Early in Season 7, Bosch discovers that while the "foot soldiers" who set the fire may have been arrested, the man who gave the order, Miguel "Mickey" Peña, is still at large. Determined to bring Peña (Gino Vento) to justice, Bosch convinces the actual arsonist, Pedro Alvarez, to flip on the leader of the Las Palmas gang. Of course, nothing comes easy for our jazz-obsessed detective, and Bosch discovers there's more than a few powers "above [his] pay grade" standing between him and his goal.
This is a theme that creeps up a lot in Bosch: moral or ethical justice (his ideal) vs. practical justice (ostensibly, everyone else's). For a detective known for breaking rules, Harry Bosch is decidedly dogmatic when it comes to the notion of justice. There's right, there's wrong, and the path to both is relatively clear-cut. But these paths don't exist in a vacuum— they exist in modern-day LA. In the final episode of Season 7, the audience is forced to oscillate between agreeing with Bosch and wondering if what's driving him has less to do with Sonia Hernandez, the murdered girl, and more to do with her as a symbol for all the unsolved cases lost to the realities and limitations of the system in which Bosch currently works.
