The Bridge is at its best when it’s embracing the unique world that’s been built up, the intriguing characters and the unsettling, strange mood hanging over every scene. When it descended into a fairly black-and-white revenge plot last season, much of the world-building was put on hold, but thankfully, “Sorrowsworn” is another step in the right direction.
“Yankee” was about people operating in the same location as each other, but operating in seemingly disconnected manners; we saw characters out searching for answers, scattered, with feelings of isolation creeping in at every turn. “Ghost of a Flea” begins to move these characters toward each other again, and the more fluid nature of the episode serves as a significant improvement over the premiere.
Season 1 of The Bridge was at once a serial killer drama and a look at the goings on of the border between the United States and Mexico, a plot-driven David Tate story and a character-driven Marco-Sonya dynamic, a cliche and a unique take on sociopolitical climates. It seemed like various shows wrapped up into one package overflowing with good ideas, but ultimately without enough cohesiveness to elevate it to the top tier of television shows.
So we have come to the end of season 1 of The Bridge, an ambitiously structured, wholly entertaining set of episodes. This finale doesn’t exactly feel like a finale, and that’s because it really isn’t; it’s more of a transition piece into season 2, setting up new roads for the characters rather than wrapping storylines up. There’s not much to wrap up, though, and I do have to commend the show for handling the season in an unconventional manner.
As for the episode itself, the storyline with the most heft once again belongs to Marco, sending him and Sonya to investigate Eva’s disappearance. Sonya’s determined to follow through on this case, and she’s able to get her way; in addition, Marco’s back as her partner. However, he’s a changed man, resorting to violence to satiate his thirst for revenge. Sonya notices, and she’s clearly disturbed. An essential part of Marco’s growth is the character of Sonya Cross, a woman who’s been a social outcast, but desperately wants to incorporate Marco into her life. Not only do we experience Marco’s grief through his eyes, but we also experience it through Sonya’s eyes, adding weight to the whole situation. She recognizes what he’s feeling, but she’s never viewed that feeling as able to manifest itself the way it does in Marco. This idea is the basis behind her connection to him and our connection to this relationship, and it remains a strong focal point for the episode and season to revolve around.
What is Marco feeling, though? He’s angry and depressed, sure, but the most prevalent feeling is one of isolation. As he remarks to Galvan in that final scene, he doesn’t care anymore about what happens to him; he’s set on one goal: killing David Tate. I’m not all that optimistic about where this storyline will end up, as I’m sure the writers can highlight the nuances of grief without emulating the David Tate storyline. Who knows? Surprise me, writers.
Elsewhere, Charlotte’s starting to come into her own as a character. For much of the season, I felt like her arc was superfluous (a title I’d now assign to Ray), and I’m happy that she’s become more than a person that slept with Marco. She’s just another piece to the puzzle. Of course, we also have Linder, who doesn’t seem to fit in anywhere. He’s great, and he essentially saves Eva, but that doesn’t change the fact that he seems like an outlier amidst all the proceedings.
The Bridge really does a nice job of introducing a new direction for the show to take, though. We’re essentially already at the beginning of next season’s arc, and it seems as if the show will now be able to touch on some of the sociopolitical aspects of the border. It’s what the show set out to do.
The show has touched on death, grief, greed, and revenge. It’s delivered thrills, hilarious Sonya moments, and genuine character relationships. It’s one of the better new shows of the year, and it will hopefully remain that way.
Grade: B
Season Grade: B
Other thoughts:
-I also really enjoy the Sonya-Hank relationship.
-One other storyline in this episode: Frye and Adriana searching for Millie Quintana. This is an intriguing storyline, and the Frye-Adriana dynamic is so good that I’d watch the two of them watching paint dry.
-Seeing the mom waiting by the bus is a pretty heartbreaking scene.
-Cesar’s cool.
-The cover of “Living On A Prayer”…I don’t know what to think of it.
-I’d say I enjoy this finale for not trying to do too much, but I’m also a bit underwhelmed.
-It’s been a pleasure recapping this show. See you all next year for Season 2.
Credit to The Bridge and FX for all pictures. I own nothing.
We all have tragedy in our lives. We all have to get through every day, whether we feel like it or not, and sometimes, starting off the day is the hardest thing to do. Perhaps we pour ourselves a cup of coffee. Perhaps we go for a jog. Perhaps we make our bed.
Hank tells Marco that his wife told him to make his bed every morning, and Marco takes that suggestion to heart; he needs to get a sense of order back in this crazy life he’s living. Getting drunk is an easy way out, something Frye knows all too well.
