Andre Braugher, whose demise occurred at the age of 61, was a person of remarkable gravity. Born into a blue-collar family on the West Side of Chicago, his initial talent was so promising that he earned a scholarship to study theater at Stanford, followed by training at Juilliard.
While he performed Shakespeare on stage and won an Obie Award for his Henry V in the mid-’90s, Braugher quickly made his mark on the small screen, using the weight of his charisma to embody authoritative figures. His first television role was as a spy in the telefilms of the Five Desperate Women series, establishing a pattern that would persist throughout his career.
Andre Braugher excelled in roles that came with a title attached:
Detective Winston Blake in Kojak; Corporal Thomas Siarls in Glory; General George W. Mancheck; Captain Marcus Chaplin; Sergeant Carlos Diaz. He portrayed doctors and district attorneys; in 2010, he played the role of the Secretary of Defense in Angelina Jolie’s film Salt.
It’s a trajectory that served him well. Homicide: Life on the Street was one of those rare shows that transformed television as we know it—a profoundly serious, extraordinary police drama that helped set the stage for the golden age of TV. And, as Detective Frank Pembleton—a central and magnetic figure in the show—Braugher was everywhere and at the heart of it all. The show presented him with some impactful and emotionally charged storylines during its run. He was involved in cover-ups, went through a breakdown, and lost faith in God. For his portrayal, Braugher was showered with accolades, including an Emmy, a Satellite Award, two NAACP Image Awards, and two Television Critics Association Awards.
It was a career-defining role, one that could overshadow an artist’s entire body of work. The fact remains that when you think of Andre Braugher, Frank Pembleton is likely not the first character that comes to mind, thanks to the incredible diversity in the characters he portrayed.
Andre Braugher in Brooklyn Nine-Nine
In Brooklyn Nine-Nine, as Captain Raymond Holt, Braugher found a rare opportunity to play against type while residing in his favorite space. The ensemble police comedy, led by Andy Samberg, had a delightfully absurd tone. Imagining him as a deadpan, laser-focused commissioner in the post-SNL vehicle of Andy Samberg, which knew the absurdity of stock trading in a sitcom setting, was a gamble that could lead to senseless hilarity. But without the anchor of a credible authority figure, it risked floating off into the realm of pointless nonsense.
Braugher was that anchor. In the early episodes, he was occasionally deployed mainly as Samberg’s endless foil, a brilliant wall of resistance against the perpetually juvenile antics. But Brooklyn Nine-Nine’s writers were gradually realizing what was truly in his hands. In Braugher, they had an artist who could deliver any line—no matter how comedic—with the weight of the world, much like he did in the world’s most esteemed plays. What he brought to his career, he now channeled into deadpan gags. And it was glorious.
It’s hard to think of any other sitcom with a character like Holt in its roster. Perhaps, in its acerbic wit, he wandered close to Frasier; or in its lack of emotional response, to Ron Swanson. But Frasier was a show about the problems of an affluent neurotic, and Parks and Recreation was eager to showcase the side that cared for Ron Swanson. In between, Holt felt like he had been plucked from an entirely different show to bring his unique brand of wilderness.
History struggles to recall another sitcom character like Holt. Perhaps, in its extreme satire, he mirrored Frasier’s journey into the absurd; or, in its lack of emotional expression, Ron Swanson. But Frasier was a show about the problems of an affluent neurotic, and Parks and Recreation was eager to showcase the side that cared for Ron Swanson. In between, Holt felt like he had been plucked from an entirely different show to bring his unique brand of wilderness.
Andre Braugher was a character of authority
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In the initial episodes, he was occasionally positioned as the shimmering wall of resistance against Samberg’s endless man-child shenanigans. But Brooklyn Nine-Nine’s joy was watching the writers gradually realize what they had in their hands. Andre Braugher had an artist who could deliver any line, no matter how absurd, with the gravity of the world—just like he did in the world’s most esteemed plays. What he brought to his career, he now channeled into deadpan gags. And it was glorious.
He was a commanding presence. In the early episodes, he was occasionally used as a foil to Samberg’s never-ending antics—a stoic barrier against perpetual immaturity. Yet, Brooklyn Nine-Nine’s writers were slowly uncovering the true power he held. Andre Braugher was an artist who could deliver any line—no matter how comical—with the gravity befitting the most serious plays. What he invested in his career, he now transferred to laser-focused humor. And it was extraordinary.
Andre Braugher was truly exceptional
His legacy goes beyond the characters he portrayed, reaching into the heart of comedy, where gravity meets laughter, creating a unique and unforgettable space. His contributions to both drama and comedy have left an indelible mark, proving that an artist can navigate the depths of both with equal brilliance. In the end, when we think of Andre Braugher, we remember not just the characters he played but the gravitational force he brought to each role—making us laugh while reminding us of the weighty artistry he possessed.
Over time, the show became so comfortable that Andre Braugher got the opportunity to showcase his comedic side. Until season two, from anywhere, Holt was yelling ‘Hot damn!’ with such intensity that you can still catch it online as a GIF a couple of times a week.
If you watch Brooklyn Nine-Nine closely, you’ll see that moment where it couldn’t resist the irresistible and essentially became the Raymond Holt show. More and more, it centered on Braugher’s remarkable performance, giving us a glimpse into Holt’s domestic life and career struggles. For a comedy-packed show, it was a noteworthy accomplishment.
It cannot be denied that Andre Braugher’s death came at a young age: 61 years is not an age to be considered old. However, in the decades to come, he will remain a screen police officer, measuring himself against other artists in both comedy and drama.
