With any drama portraying an institution or public service,
there is a point when dramatic licence takes over and those working
in the organisation might not recognise how it is being
depicted.
With the screening of Public Enemies a new,
three-part drama for BBC One starring Anna Friel and Daniel Mays,
the Probation Service is in the drama spotlight.
Public Enemies looks at the probation service
from the points of view of the ‘offender’ and the ‘gatekeeper’
28-year-old Eddie, recently released on life licence from prison
after serving 10 years, and his probation officer, Paula, returning
from suspension following a crime committed by an offender under
her supervision.
Probation has rarely had an in-depth drama or
documentary looking into its complexity of its world. Click here
for a look at the day in the life of a
probation officer. Having seen the first episode at a special
screening, here are the thoughts of some London Probation Trust
staff members.
| Fiona,
Southwark |
I must say I really enjoyed Public Enemies and thought, with
the exception of the end and some aspects of the Probation
Officer’s time (workload), it was overall very realistic and did us
justice – within the confines of dramatic licence. |
| Sandra, Kingston |
The probation officer was portrayed as colluding with the
offender by not telling her senior that he went to visit the spot
where his victim’s body was found. |
Fact: Probation
officers/probation service officers are trained in defensible
decision making, therefore we would have nothing to hide from
the senior probation officer. When asked by the senior probation
officer of any issues she would have revealed he went to the spot
and then discussed what action should be taking with regards to the
offender’s behaviour.
|
| Tracey,
Romford |
Generally I would say it is a positive representation. It
also presents the working environment accurately.
However and this is only based on what we saw: as an observer
would think that we only did unstructured supervision, where we
talked with the offender, mostly to reinforce the conditions of his
licence. No offence focus work and definitely no mention of
the numerous other tasks an offender manager has to do on a day to
day basis. The public would certainly have the impression
that we had the time and resources to lavish on each person on our
caseload.
|
| Sandra,
Kingston |
The drama portrays an offender being able to secure work
immediately after release.
The offender was seen to secure work
straightaway and the work provided was in a public place with
female colleagues and mixing with the public.
|
Fact: Considering his offence
(murdering his partner) being allowed to mix in public and
with female colleagues would never happen.
|
| Claire, Southwark |
If an offender found out my address, turned up at my home
and tried to push his way in, I would not hesitate in contacting
the police. A professional boundary has been
crossed. |
| Tracey,
Romford |
The programme certainly does provide the public with a basic
understanding of the very serious decisions that a PO has to make
daily, including whether to give someone a chance or to recall
them. |
| Sandra,
Kingston |
I cringed at some of the aspects of the drama e.g. the
probation officer colluding with the offender by lying to her
senior and taking the offender out for a coffee and cake to
celebrate his birthday (!) and portraying a recall as simple as
picking up the telephone within her own home after the offender
visited her. |
| Claire, Southwark |
Although it will be 'entertaining' from a drama
perspective I really do feel that it was an inaccurate
portrayal of the work we do. |