Stereotypical smart mouth, racist, big city cop—but with a Sympathetic P.O.V., which makes all the difference. Almost always written as a noble, misunderstood "good guy" (or girl). This could give the impression that the writer(s) are downplaying bigotry—or, in a passive aggressive way, justifying bigotry in certain situations—to the point of making "loyalty" to "your own group" a virtue, thus making lack of bigotry come across as Category Traitor.
Sometimes this guy is shown as honestly mistaken and will moderate his bigoted views over time. This will often involve him coming into close contact with the group that he hates, possibly even being partnered with one of them.
The "noble" part frequently takes the form of not allowing his prejudices to interfere with police work—you won't see him charge a black guy with a crime he knows he didn't do. Is almost always white, but can also be of color. The ethnic version exist for the character to critique their own gender or race without the writers worrying about being called racist. Kinda like a inversion of N-Word Privileges by proxy.
Subtrope of—obviously—Noble Bigot. Usually a Politically Incorrect Hero.
Subverted, played straight, lampshaded and deconstructed in The Question #15.
Officer Pete "Shock Headed Peter" Cheney of Top 10 is extremely hateful of robots, largely referring to them with the offensive Fantastic Slur "clicker." The Forty Niners prequel features Adam "The Spirit of '76" Pure, who hates robots, vampires, and everyone who isn't white (excepting vampires) — though these were much more popular sentiments in 1949.
Jack Moony from Heart Condition. Subverted in the end though, because of a heart transplant from a black man, who ended up staying around to make Moony see things differently.
The Proposition Morris Stanley gives people The Sadistic Choice, beats up prisoners, discriminates against Irish people, is a bit blunt on the whole imperialism thing, and doesn't trust his wife with information that might upset her. The thing is, it's all out of a misaimed sense of duty and chivalry, and he's not really a bad guy, underneath it all.
Police officer John Ryan from Crash. He starts off as just plain bigoted, then gets slightly more noble while the film does it's best to make itself the unfunny version of Avenue Q's "Everyone's a little bit racist."
Although he doesn't have a sympathetic POV, Officer Coffey from Boyz n the Hood is a very provocative take on this. As he's a black officer that shows apathy, and hostility towards his own race. Arguably a double subversion being that he was black and wasn't depicted as noble.
Similarly, the black drill sergeant Calhoun from the HBO film First Time Felon is arguably given a Sympathetic P.O.V.. He despises the black juvenile felons because he hates that when "white people look at me, they see you instead...I love black people, but I hate niggers." He hates the stereotypes that they help perpetuate of decent black people like him. He despises the felons so much he intentionally undermines their rehabilitation by provoking them to hit him. He even goes as far to say "I'm never gonna let you get released back on the streets! I'm gonna lock up your children, and their children's children!" The character can definitely be interpreted and dissected in many different ways.
Henry Oakes from Narc, for several reasons; not the least of which is that his "daughter" is actually a girl he had rescued from her sexually abusive father, after putting her in a squad car and beating the ever-lovin' shit out of her dad.
Variant: Detective Spooner from I Robot, whose prejudice against robots gets him involved in a mysterious case...
Variant: small town Police Chief Gillespie (Rod Steiger) in In the Heat of the Night. At the beginning, he seems the stereotypical obnoxious, racist redneck, but - also thanks to Steiger's Oscar-winning performance - slowly emerges as a decent (if bitter) man who befriends the black protagonist, Virgil Tibbs. It helps that Gillespie is shown to be significantly less bigoted than most of the rest of the town.
The police officers in Slumdog Millionaire hate lower class Indians and use Electric Torture as a matter of course. However, after the protagonist doesn't confess under torture, they start believing him and are even somewhat helpful.
Sergeant Gerry Boyle, the main protagonist of The Guard is this in spades. He makes outright racist comments at a briefing ("I thought only black lads could be drug dealers. And Mexicans) and believes Americans to be overly idealistic. However, when his rookie partner's wife informs him that her husband is missing, he goes out of his way to solve the case. Even when every other guard in the area has been bribed to stay out.
