In a show in which some moonshiners (or outlaws, as some would call them) are the heroes, who others than the law-enforcers can be the villains? This wouldn’t be the first time when the roles are switched, but it would also be one of the times when the law is actually a caricature of what it could have been.
Boss Jefferson Davis “J.D.” Hogg is the embodiment of corruption, the wealthiest man in the county and also the one that holds some of the most important positions. As said, he is a cartoonish character and almost always dressed in white. His car (a 1970 Cadillac Coupe de Ville) is also white and has (naturally) bull-horns on the hood.
Rosco P. Coltrane is the sheriff of the county and can be best described as a bumbling idiot, a buffoon that tried in each episode to catch the Dukes but failed miserably, usually by wrapping his patrol-car around some tree. It is obvious that he doesn’t stand a chance against the heroes, but then again he isn’t the brother-in-law (with the pun intended) of Hogg for nothing. His signature car is the Plymouth Fury.
Enos Strate is a deputy and he is (at times) a hidden ally of the Dukes. Particularly a good driver, Enos (nicknamed by his bosses as Jackass or dipstick) was close to marrying Daisy Duke two times. He did help the Dukes several times, by backing his car into the sheriff’s vehicle. He also drove, mainly, a Plymouth Fury.
Cletus Hogg was also a deputy and can be seen as one of the hidden allies of the Dukes. He is only 1/8 a Hogg, but this has put an imprint on him. So he doesn’t go against his bosses’ orders as much as Enos. Also, just like every man in the county, he is in love with Daisy Duke (although everybody knows he has no chance). Much like Enos, he is also nicknamed by his bosses. He drove a Dodge Monaco or Plymouth Fury.
But of course, you all knew who these characters were. However, what I wanted to underline was this shift between the roles, in which those that have to defend the law became the bad guys. However, as it can be seen, The Dukes of Hazzard does respect some general lines, which say that there is good in almost everybody.
Not at all adopting the traditional moral codes seen in the westerns (or in the older movies), the show prepared the viewers for the days in which nobody was what they appeared to be. From this point of view, The Dukes of Hazzard can be seen as being rather visionary, despite its simple premise.