One of the biggest stories that has received next to no coverage over the past 10 years has been how television—which for well over half a century was a huge cash cow—has become, at best, profit-neutral. It’s a familiar story: an industry that learned all the wrong lessons from the dot-com bubble, forgot everything it knew about running a business, and credulously bought into tech-visionary narratives and the idea of the hype economy.
Let’s look at the case of Good Cop/Bad Cop.
Good Cop/Bad Cop impressed critics to the tune of a 91% fresh rating on Rotten Tomatoes, but the love of reviewers was seemingly not enough to save the Leighton Meester-led show from getting the axe after season 1.
There will apparently be no Good Cop/Bad Cop season 2, after star Luke Cook went on TikTok and announced the series’ cancellation (via TVLine). The news has not yet been confirmed by The CW.
"Sad to let you know this, but we will not be doing a Season 2 of 'Good Cop/Bad Cop,” Cook told his fans in a video. "I loved making that show. I loved making friends with everybody on that show, the cast and crew, and John [Quaintance], who wrote the show, they're all my great friends.”
Centered on a brother-and-sister detective team on a small town police force in the Pacific Northwest, Good Cop/Bad Cop received plenty of positive feedback from reviewers, who praised the show for its deft mix of comedy and drama, and for the performances of its main cast, particularly Gossip Girl alum Meester.
A 92% Popcornmeter rating indicates audiences have been as enthusiastic about the show as reviewers. Good Cop/Bad Cop indeed seemed set up for long-term success when it made its Prime Video debut last July, rising quickly to place on the streamer’s top 10 series chart.
This is a charming little no-budget show, definitely worth checking out if you have any interest in the genres represented or affection for the leads (including fan favorite, Clancy Brown). It’s not difficult to see how it won the critics over. More impressively, this is an example of that long-thought-extinct species: the word-of-mouth hit. As far as I can tell, there was no real time or money spent promoting this show initially. People found it on their own when it popped up on Prime.
To put this into context, streamers routinely spend multiples of the series’s budget on shows that bring in far lower numbers with worse reviews. On top of that, since this show ran over the air first, it had already brought in advertising revenue, possibly breaking even before it hit Amazon. Unfortunately, one of the most consequential lessons executives have managed to unlearn is the value of multiple revenue streams.
By any reasonable business criteria, Good Cop/Bad Cop should have been renewed the moment those Prime numbers came in—but those are not the rules television executives are playing by in 2025. They remain convinced that the future lies with streaming originals and star vehicles with big production budgets, often accompanied by comparable PR and marketing budgets. That is the model that fits the narrative and generates the hype. True, it often leads to, let’s say, questionable financial outcomes—like Peacock recently announcing that it had lost $552 million in its last quarter—but what's a few billion between friends.