Philadelphia has Joe Miller, a lawyer version of this trope. He is (at first) homophobic but agrees to help a gay man with AIDS sue his old employers for discrimination because such discrimination is against the law.
Gleb Zheglov in The Meeting Place Cannot Be Changed is a notorious Cowboy Cop who, while not given to a prejudice, is nevertheless essentially a vigilante with a badge, having no qualms of opening first and planting the evidence to put the notorious thief behind the bars, circumstances be damned. It is even more pronounced in the original book, where he verges on a Sociopathic Hero.
Literature/IT: In the first 1984/1985 segment of the narrative, the cops interrogating the young men that assaulted Adrian Mellon, a gay man, throwing off a bridge and into the Derry canal to his death (at the hands of Pennywise), would love nothing more than to see the local gay bar close its doors for good. However, they react with anger and disgust at the brutal way in which Mellon was beaten and they look forward to throwing the book at the three punks who did it.
Sam Vimes from the Discworld books may be considered one of these. Vimes is more a misanthrope than a bigot, though he's occasionally described as being biased against everyone, regardless of race or species.
As of Thud!, he lets a vampire join the watch though, and lets her stay on even after she's revealed as a spy.
Mainly because at first, he is forced to take her on, and after the fact because if he plays it right, no-one will be able to tell him who he takes on ever again. He then wonders if Vetinari thinks like this all the time.
And by Snuff, he has at least two vampire officers on the force.
As mentioned in a throwaway line in Unseen Academicals, he's also employed a medusa. She has to wear sunglasses. Really, the fact that people don't find too much to complain about in this is all you need to know about Ankh-Morpork.
Vimes tends to see two kinds of people, Watch officers and non-Watch officers. If you are part of the latter, then he mistrusts you, with only a few exceptions - he mistrusts most races - but if you are part of former, that is your race, in his eyes.
An interesting aspect of Jingo is Vimes's reaction to genuine racism. His Klatchian counterpart points out that Vimes refused to consider a Klatchian could have been the killer, because that was the sort of thing men like Rust would have thought. "Be generous, Sir Samuel. Truly treat all men equally. Allow Klatchians the right to be scheming bastards, hmm?"
Similarly, in Snuff, Vimes' reaction to the casual racism against goblins is to treat the goblins with all the care and respect he shows to any other victims of a crime. He even asks about the name of the deceased without thinking about it, which impresses the goblin chief since most humans refuse to consider that goblins have names.
Fred Colon is intended as a parody of this trope.
The difference between Fred and Vimes is highlighted in The Fifth Elephant. Fred makes bigoted comments about nonhuman officers during the book, and it upsets the nonhuman officers because of it. However, Vimes has been known to make similar comments, but they tolerate it from him because they know that when things get dicey Vimes has their back, where Fred is a usually-Lovable Coward.
Likewise his expy, Ollie Chandler, in Randy Alcorn's books. Chandler softens up a lot more quickly, though.
Pretty much every non-corrupt cop in the L.A. Quartet.
Played with in Empire of the Wolves with Jean-Louis Schiffer. A retired police officer and somewhat of a legend (albeit rather sinister one) among his colleagues, Schiffer is extremely knowledgeable about Parisian minorities and is apparently on speaking terms with community leaders. At the same time he gleefully spouts racist slogans and is not averse to using Jack Bauer Interrogation Technique on the suspects. The reader (and Schiffer's rookie partner, Netreaux) is not really sure what to make of him until the end, when he is revealed to be deeply corrupt, serving as a middleman in heroin distribution. He is killed by his courier who has gone rogue and took off with a large shipment and whom Schiffer was tracking down throughout the novel.
Soledad O'Rourke of Those Who Walk in Darkness and What Fire Cannot Burn fits this trope to a T, and is the reason given for every one-star review of the former book on Amazon.com as of this writing. She's described as a "good cop" for her honor and devotion to her work, but even her sidekick considers her to have fallen beyond redemption, due both to He Who Fights Monsters and the fact that the "freaks" she hunts aren'tAlways Chaotic Evil.
