:max_bytes(150000):strip_icc():focal(988x348:990x350)/the-rookie-cast-122325-3887a098efb44a838e61b69dae3af6d3.jpg "The Rookie Season 8 Honest Review")
I almost didn’t write this review.
Not because Season 8 is bad—it’s not. But because after eight years of watching John Nolan navigate life as the LAPD’s oldest rookie-turned-officer, I’ve reached that weird place where I’m both deeply invested and slightly exhausted. You know that feeling when you’ve been in a relationship long enough that you can predict exactly what your partner will say before they say it? That’s where I am with The Rookie right now.
So when “Czech Mate” dropped on January 6, 2026, with the entire Mid-Wilshire precinct jetting off to Prague, my first thought wasn’t “wow, how ambitious”—it was “oh, they’re trying really hard this time.”
Prague Looks Great on Camera, Less Great on Paper
Let me start with what worked: the episode is gorgeous. Whoever scouted those Prague locations deserves a raise. The production value is legitimately impressive for network TV, and watching our LA-based characters navigate cobblestone streets and baroque architecture created a visual freshness the show desperately needed.
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But here’s the thing—and I say this as someone who’s forgiven this show for plenty of logical leaps over the years—having LAPD officers run an international undercover sting operation is bananas. Not charmingly implausible in that “sure, why not” procedural way. Actually bananas.
The LAPD doesn’t have jurisdiction in the Czech Republic. They’re not the FBI, CIA, or Interpol. They’re city cops. And yet here’s Nolan, Bailey (a firefighter, by the way), and Nyla working with Monica Stevens to take down an international weapons trafficker on foreign soil like it’s the most natural thing in the world.
I spent half the episode wondering where the Czech police were, or why the State Department wasn’t involved, or literally any detail that would make this make sense. And that’s frustrating because the action itself—the fights, the tension, the stakes—all worked. The show just wrapped it in a premise that kept pulling me out of the story.
Chenford: Finally, Thank God, YES
Okay, deep breath. After years of watching Tim and Lucy dance around each other, break up, pine, miscommunicate, and generally put us all through emotional torture, they’re finally moving in together.
And you know what? It felt perfect.
No manufactured drama. No last-minute obstacles. Just two people who’ve been through hell together deciding they’re done fighting the inevitable. I’ve been watching since Lucy was Tim’s rookie, when their entire dynamic was him barking orders and her trying not to cry in the shop. Seeing them choose each other after all that growth hit differently than I expected.
This is what The Rookie does best—earned emotional moments that respect both character history and audience investment. If only they’d apply that same patience and care to other aspects of the show.
Miles and Celina moving in together also has potential, though I’ll admit these two haven’t gotten the development time they deserve. Maybe cohabitation will finally give them storylines beyond “the newer rookies.”
The Monica Stevens Problem (And Oscar, And…)
Here’s where I need to get real: this show has a villain problem, and Season 8 isn’t fixing it.
Monica Stevens was fantastic when she first appeared—complex, unpredictable, morally gray in ways that challenged everyone around her. But her continued presence has turned her into a familiar crutch. Every time she shows up now, I can predict exactly how it’ll play out: initial tension, reluctant collaboration, someone questioning whether they can trust her, and ultimately she proves just trustworthy enough to stick around for next time.
Then there’s Oscar Hutchinson coming back again. Look, I get it—recurring villains have built-in history and audience recognition. But The Rookie has proven repeatedly that it can create compelling antagonists from scratch. Episode 3’s Ezra Kaine? Actually creepy. Actually fresh. Actually made me lean forward in my seat instead of settling back with a “oh, this again” sigh.
The show has 100+ episodes of evidence that new threats work. So why does it keep returning to the same well?
Wade Grey Doesn’t Feel Like Wade Grey Anymore
This one bothers me more than it probably should. Sergeant Grey has been the show’s moral center—tough but fair, demanding but caring, someone who’s grown from hard-ass supervisor to genuinely three-dimensional leader. I’ve watched him evolve across seven seasons.
So when his behavior toward Luna this season feels off—and I’m being vague to avoid spoilers—it genuinely threw me. These aren’t small character quirks; these are actions that contradict years of established personality. Maybe there’s a larger arc I’m not seeing yet, but right now it feels like the writers needed him to do something for plot purposes without considering whether it fit the character.
In a show built on relationships and character growth, that kind of inconsistency matters.
What Keeps Me Watching (Because I Am Still Watching)
Despite everything I’ve just complained about, I’m not going anywhere. And that’s because underneath the recycled villains and implausible international operations, The Rookie still delivers what originally hooked me:
The ensemble just works. These actors have lived with these characters long enough that every interaction feels lived-in. The jokes land. The serious moments hit. Even when the plot doesn’t make sense, the people do.
The action remains genuinely exciting. Network TV rarely does action this well. The fight choreography, the chase sequences, the tense confrontations—all still top-tier for broadcast television.
The pacing never drags. Even in weaker episodes, the show moves fast enough that you’re engaged. That’s harder to pull off than it looks.
The Season 8 Dilemma
Here’s my honest assessment: Season 8 feels like a show that knows exactly what works but has forgotten how to surprise itself.
The Prague episode represents this perfectly—ambition in scale, conservatism in execution. Bigger locations, same patterns. More expensive production, familiar story beats.
What I’m craving as the season continues: less reliance on villain recycling, more focus on the daily professional and personal challenges that made early seasons compelling, and a return to the grounded (within procedural limits) storytelling that made Nolan’s journey special in the first place.
Right now, The Rookie Season 8 is that comfortable sweater you’ve worn so many times it’s starting to fray at the edges. Still warm, still fits, still your go-to on lazy evenings—but maybe not as special as it once was.
Rating: 7/10 – Solidly entertaining television that’s earned my loyalty but is testing my patience.
Are other long-time viewers feeling this way, or am I being too harsh on a show that’s simply giving its audience what they want? Genuinely curious about your take.
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