Look. We all have that one show we put on when the world feels like a dumpster fire. For a huge chunk of us, that’s Brooklyn Nine-Nine. But why? It’s not just the "cool-cool-cool" catchphrases or the high-speed cold opens. It’s the DNA of the characters on Brooklyn 99. They shouldn’t work as well as they do. On paper, you have a group of archetypes that feel like they belong in a 1980s police procedural, yet they evolved into some of the most nuanced, emotionally intelligent figures in television history.
Think about Jake Peralta. He starts as the quintessential "man-child." He's brilliant but refuses to grow up. In any other show, he would have stayed that way for eight seasons because "growth" usually kills the comedy in a sitcom. Yet, Michael Schur and Dan Goor decided to let him actually mature. By the time the series wraps, Jake isn't just a great detective; he’s a functional partner and father who realizes that his career isn't the only thing defining his worth. That’s a massive pivot. It’s rare.
The Holt Effect: Subverting the Captain Archetype
When Andre Braugher first walked onto the screen as Captain Raymond Holt, we all expected the "straight man." The stoic boss. The guy who exists just to roll his eyes at the protagonist's antics. Instead, we got a character who is arguably the funniest person in the precinct precisely because of his rigidity.
Holt’s importance to the roster of characters on Brooklyn 99 cannot be overstated. He wasn't just a "gay captain" or a "Black captain." He was a man who had fought through the systemic prejudices of the NYPD in the 70s and 80s, which gave his character a profound weight. But the writers didn't make him a martyr. They made him a hula-hooping, balloon-arch-loving, competitive maniac.
Remember the "Velvet Thunder" line? Or his obsession with Kevin and their dog, Cheddar? This is where the show wins. It takes a serious foundation and builds a skyscraper of absurdity on top of it. Holt’s relationship with Jake is the heartbeat of the show. It’s a surrogate father-son dynamic that avoids the sappy cliches usually found in network TV. They change each other. Jake teaches Holt how to loosen his tie (metaphorically and literally), and Holt teaches Jake that discipline is a form of self-respect.
Amy Santiago and the Power of Being "Too Much"
Amy Santiago is a personal hero for every overachiever who has ever been told to "tone it down." In the early episodes, she’s the teacher's pet. She wants the promotion. She wants the Captain’s approval. She’s obsessed with binders.
Honestly, the way the writers handled Amy is a masterclass. They didn’t make her the "bitchy" rival. They leaned into her "Type A" personality as a superpower. When you look at the ensemble of characters on Brooklyn 99, Amy provides the necessary structural support. Without her competence, the 99th precinct would actually fall apart.
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Her romance with Jake—the "Peraltiago" of it all—is often cited by critics as one of the best-handled relationships in sitcom history. Why? Because it didn't rely on "will-they-won't-they" drama for six years. They got together, they stayed together, and they dealt with real issues like whether or not to have children. It was adult. It was respectful. It was, dare I say, healthy?
Rosa Diaz and the Mystery of the Leather Jacket
Then there’s Rosa. Stephanie Beatriz plays Rosa with such a low-register growl that it’s still shocking to hear the actress’s actual high-pitched speaking voice in interviews. Rosa Diaz is the "tough guy." She carries axes. She doesn't want you to know where she lives.
But Rosa’s arc regarding her bisexuality in Season 5 remains one of the most authentic portrayals of coming out ever aired on a major network. It wasn't a "very special episode" that was forgotten a week later. It became a core part of who she was. The show explored the friction it caused with her traditional parents, specifically her mother, played by Olga Merediz. It wasn't wrapped up in a neat little bow. It stayed messy, because coming out is often messy.
Among all the characters on Brooklyn 99, Rosa represents the internal walls we build to protect ourselves. Watching those walls slowly—very slowly—come down over eight years is a massive payoff for long-term viewers.
Terry, Charles, and the Subversion of Masculinity
We have to talk about Terry Jeffords and Charles Boyle. These two are the twin pillars of "New Masculinity" on the show.
Terry is a literal giant. He’s ripped. He’s intimidating. But his entire personality revolves around his love for his daughters, his passion for yogurt, and his occasional tendency to crumble under emotional stress. Terry Crews brought a vulnerability to the role that broke every stereotype about "the big guy" in action comedies. He’s the emotional glue of the office.
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Then there’s Charles.
Boyle is... a lot. He’s Jake’s best friend, but he’s also a foodie with questionable taste in metaphors and an absolute lack of boundaries. What’s fascinating about Charles is that he is completely devoid of ego. He doesn't care about being the "alpha." He is perfectly happy being the sidekick. He loves deeply, he cooks intensely, and he is the show’s primary source of physical comedy. While he’s often the butt of the joke, the show never suggests that he’s "lesser" because he isn't a traditional tough guy. He’s actually one of the most capable detectives on the squad.
Why These Characters Resonate in 2026
Sitcoms from the early 2010s often age like milk. You go back and watch them, and the jokes feel mean-spirited or the tropes feel dusty. Brooklyn Nine-Nine escapes this trap because the humor isn't derived from punching down. The characters on Brooklyn 99 are fundamentally kind people.
Even Gina Linetti, who is arguably the "meanest" character, is motivated by a bizarre sense of self-assuredness that usually ends up helping the team (in her own twisted way). The show created a "workplace family" that felt earned. They argued. They had different political views. They had different backgrounds. But they actually liked each other.
In an era of prestige TV where every character is an anti-hero or a sociopath, there is something radical about watching a group of people try to be "good."
The Supporting Players: Hitchcock and Scully
You can't write about this show without mentioning the human disaster zones that are Hitchcock and Scully. They are the "background noise" of the precinct. They represent the old guard—the detectives who have checked out and just want to eat wings and sit in their chairs.
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While they are mostly there for gross-out gags, the Season 6 episode "Hitchcock & Scully" gave us a glimpse into their past as "flat-top and the freak." It revealed that they were once the studs of the precinct who gave up their glory days to protect an innocent woman. It gave them layers. Even the "lazy" characters were given a moment of nobility.
Actionable Takeaways for the Super-Fan
If you’re looking to dive deeper into the world of these characters, or perhaps you're doing a rewatch and want to see things you missed, here are a few things to keep an eye on:
- Watch the background: The physical comedy from Joe Lo Truglio (Boyle) in the background of scenes is legendary. He is always "in character," even when the camera isn't on him.
- Trace the Holt-isms: Notice how Captain Holt’s vocabulary slightly shifts as he spends more time with the squad. He starts using "dirtbag" as an insult, a direct influence from Jake.
- Spot the "hidden" continuity: The show is great at long-form gags. The Halloween Heists are the obvious ones, but look for small call-backs to Amy's binders or Terry's various hobbies (like professional oil painting).
- Listen to the cold opens: The "I Want It That Way" lineup is the most famous, but the "Full Bullpen" or the "Diane Wiest Infection" are technical masterpieces of timing and character reaction.
The legacy of the characters on Brooklyn 99 isn't just that they made us laugh. It's that they showed us a version of the world where people can be flawed, ridiculous, and intense, but still choose to be better every single day.
If you want to understand why this show hit different, go back to Season 1, Episode 1. Watch how Jake looks at Holt. Then watch the series finale. The journey between those two points is one of the most satisfying arcs in modern television history. You don't just watch the 99; you feel like you've been recruited into it.
The next time you're scrolling through a streaming service, don't just look for something new. Look for the characters who feel like home. Nine-Nine!