Good review, as is the norm, from Andy Greenwald at Grantland.
"Rio" was a fine hour of television, moody and enrapturing with a steady, tactile sense of place. Under the watchful eye of Danish director Charlotte Sieling — who worked extensively on the original version of The Bridge — it was possible to feel the harsh sun beating down on the poisonous, desert crime scene, to taste the Freon in the El Paso PD office where Daniel Frye needed a blast of freeze in each nostril just to answer some questions. I'm appreciating the grace notes of tone and texture that elevate each scene above the occasionally grinding gears of exposition, like the sound of Rio, the doomed horse, running in circles while Charlotte tried to hold her ground or the way Deputy Matty Stokes has quickly evolved from a throwaway day player into much-needed comic relief.
Another one from Jen Chaney at Vulture.
“I just Google-searched dialectics,” Lieutenant Hank Wade said after processing the killer’s conversation with Frye. “I still don’t know what it means.”
Some viewers were probably right there with you, Hank. Let’s not worry about delving into dialectics as it pertains to the Socratic method, or explaining the intricacies of dialectical materialism. Seriously, let’s not. It makes my head hurt. The key thing to know about dialectics within the context of The Bridge is that, as Sonya said, it involves the acknowledgement of two opposing forces — say, poor Mexican woman vs. wealthy American men — as a way to move toward resolving an issue. The issue in this case: immigration and the frightening things that are happening down south in Juárez.
The other thing to know about dialectics is that, as defined above, it’s basically the philosophy that governs this entire show. Mexico/America. Rich/poor. Judge Gates/Cristina Fuentes. Marco/Sonya. Daniel Frye/Adriana Mendez. There are opposing forces all over the place on The Bridge that, by season’s end, will hopefully join together as a symbol that larger cultural gaps can be transcended, too. But we’re not there yet. In the current moment, there’s still a killer to catch.