Back Across THE BRIDGE

Article first published as THE BRIDGE Review Season 2 on Seat42F.

It’s a little weird to talk about this week’s episode of FX’s THE BRIDGE, entitled “Yankee,” as a season premiere. The major arc of the first year ends a bit early, and Detectives Sonya Cross (Diane Kruger) and Marco Ruiz (Demian Bichir) are already on to a new case hours before the season concludes. Thus, “Yankee” is a continuation of the story already in progress, rather than a fresh batch of subplots.

I like that, though. Life is not so segmented as most television shows seem to portray it, and the approach THE BRIDGE takes, keeping the narrative going without tying up all the threads at once, is more realistic. There are a lot of bad things happening near the U.S. / Mexico border, and Sonya and Marco are likely to investigate several of them, sometimes overlapping, as the show continues.

“Yankee” is a pretty typical hour of THE BRIDGE. Sonya is still having trouble understanding Marco (among other people), though she tries. Daniel Frye (Matthew Lillard) is still struggling with his alcoholism. Adriana’s (Emily Rios) sister is still missing. Hank (Ted Levine) still has sage wisdom to share. Charlotte (Annabeth Gish) is still working to come into her own as a criminal queenpin. There are still many missing girls. And something really brutal and bloody happens that viewers may not quite be expecting, not an uncommon occurrence. Basically, it is consistent in quality, tone, and structure with the other installments that have come before it.

Which is not to say that “Yankee” is without any season premiere hallmarks. While maintaining the ensemble from last year, this fresh episode brings a slew of new faces into the mix, each comfortably slipping in within the established framework. There’s: the chilling Eleanor Nacht (Franka Potente, Copper), who doles out harsh punishment for even the smallest slip up; Gary (Brian Baumgartner, The Office), the skeptical sponsor of Daniel Frye; Jack Dobbs (Nathan Phillips, The Saddle Club), the brother of the man who killed Sonya’s sister; DEA Agent Joe McKenzie (Abraham Benrubi, ER); and Sebastian Cerisola (Bruno Bichir, Demian’s brother), to name a few. Other episodes have introduced a new character or two, but it’s the number of arrivals here that make “Yankee” stand out just a bit.

The best part of THE BRIDGE is the gritty authenticity it uses to portray a certain area of the country. This is a place that many viewers will never have been, and there are quite a few differences in culture and action from elsewhere in the U.S. Heck, there are many variations whenever a character crosses from the United States to Mexico or back, two settings for the price of one. What’s most interesting, though, is the way the people who routinely slip back and forth interact with one another and their environment. It more than a culture clash, it’s a complete melding that is anything but consistent in makeup, leading to some personalities that must be quite versatile to cope.

THE BRIDGE can be a little boring from time to time. It’s not my favorite show on FX, and the pacing will often drag when jumping over to some of the less engaging side stories. This hurts the enjoyment factor, even though the inclusion of all of the different aspects are what fill out the world presented and make it seem so complex and layered.

However, it also has an excellent production and style, and is full of terrific performances. Kruger and Bichir stand out, of course, as the leads, but there is nary a weak link among those that surround them. Studying any one of the roles and how it is handled is sure to impress. In this, THE BRIDGE succeeds quite well.

THE BRIDGE airs Wednesdays at 10 p.m. ET on FX.

Crossing THE BRIDGE

Article first published as THE BRIDGE Review on Seat42F.

Grade: 95%

FX has a treat for summer viewers premiering this week. Titled THE BRIDGE, this latest serialized drama is a hybrid of Justified and The Killing. Loosely based on a Danish / Swedish show, THE BRIDGE follows American Detective Sonya Cross (Diane Kruger, Inglourious Basterds) and Mexican Detective Marco Ruiz (Demian Bichir, Weeds) as they investigate a serial killer after a body is found split in half on the border of their respective countries.

Kruger is brilliant as the impersonal officer with Asperger’s, stealing the show. She has great difficultly relating to people, and takes the rules and law completely literally, unable to even see why an exception should be made to let an ambulance cross the crime scene when it carries a man dying of a heart attack. Yet, Kruger plays the part with such earnestness and authenticity that she comes across as both believable and sympathetic. She is not defined by the condition, but it’s merely part of the larger, fully developed personality.

Asperger’s has been creeping onto television more and more in recent years, most notably in the NBC family drama Parenthood. What’s amazing is that, unlike in the past with other concepts, I can’t recall it being presented in a stereotypical or parody-like manner. Kruger is going to break new ground in expanding acknowledgment and understanding.