The other MTacs are perhaps better examples, with the character Bo in particular actually being a normal human being shown prone to introspection and a life outside of killing things, while Soledad has nothing in her life except killing mutants and her boyfriend and later, trying to kill her mutant boyfriend. The normal police officer doesn't even manage that level of noble, either.
On those occasions when Imperials in the Star Wars Expanded Universe are portrayed as something other than a bunch of not-really-Imperial people who switch sides immediately, they fall into this trope. Admiral Pellaeon might be the best example, both before and after the truce. One of the authors in the New Jedi Order gave him an extremely Narm-ish tract crudely connecting his governing style with gardening, and how one must weed and pinch errant buds.
Braxton Underwood, a minor character and newspaper owner in To Kill a Mockingbird, is said to be unable to stand black people and unwilling to let them anywhere near him. Nevertheless, he respects Atticus (even while disagreeing with his decision to defend a black man) enough to have his gun ready to defend Atticus when a lynch mob comes for his client (albeit without making his presence known until after the threat has passed) and all but condemns Tom Robinson's conviction and the shoddy nature of his trial in his newspaper on principle.
In Death: Lieutenant Mills from Judgment In Death. He is white, male and heterosexual, as well as being a fat slob. He doesn't like anyone who is not white, not male, or not heterosexual. He is not all that "noble", even though he did say something about his dead fellow cop Kohli was good at his job, even if he was black. Later, Mills gets murdered, and it turns out that he was a Dirty Cop who wanted money. So much for "noble".
Anita Blake can be viewed as a Fantastic Racism version of this. She hates vampires but will not blame a vampire for a crime he did not commit.
Plainclothesman Elijah Bailey of Isaac Asimov's Robot series hates robots but will enforce the law even if it means protecting them. His views are changed when he is partnered with a robot, R. Daneel Olivaw.
Rafael de la Cruz from Hometown is a tireless, hard-working, conscientious sheriff who cares deeply for his community. He is also a good father...and he considers it his duty, as a good father, to ensure that his daughter has no further contact with her lesbian best friend. Who knows what happened during all those sleepovers over the years?
Live Action TV
FBI agent Seeley Booth in Bones is generally a nice guy with no apparent bigotry, but he displays contempt toward the BDSM and Fantasy Role-Playing subcultures, as well as Voodoo practitioners (although the Voodoo episode treated the religion realistically and avoided Hollywood Voodoo.)
Bones herself (technically not a cop, but acts as Booth's partner in the field) often shows bigotry toward religious people, particularly Catholics. Note, however, that Booth is Catholic, so she clearly bears no ill will toward them—it's more a matter of general insensitivity. She is also extremely contemptuous of psychologists/psychiatrists, even though she works with one.
Agent Doyle of 24. Seemingly a bigoted, arrogant, stuck-up, ends-justifies-the-means agent who won't take crap from anyone and isn't afraid to make things physical if they disagree. Has also secretly covered up honest mistakes and screw-ups of his co-workers to make sure they don't get hot under the collar with their Obstructive Bureaucrat superiors, and admits he's spiritually lost. He also later defies orders when he realizes it's the right thing to do, and encourages his superior to do the same.
Life On Mars comes with a rather good selection of these, Gene Hunt being the star.
Gene: Now. Yesterday's shooting. The dealers are all so scared we're more likely to get Helen Keller to talk. The Paki in a coma's about as lively as Liberace's dick when he's looking at a naked woman, all in all this investigation's going at the speed of a spastic in a magnet factory. (Sam drops his radio) What?
Fin learned later he has a gay son, which softened him somewhat.
They're both interesting cases in that they don't outright hate members of the LGBTQ community; they just don't really understand much about it. As mentioned above, Fin softens up after learning that his son is gay, and Stabler has become increasingly tolerant after repeated interactions with various members of the LGBTQ community.