Still, Marco attempts this at first. However, the one force that’s stopping him is Sonya Cross, that woman whose condition has alienated her, preventing her from connecting with Marco on a more personal level. It’s both sweet and refreshing to see Sonya so determined to make this connection, a connection that may very well be more important to her than to Marco. He’s a guy that can pick himself up again; she, like she says at Marco’s front door, “has no one else”. Yet, possession is essential to her. She can’t let go of her sister’s car or the cassette tape in it. All throughout her life, she’s been alienated, and she’s turned to objects to fulfill her emotional needs.
These two characters are inherently fascinating. I can only lament the fact that the David Tate storyline was the impediment to the continued exploration of this relationship. Hopefully we can just get back to the rudimentary ideals behind the show.
One of these ideals is that the border situation affects everyone living there. The other main storyline of the episode involves Linder’s search for Eva, a character that really doesn’t feel like a character right now. However, what the show does is show the effects of the El Paso-Juarez world on specific characters (in this case, Linder), and then use that to represent the larger scope that they want to convey. The storyline is “All About Eva”, and we’re invested because Linder’s a main character. Yet, take a look at the final scene. It, and the episode, focuses on him first, then slowly zooms back so that we can see the truly far-reaching effects of this particular case. It both magnifies and underscores the tragedy.
What this episode does well is reflect actual humans living through actual tragedies. It doesn’t make them the tragedy, as with Tate. Tate’s character was emblematic of the exact opposite of what I mention in the paragraph above, and that ultimately hurt my opinion of the handling of the character. We all have stuff to get through. We’re all human.
Grade: A-
Other thoughts:
-This episode also has a sense of finality to it. I’m interested to see how the actual finale plays out.
-Fausto Galvan is the best. I wish his storyline had been more developed.
-“I told him you wouldn’t like it if we dated.” “No I would not have.”
-“Is there any chance she went back to her boyfriend?” “No, not really.”
-The Frye/Adriana dinner scenes are always a treat.
-Next week, Fausto should just walk into the police station and start threatening everyone. He might as well cut off a few dicks, balls, and lips while he’s at it.
-FX renewed the show for another season. This is good news.
Credit to FX and The Bridge for all pictures. I own nothing.
“You will be like me when this ends. That I can promise you.”
Marco Ruiz has gone through pain and suffering that no one should ever have to go through. That’s not to say he isn’t to blame for some of it, but he’s been forced down a descending path of darkness, slipping and sliding to the edge of the abyss. That edge manifests itself right there on the bridge in a standoff between David Tate and Marco, and it’s a satisfying conclusion to a storyline that needed to be wrapped up as soon as possible.
The episode doesn’t stray from the events surrounding that standoff, and it’s a tense, well constructed sequence of events. The main problem I have with it is that it’s essentially a rehash of everything that’s played out so far in the season, whether it be David Tate’s psycho-ramblings or Marco’s anguished screams. However, I’m happy that the storyline has finally come to a close. The show’s been spinning its wheels for a while, and there are two episodes left to head back into the world of El Paso. The thing is, I have absolutely no idea what the writers’ plans are for the rest of the season, and I’m not sure if that’s a good thing or a bad thing.
Anyway, both Bichir and Kruger once again do magnificent work, and where they’re at their best is during moments of silence. When Marco asks Sonya about Gus, it’s heartbreaking to see her struggle to answer the question, and the silence says it all. After Tate is dealt with (good work, Sonya!), we also get subsequent scenes of silence, none better than Marco’s scene in the morgue with Gus. Bichir conveys so much emotion there that it makes the last scene incredibly painful and beautiful to watch. Imagine how much more haunting that final image would be if the song doesn’t kick in.
One other scene I’d like to talk about is when Sonya visits Marco in the hospital. She’s devastated, having failed at the most important thing in her life right now. Marco, understandably upset, pushes her away, stating that they’re not friends anymore. It says so much for Sonya’s character growth that she doesn’t point out the fact that she actually saved him, and that everything could’ve been avoided if not for Marco’s actions. Earlier Sonya might’ve, but this case has matured her such that she’ll go out of her way not to point it out. A couple episodes ago, Marco blew up at her for stating the obvious, asking her to just tell him what he wanted to hear. In this episode’s hospital scene, Sonya goes “I told you what you wanted to hear. What was I supposed to do?”
