's memory alive. Undoubtedly, watching him on-screen will be a challenge for all those who loved the character and, in turn, the man who brought him to life with a staggering balance of zest and control. It was, of course, Captain Holt who best summarised the situation in a moment of defeat and grief, which his fans are now allowed to feel as they mourn. In his own words, "Everything is garbage. Never love anything."

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