Lynching by any other name still smells

Hale gives us a picture of early 20th century lynching as a modern spectacle, illegal but not extra-legal in its maintenance of a racist economic, social, and sexual order, legitimized by the “Black man rapes white woman” narrative. She documents its relationship with consumer culture, allowing it to shape the construction of a racist order throughout the entire country, as both photographs and pieces of the murdered Black bodies were quickly distributed.
“The Show” poses the question of the continued effects of these commodities, what they continue to construct, how a photograph translates into the present. (One thing I can not stop thinking about is that spread throughout the country today there must still be thousands of pickled pieces of lynching victims’ bodies).
That photographs and body parts were on display nationally by the 1890s makes the narrative of “The Murder of Emmett Till” - that the one particular instance, due to its wide publicity, triggered The Civil Rights Movement (and the implicit narrative of problem, response, resolution) - seem disingenuous, especially given the history of anti-lynching activism and Black liberation struggles stretching back into the 19th century. The movie documents only one moment in a continuous process of struggle against a racist order; by doing so it makes the structure's extension over time invisible.
So, how can we understand today's prison-industrial complex, extra-legal but certainly not extra-juridical police violence against people of color, and the consumer culture around constructions of Blackness as “Gangster,” as well as the proliferation of prison movies and TV shows like “Cops,” in light of Hale’s analysis? There is still extra-legal but not illegal (or the other way around) systemic violence against people of color, continuing to enforce a racist order; there is still even lynching (On September 17 2007, off-duty police in Washington DC tracked down, shot and killed 14 year old Deonte Rawlings, who they suspected of stealing one of the cop’s personal bicycles. The cops were cleared, because of tenuous evidence that he shot at them first.) To what extent is this continuous from the order of the early 20th century, how has the order changed, and what work do narratives like “The Murder of Emmett Till” do to prop up this order?