It’s evident that she’s started to learn from Marco and truly cares for him. She’s not going to kick him while he’s down, so that’s what makes the scene that much more heartbreaking.
This is one of the better episodes of the season, and I’m uncertain, yet kind of excited, to see where the show goes next.
Grade: A-
Other thoughts:
-I want the Tate storyline to be wrapped up, but not completely ignored later on. There are so many aspects of his character that are way too mysterious and muddled, and I’d like to glean some more information about his motivations. Right now, the storytelling for him is still absolutely ludicrous.
-I’m pleasantly surprised the show has the guts to kill off Gus. It doesn’t have the emotional impact it should have, but Marco makes it work.
-The cold open consists of Ray disposing of some bodies. That’s an interesting way to start off the episode.
-This episode seriously needs a random cutaway, right in the middle of all the tension on the bridge, to Linder dropping bodies out of a window or something.
-Why wouldn’t Marco just throw the gun over the side of the bridge? He’s just asking for Frye to get shot by basically handing the gun back to the murderer right in front of him. Honestly, though, I’m just happy that Frye somehow survives that. Lillard has done such great work with the character, and it would’ve been a crappy way to go out.
Credit to FX and The Bridge for all pictures. I own nothing.
Most of television nowadays is entertaining without really being thoughtful. The Bridge is starting to shift toward this end of the spectrum, as the story that’s now unfolding on screen is one of a criminal mastermind and the cops that are trying to catch him. That’s not to say the show is bad, but the tonal shift is evident.
Most of this specific episode involves Marco and Sonya trying to find Gus, and this storyline ultimately feels like a waste of time. Marco would’ve gotten that phone call from Tate no matter what, and their search feels like a wild goose chase. I suppose it could be spun so that a wild goose chase is necessary, as it heightens the sense of desperation felt by the two cops, but there are better ways to do this. Bichir and Kruger milk the hell out of their roles (the scene shown in the picture above is absolutely fantastic. It marks a reversal of their character roles, as last week, Marco was the one trying to inject optimism into the proceedings. This week, Sonya’s forced to comfort him and maintain a level of confidence.), but I find myself losing interest. This is especially the case for Tate, as his motivations are a bit muddled now. For example, why blame Marco more than anyone else? It’s these kind of inconsistencies that prevent me from really getting involved with this storyline.
I am interested, however, in Mathew Lillard’s Daniel Frye, a character whose layers are exposed in this episode. Lillard is wonderful throughout, especially in an AA meeting scene in which he goes from making a joke out of everything to breaking down and pledging to maintain sobriety. Lillard conveys a full range of emotions there, and it’s almost a moment of catharsis for him. Of course, then Mr. Omnipresent Tate walks up to him in the parking lot and abducts him. Enough with this kind of stuff, show.
The other side story of the episode involves Charlotte, a character that I have a ton of problems with. Right now, she’s just tangentially related to the search for Gus, and her scenes really feel out of place. I also don’t buy her sudden transformation into a killer. Yes, she’s been backed into a corner, but when I said I wanted her to become more of herself, this isn’t what I meant.
So, we head into next week with Gus in some giant barrel lit by a glowstick, and Marco and Tate driving together to get him. Of course, there’s always the possibility that they’re just going to drive off into nowhere and eventually meet up with Todd.
Grade: B
Other Thoughts:
-Or, maybe Marco will realize that he doesn’t care about Gus, and just shoot Tate. Or, Tate’s whole plan will revolve around Marco having a gun, and when they get to their destination, they find out that his gun is out of bullets.
-I like Alma and Marco’s scene, as well as Alma’s refusal to go with him. Yes, it may seem stupid and cold, but it makes sense if you think about it. She realizes that it’s Marco all along that has been the danger to her and her children.
-“Twelve steps can suck my dick.”
-No Linder. I guess he’s off eating ham sandwiches, disposing of corpses, and being his usual unintelligible self. I hope that if this continues for multiple seasons, his storylines just involve him wandering around doing whatever the hell he wants.
-Diane Kruger still looks great while injured.
Credit to FX and The Bridge for all pictures. I own nothing.
The first few minutes of this episode of The Bridge is devoted to a flashback, one that takes us right into the tragedy of the car crash that claimed David Tate’s family. The camera focuses on his tear-drenched, anguished face, and we hear his miserable screams as he watches his family getting pulled out of the car. It’s almost as if we’re in a dream, and we feel his pain. The scene lasts for a few minutes, but lingers for even more than that.
