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.
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