**Score: 7/10 — A Fun, Flawed, and Unapologetically Idealistic Procedural** *The Rookie* succeeds because of [not in spite of] its well crafted contradictions... It is a show that is at once deeply entertaining and profoundly naive, a character-driven workplace drama wrapped in the glossy, sun-drenched packaging of a police recruitment ad. For what it sets out to do—provide optimistic, weekly escapism with a beloved cast—it earns its keep, even as its disconnect from reality grows more pronounced with each passing season. **What Works (Why We Keep Watching):** The show’s undeniable engine is its **character development and chemistry.** Nathan Fillion’s John Nolan, the titular “oldest rookie,” provides a charming, moral anchor, and the ensemble around him (Melissa O’Neil’s Lucy Chen, Eric Winter’s Tim Bradford, etc.) has evolved into a genuinely beloved television family. Their personal and professional arcs—the romances, the friendships, the triumphs—are scripted with a sincerity that makes you invest deeply. As you noted, you **keep interested in the characters**, and that investment has carried the show through its more outlandish plots for **eight fun-to-watch seasons.** **The Central Critique: The Propaganda Paradox** The show’s most significant flaw and [perhaps] its purpose; **This is, in essence, a masterclass in soft police propaganda.** In an era of documented systemic issues, widespread public distrust, and justified scrutiny of U.S. law enforcement, *The Rookie* presents a pristine, parallel universe. Here, every officer is **inherently good, honest, and intolerant of corruption.** Problems are caused by individual “bad apples,” always external to the system, and are solved through camaraderie and sheer moral fortitude. The **plots and storylines are so far from reality** that they often stretch believability to its breaking point, presenting policing as a series of heartwarming interventions and Hollywood style heroics devoid of the complex grey-area tensions that define the real world. **The Verdict:** *The Rookie* is not a police drama; it is a police *fantasy*. It’s the procedural equivalent of comfort food; reliable, warm, and intentionally lacking in challenging nutrients. It earns a **solid 7/10** for executing this fantasy with consistent charm, excellent pacing, and a cast you can’t help but root for. It started strong, embraced a **bit of silliness** to keep the formula fresh, and has maintained its watchability through sheer force of likability. Enjoy it for what it is: a well-crafted, idealistic fable about good people doing good things in a uniformly supportive system. Just don’t mistake its sunny Los Angeles for the one that exists off-screen. It’s a fun watch, but it’s a carefully constructed dream, not a reflection of a waking world. **Watch if:** You love character-centric procedurals, Nathan Fillion’s charm, and undemanding, optimistic television. **Skip if:** You seek gritty, realistic cop dramas, nuanced social commentary, or are frustrated by narratives that sidestep systemic critique in favour of individual heroism.

It started off REALLY good, and I was getting into it. It's one of those shows my wife watches that I would reply with "I liked it more when they called it Hillstreet Blues," and then I would joke that "what are they going to call it in season two or three, they didn't think through the title, did they?" But it started growing on me from the start, and it was only teasing. I was actually getting into it. And then 2020 happened and it took a HARD left wing turn It fell apart. It took a bit of an ACAB stance, which is awkward in a police drama. It started to do the who leftist lecture thing. The "inappropriate" relationships according to the left broke up. It became crap. So much so that I started calling it "The Wokie." But then it slowly started to veer back to an actual cop show again. The characters that I was getting into when it started started to return to the same characters and not just the same woke stereo-types. Personalities came back to them, actual individual personalities, which seems to be one of the biggest problems with leftist media, they can't give people personalities, they just give them gender and races and sexualities and mistake that for actual character. In other words, it redeemed itself. It started being a police drama again. It started to be an ensemble cast of compelling characters again. It even got rid of the worst woke characters they injected and brought the whole thing back to the original cast. The politics vanished, and it became about entertainment again. It's a GREAT example of how to make fix a show after a heavy injection of politics.