The main plot involves Tate’s kidnapping of Marco’s family, one that anchors a tightly plotted, intense episode. It seems as if the writers have committed to the revenge storyline, which, as I said last week, certainly limits the scope of the show. However, a commenter pointed out that it’s always possible that Tate isn’t ‘The Beast’. I’m dubious that there would be this much misdirection near the end of the season, but who knows? The reason given for his murders, though, is satisfying, as it combines elements of his personal life with the political ramifications of certain actions taken by the police departments.
Anyway, the episode really attempts to humanize Tate, a task done so both by the opening sequence and a scene on a playground. No, the scene in question does not involve Tate yelling “Yaaaaaay!” as he rides down a slide backwards. It involves him pouring out his heart to Alma, and he does so even with the knowledge that he intends to kill her. The pain in his eyes is genuine. Everything he says is true. He’s a desperate, vulnerable man that has been forced to resort to revenge to give him purpose. It’s only fitting that Alma, a vulnerable woman cheated on by her husband, would be so drawn to someone like Tate. They share a common bond of loss, and it gets her into trouble.
Side plots once again involve Linder and Charlotte, both dealing with death in their own ways. They also both look for advice, Linder in the form of a ranch owner and Charlotte in the form of Cesar. They both have to ask if their murder was justified, and they both have to grapple with their moral values.
The character moments in this episode work for me, but yet again, the plot is questionable. For example, take the final scene. How does Tate know when and where Gus is going? The final scene feels contrived, especially as a way to juxtapose with the opening. Tate lost his son, so he’s now going to take Marco’s son.
For the most part, the episode works for me. It contains a very well-constructed central plot with great character development and some questionable plot points, but it’s very enjoyable.
Grade: B+
Other thoughts:
-I guess a tracker, maybe?
-On Charlotte’s plot: I’m glad we got more advancement here, and I’m excited about her team-up with Cesar.
-“MILF? I don’t have children.” Sonya, you are amazing.
-Demian Bichir did great work again. He portrayed a desperate, determined man very well.
-Linder and the ranch guy’s conversation about food and death was one of the weirdest, yet most hilarious, things I’ve seen on television this year.
Credit to FX and The Bridge for all pictures. I own nothing.
“You’re contaminating the crime scene!”
One of the most appealing aspects of this show, aside from the location, is the all-encompassing, mysterious, political agenda-seeking aura of “The Beast”, the killer that, before tonight, had not been revealed. Putting a face to the name is an interesting choice, especially with four episodes remaining in the season. Of course, that’s not to say I’m not intrigued or appreciative; too many shows rely on their penultimate and final episodes to bring out the big guns, and I’m looking forward to see how The Bridge handles this situation.
Personally, I’m mixed on the actual reveal. Here, we have a sudden and complete reversal of the thematic essence of the show, instead tailoring the killer’s motives toward personal reasons. I like how several characters play a part in the creation of this murderer, strengthening the interconnectedness of those involved. However, I feel as if a chunk has been taken out of the show’s attempt at world-building. Sure, it’s never really about the mystery, but the mystery’s absolutely necessary. It propels the plot, affecting the characters and highlighting their places in this world in relation to the murder. Of course, the ends can always justify the means. We’ll have to see.
In terms of other storylines, Linder’s haunted by Galvan’s face during his dreams involving a Latina in a bikini giving him milk (that sounds strange when I write it). We don’t really know much about him yet, but we do know his actions are weighing on his mind. It will be incredibly interesting to see how, and if, Galvan, Linder, and Tate all interact. They should put them all at a dinner table or something.
The other main subplot involves Charlotte, a character I really just have no interest in. I hope they start distancing her from Ray, which I think is already set in motion; I want to see her character become her own self, and more fleshed out. Then I can be invested.
Some unifying themes across this episode are ones of escape and influence. Marco can’t escape from his realization at the end, and he’s trapped between the influence of his family and the influence of his job. Linder can’t escape from Galvan or his influence. Charlotte wants to escape, but is trapped by the influence of men in her life.
All in all, it’s an uneven episode of The Bridge, but it’s generally compelling and it sets a new path for the show to take.
Grade: B
Other thoughts:
-The conversation between Gus and Sonya is a nice, quiet moment, and also reflects the themes of escape and influence. She can’t escape from her disorder, and she’s unable to fully grasp her true situation, however much of an influence it has on her.
-Wow, you can slice open someone’s neck, stand behind them, lay them down, and not get blood on your clothes? Nice!
-The opening scene was fun.
Credit to FX and The Bridge for all pictures. I own nothing.
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