By Alyssa Rosenberg on October 3, 2013
'The Bridge' goes out on a mixed note, with strong scenes, but a sense that it doesn't actually know what the best parts of its story are.
By Alyssa Rosenberg on September 26, 2013
Now that 'The Bridge' is through with David Tate, it's free to fulfill its promise and start exploring Juarez and El Paso in greater detail.
By Alyssa Rosenberg on September 19, 2013
'The Bridge' has been at its best when it's a wrenching show about friendship. It'll get better if those friendships serve a larger purpose.
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By Alyssa Rosenberg on September 18, 2013
On 'The Bridge' and 'Louie,' and on 'Girls' and 'The League,' bad friendships can be just as damaging--if not worse--than romantic liaisons gone awry.
By Alyssa Rosenberg on September 12, 2013
After a descent into absurdity, 'The Bridge' returns with a clinic on why it could be one of the best shows on television, if it focused on characters and didn't bog its sensational cast down in nonsensical plots.
By Alyssa Rosenberg on September 9, 2013
Prestige television is plagued by masterminds, evil geniuses whose plots look stupid in retrospect, and who take away from main characters.
By Alyssa Rosenberg on September 5, 2013
'The Bridge' is a much better show when it focuses on emotions, rather than the machinations of a mastermind.
By Alyssa Rosenberg on August 29, 2013
'The Bridge' is a better show when it's about developing relationships and institutions than it is when it's setting up brilliant but boring crimes.
By Alyssa Rosenberg on August 22, 2013
Sonya and Marco seem to make a major break in their case, but the real strength of this episode of 'The Bridge' is the way it lingers on four partnerships.
By Alyssa Rosenberg on August 15, 2013
This week on 'The Bridge,' we get a surprising look into Sonya's past, and a meditation on why taking responsibility for your actions matters.