Setting the part in a police drama is great because Sonya’s skills both help and hinder her in her job. She is meticulous and detail-oriented, so she is likely to be very, very good at catching criminals. Yet, she has problems relating to others, so when she goes to deliver bad news to next of kin in the “Pilot,” we see her weaknesses laid bare. No matter how hard she tries, she can’t relate to others on the same level as most people, and that’s why she needs help. These are tasks she cannot avoid, and her department does not spare her this side of the job, meaning she has to find a way to make it work.

Enter Marco, who is all about the personal relationships. Marco, unlike most of his department, including his boss, is not beholden to criminals and has a strong moral compass. He is a beacon of hope for the struggling city of Juarez, hidden away in the thick smog of the corrupt. Marco does the best he can within the system, and clearly wishes he could operate in a similar manner as his El Paso counterparts.

Marco is the epitome of caring, and so quickly figures out what is going on with Sonya and latches on. I’m not sure if he sees something in her he likes, but he definitely appreciates what she brings to the table, and is attracted to her sense of justice. Together, they will balance each other out and be able to nab the bad guys.

Kruger will get all the attention because she has the character with the hook, but Bichir is every bit as vital to THE BRIDGE as she is. He has a presence that is more than just an interchangeable archetype, and he will control a great deal of the story, despite appearing to play second fiddle. It’s the manner in which Marco deals with Sonya that will define their partnership, and Bichir is very responsible for this element.

Now, the standard male-female partnership is prevalent across the crime genre. What makes THE BRIDGE different is that: a.) both characters are much more dynamic and fleshed out, b.) the show is about them at least as much as it is about the solving the case, and c.) the romantic tension is not played up. I’m not saying that there isn’t a connection between them, but like Holder and Linden on The Killing, that just isn’t the point of the show, unlike, say, Castle, which very much caters to the “will they, won’t they” between its leads.

Marco may just be what Sonya needs at work. Her mentor, Lieutenant Hank Wade (Ted Levine, Monk), who has advised her on all things emotional, is looking towards retirement. He can’t stick around forever, and has other considerations to think about besides Sonya. Sonya must have someone like Hank looking out for her, though, and so Marco may just be the substitute necessary at this time.

One of the best moments in the “Pilot” is when Hank breaks this news to Sonya. She takes it hard, and yet, without a lot of external reaction. We see the thoughts playing across Kruger’s face and the tears in her eyes, and yet she keeps her display within the character. We quickly realize this is about as bad as it gets for her, even showing more sadness here than when mentioning her dead sister. Sonya becomes a person in that scene, even to those who have trouble accessing the series through her until then.

There are also a couple of subplots going on. The aforementioned man in the ambulance dies, leaving his widow, Charlotte Millwright (Annabeth Gish, Brotherhood), whom he asks for a divorce for shortly before passing, to uncover his secrets. Presumably, there will be a connection between Charlotte’s husband and the dead bodies, but at this time, we do not know what it is. Also, a reporter named Daniel Frye (Matthew Lillard, Scooby-Doo), whom the cops strongly dislike, gets involved in a big way through no fault of his own, making for a heck of an exciting final act in this “Pilot.”

Basically, THE BRIDGE is a top notch, high quality crime drama, head and shoulders above what the broadcast networks deliver, in keeping with its FX and AMC peers. The cast is phenomenal and the writing is intelligent. It will likely be nominated for some awards, and many critics, this one included, will sing its praises. Don’t miss it.

THE BRIDGE premieres Wednesday at 10 p.m. ET on FX.

Weeds packs its "Bags"

     Last night kicks off Showtime's seventh season of Weeds. The premiere episode is titled "Bags," and it finds Nancy (Mary-Louise Parker) being released from prison after serving three years of her term, said to be far less than half of her sentence. As season six ends, it's obvious Nancy is going to jail to protect one of her sons, but the series skips over the period of her incarceration almost completely. It is revealed that Esteban (Demián Bichir) has been killed in prison, and since Nancy is of no more use to the FBI, they do her the final favor of sticking her in a halfway house in New York City. Nancy asks her sister, Jill (Jennifer Jason Leigh), not to tell anyone about the development, but Jill doesn't listen, and it isn't long before Nancy's family is on their way to her.

