The Good Cop

Good Cop blends the cheerful silliness of Brooklyn Nine-Nine with the tidy storytelling of Breckman’s other crime comedy, Monk, and it elevates the familiar police-show formula with a strong ensemble cast.

The Good Cop is a solid, traditional detective sitcom for viewers seeking the solace of a simpler time, before cable and disruptive streaming services altered the landscape with weird shows like “Stranger Things.” And ironically, it’s brought to you by Netflix.

There’s nothing wrong in aspiring to be purely entertaining. Good Cop is quite good at that in Episode 1, but pretty much falls on its face in the second hour. Each story ends with a newspaper headline teasing the next one.

[Danza's] not an especially deep actor, and neither he nor the show seem inclined to do anything that’ll really rattle us and make us ask if it’s okay to like this guy and think of him as an essentially good-hearted eccentric who has many useful things to teach us if only we’d listen.

Feels too much like the third or fourth best series on USA network.

Thoroughly (maddeningly?) vanilla in so many devious ways that even the font for the logo and the manipulatively easy theme song and background music feel like a kind of manufactured nostalgia to sedate the masses.

A show with frustratingly little on its mind, The Good Cop quickly establishes its two leads as familiar personality types and then reiterates who they are, over and over, for ten episodes, with little modulation or development. Worse, for a show that sets up and solves a new mystery every episode, the show relies on the utter lack of intelligence of both its two leads and everyone around them.