TV Club: The Brink: “Swim, Shmuley, Swim”

One of the most confounding aspects of The Brink is its insistence on geographically separating the three main storylines. Though the frequent crosscutting between different locations gives the episodes a sort of dynamism and forward momentum, it also forces each storyline to live and die on its own with barely any structural or narrative binding to hold them together. It’s obviously not a necessity for a serialized show like The Brink to keep all its subplots close to the vest, but it would certainly provide more cohesion and potency to some key moments, like when Larsen discovers Raja has fled Pakistan with the $80 million. It’s possible The Brink is playing the long game by keeping its principal characters apart—I wouldn’t be surprised if there was a bottle episode with everyone together in the back half of the season—but in the meantime, it often creates …

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