      It's a shame there isn't some exploration of Nancy's stint behind bars, but the time jump does nicely set things up as fresh, with various characters moving in various directions with their lives in the intervening time, and what will come next is highly unpredictable. What is known is that Nancy has a plan to get back on top, and it begins with a cache of weapons she is told about by her cellmate.

     Nancy being involved in a lesbian relationship in prison is not unexpected, as she always seeks physical comfort and protection, no matter what position she finds herself in. As such, while the kiss between Nancy and the other woman is likely intended to shock, instead, it merely triggers a, "Oh, of course." What will be far more interesting is if the lover gets out of jail and searches for Nancy, who, outside of the prison walls, will most likely no longer want female companionship of that sort, especially not from a convicted felon.

     Another bump in Nancy's road ahead will be the aforementioned sister, Jill. From the short conversation they share over the video chat, it appears Jill is raising Nancy's young son, Stevie, as her own, and has no intention of giving him back to his mother. In fact, Stevie thinks Nancy is his aunt. This is not new behavior for Jill, who previously tries to "save" Nancy's other children. Unfortunately for Jill, Nancy will not take no for an answer, and at the earliest opportunity, she will try to reclaim her missing offspring. Knowing Nancy, she will probably succeed, but not before causing herself and those around her more unneeded trouble.

     A halfway house does not seem a natural environment for Nancy, the former pot dealer. She is not in her new quarters an hour before she engaging in illegal activities that most certainly violate her parole. The only real question is, how soon before Nancy makes a break for it, and has the law chasing after her again? Despite numerous bad experiences, Nancy is not the type to sit tight and wait things out for an indeterminate amount of time, and the chances of her serving out her time there are small, indeed.

     Shane (Alexander Gould), unsurprisingly, has things together the best when the series rejoins the rest of the cast, who have spent the past three years living in Denmark. Shane has a regular girl, though she dumps him, and is leading a life he enjoys, putting on shows with marionettes. It's also Shane who makes the decision to return to Nancy, and predicts that Uncle Andy (Justin Kirk) will want to join him.

     Andy cannot let go of Nancy, despite her many rejections of him as a romantic partner. Nancy's dead husband's brother, Andy has a fantasy that, because he serves as a father figure for his nephews, he will someday get to be their actual step-father. Nancy merely uses him and strings him along. Too bad, then, that Andy's reticence to return to the states upon learning that she has regained her freedom is token, at best. Even after having three years to ruminate on all of the ways Nancy has screwed him, not literally, Andy still is ready to rush to her side. He is, at heart, a very good guy, and Nancy does not deserve him. It is sad she will never realize that.

     Also accompanying Shane and Andy is Doug (Kevin Nealon). Despite being left behind by the Botwins many times, living with them in a foreign country for three years seems to finally have made Doug a part of the family. Though, they must not show it to him, judging by his surprise that he is invited along on the newest journey. Andy and Doug are good friends, but Andy puts his family first, always. Shane realizes that Doug is now included in the group, and it's touching when that is made known to Doug.

     Unfortunately, the same courtesy is not extended to elder brother Silas (Hunter Parrish), who has found work as a male model for some type of beverage. While it is understandable that Shane would not expect Silas to want to go for a variety of reasons, not least of which is Silas's extreme anger at his mother when last the two were together, it is also not kind to leave him behind in Denmark, either. Whether Silas wants to go to New York or not should be up to him, and the least Shane could have done is presented it as Silas's choice. To not do so is a sign Shane may have turned his back on Silas, a regrettable development for the brothers.


     Make sure you tune into Weeds next week as Nancy gets her boys back. The series airs Monday nights at 10 p.m. ET on Showtime.

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     For Weeds DVDs and streaming episodes, please click here.

Article first published as TV Review: Weeds - "Bags" on Blogcritics.

Weeds "Theoretical Love Is Not Dead"

     Six seasons in, is anyone getting tired of Showtime's Weeds?  'Cause I'm sure not.  And after this week's season six finale, I'm not sure how anyone else could be either.  The series is constantly reinventing itself, and this year was certainly no different.

     The show spent it's first three years in a quiet, suburban community.  It got a little grittier as pretty much all of the main characters moved south to the California-Mexico border for seasons four and five.  Season six found the Botwins, along with pal Doug (Kevin Nealon) on the run.  They went through the northern states of Washington, Montana, Colorado, and a few other places, before ending up in Dearborn, Michigan, Nancy's (Mary-Louise Parker) hometown.  They crash with her former teacher, who was also her lover, Warren (hilariously, Richard Dreyfuss).  Of course, they cannot run forever, and their enemies track them there, as well.

