by Alyssa Rosenberg Posted on December 18, 2013
'30 Rock' ended, 'Bunheads' was killed off too soon, but 'Orange Is The New Black' and 'The Americans' are abundantly alive, and changing the rules of TV. A dispatch from a vibrant year on all kinds of small screens.
by Alyssa Rosenberg Posted 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 Posted 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 Posted 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.
by Alyssa Rosenberg Posted 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 Posted 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 Posted 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 Posted 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 Posted 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 Posted 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.