Since the show is, in many ways, a procedural, House is like this, with "badge" replaced with medical license. On top of being generally misanthropic, he makes crude racist remarks—despite his background and linguistic abilities being quite cosmopolitan.
House is bigoted against everyone. Racist, sexist, pick an -ist. He just doesn't like anyone, including himself. The times he makes racist and sexist remarks usually come across as him trying to push people's buttons.
Cameron, of all people, explicitly lampshades this in one episode, telling him that she knows he's "a misanthrope, not a misogynist."
Sgt. Troy of Midsomer Murders might count- granted, he's a young guy rather than a grizzled hard boiled type, but he is notably close-minded in his views (especially towards homosexuals), but is a nice guy regardless.
The NCIS episode "Designated Target" showed Tony DiNozzo as uncharacteristically hostile toward African immigrants. It hasn't been mentioned much since then but he does still tend to get a little politically incorrect when trying to get under a suspect's skin.
McGee once made a remark about Italians and the mob, only for the Italian Tony, who was right there, to call him on it.
Franco: See, that's another thing. Puerto Ricans, we get shafted even when it comes to racism. Chinks got what, like four ethnic slurs? We get one— spick. That's it. The Irish they got mick, patty, donkey. The Italians they got guinea, wop, dago.
Sean: Yeah, and spaghetti-bender.
Franco: Ah, spaghetti-bender went out of style during Sinatra's first marriage.
Franco: Yeah, greaseball. There you have it; that's four.
Tommy: That's great. Same thing with the Jews, right? Heeb, kike, Jew boy, Benny.
Tommy: ...Let me tell you somethin' the next time I run into a burning building and refuse to bring out anybody who's not the same color as me, then that's when you can bring my angry, pink, sober, Irish, a* back down here. Got it?
A medieval version, King Uther from Merlin with his "all magic users are evil" outlook. No actual badge here, but he *is* the king.
Hank Schrader, the Sympathetic Inspector Antagonist from Breaking Bad, has a habit of stereotyping his subjects and making somewhat, shall we say, politically insensitive remarks, particularly about Hispanics and poor people. When judged by his actions rather than his words, however, he is a good cop and a heroic man who is supremely dedicated to fighting crime and protecting his friends and family. Ironically, his two closest friends on the force (and quite possibly in the world) are Hispanic and black, the former of whom laughs off his racist jokes most of the time.
During his time on Law & Order, Detective Mike Logan would frequently make remarks that could variously be described as xenophobic, Islamophobic, homophobic, and disdainful or mocking of religion in general, and he was openly disrespectful to Lieutenant Van Buren during her first few episodes because of his sexist attitude toward female police officers (and especially female brass). During his final episode on the show, however, he publicly coldcocks a gay-bashing city councilman (and probable murderer) for claiming they are Not So Different. When he finally returned for Law & Order: Criminal Intent years later, this aspect of his character was dropped entirely.
Ashley Williams from Mass Effect, although less in the sense of hatred than a refusal to completely trust or rely on them. She appears to have her reasons for disliking aliens, as her grandfather was commander of the Shanxi garrison during the First Contact War, and her whole family was blacklisted in the military as a result. She also apparently spent next to no time in space, and was forced into planetary garrison duty on safe, human-populated worlds, so she's had no contact with aliens prior to joining Shepard's crew. If the player is feeling indifferent to the topic of aliens, she'll get over her issues on her own.
Everybody from Mass Effect 1 but the pilot, the Captain, and an especially-Paragon Shepard has at least one group they act like this towards.
Knight Captain Cullen in Dragon Age II is strongly opposed to granting freedom to the mages, but he's also the first templar to show mercy to them if they deserve it.
Definitely a trope with some real world truth to it: In David Simon's Homicide: A Year on the Killing Streets he discusses one cop who ran an entire African-American family through the police databases after they moved in next door, yet was diligent in his pursuit of any murderer, regardless of the race of the victim. Simon portrays it mostly as about pride; they're not about to let a little thing like their own blatant racism get in the way of proving their smarts.