     As the finale began, Nancy was being held hostage by her husband, Esteban (Demian Bichir), and his henchman, Guillermo (Guillermo Diaz).  They have come for Esteban and Nancy's baby, who she took when she fled.  Esteban wants Stevie back, and then he will kill Nancy.  Nancy's family is already at the airport, waiting for her.  She manages to sneak a call off to Andy (Justin Kirk), telling him they will be going with Plan C, which Andy is not at all happy about.  Through a series of small twists, Warren is arrested, Andy, Shane (Alexander Gould), and Silas (Hunter Parrish) make it safely on a plane to Paris, and Nancy willfully stays behind with Steview, Esteban, and Guillermo.

     At this point, viewers like may were wondering if the crazy woman had finally snapped.  Did Nancy actually believe that Esteban would let her live after, from his viewpoint, kidnapping his child?  Esteban has killed for far less.  However, Weeds has a repuation for delivering each season finale a twist ending, and this one was no different.  As Nancy and her captors walked out of the airport, a squadron of police and F.B.I. were there waiting for her, and she quickly confessed to the murder of Pilar Zuzua, an act that Shane actually committed.

     Where does this leave Weeds for season 7?  Obviously, Nancy will be spending some time in lockup.  She may be released, as the evidence may not point to her.  Afterall, she didn't do it.  But of course she'd lie to protect her son, so she will do her best to convince them that she did.  Will Esteban release the videotape that proves Shane killed Pilar?  Will Nancy's family come back and try to break her out?  Will they come back at all?  Will Doug be returning?  Fans were upset about the depature of long-time star Elizabeth Perkins, who played Celia Hodes, this year.  Is this an opportunity to bring her back?  Or will Doug join her on the used-to-be list?  Will a couple of years have passed, so her sons can be the proper age (only four years have passed in the first six seasons)?  There are so many questions!

     But there are always so many questions left on Weeds.  Luckily, the series has been renewed for a seventh season, so they will not be left unanswered.

For frequent mini-reviews and occasional tv news, follow Jerome on Twitter.

The Weeds have been pulled

     Showtime's Weeds returned for it's sixth season last Monday, and the first two episodes have basically only set up the next volume in the story.  I saw volume instead of chapter because this is the second time the show has practically reinvented itself from the ground up.  At the end of season three, the suburb where the story was set burnt to the ground, taking the now ill-fitting theme song with it, as well as any racially diverse cast members.  Nancy Botwin (Mary-Louise Parker, The West Wing) took her family south, and they soon settled into new routines near the Mexican border, and with new minorities.  She was soon caught up in the drug game again, and plenty of old familiar faces found their way back to Nancy.  As season six begins, the principal cast has slimmed down to only Nancy's family and Doug (Kevin Nealon, Saturday Night Live), who did not appear the last two weeks.

     It's very regrettable that Celia (Elizabeth Perkins, Must Love Dogs, The Flintstones) is gone, but she and many of the recurring characters has a great ending, setting up a new gang of misfits.  How Doug left that group is anyone's guess.  Early previews show Doug being captured and forced to try to help Nancy's current husband, Esteban (Demian Bichir) track Nancy and their infant son down.  Nancy, meanwhile, has fled north, up not across the border, with the baby and older sons Silas (Hunter Parrish) and Shane (Alexander Gould) in tow, as well as their Uncle Andy (Justin Kirk, Angels in America).  The reason for their flight is that Shane killed a woman to stop her from killing him and his brother.

     The actors are really showing their range.  Parker's character is barely sane anymore, and has taken her always confused Nancy to the extreme.  Shane, once the sweet child, is homicidal, and doesn't seem to concern himself with guilt, a startling, but satisfying twist, considering it has really given a chance for Gould to shine.  Silas has had more plot previously, but one can definitely feel his frustration at having his life ruined.  And Andy, well, Andy just goes with the flow like always.

     One wonders if the Botwins, now rechristened the Newmans, will manage to stay at their next harbor very long, or if they will be on the run for the rest of the series.  Surely it's only a matter of time before they are found.  Yet, I find myself more interested in what they will be doing now, rather than what's coming for them.  And I am extremely grateful that the harsh lighting of southern California and Mexico has been left behind.

     Weeds, a brilliant dramedy, airs Monday nights at 10pm on Showtime.