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At its zenith, over 12 million people actively played “World of Warcraft.” That’s no small number, but it still leaves a huge swath of humanity in the dark about what this new movie about Humans vs. Orcs is all about. Legendary Pictures hopes to spark mainstream interest in the world of Azeroth this week when the first full-length trailer for “Warcraft” drops during BlizzCon. But we live in a world where even trailers get trailers and “Warcraft” is no exception. As of today, fans can get sneak peek at what’s in store when the film hits theaters next year. And for the biggest of the lore nerds, the background landscapes are iconic enough to give us a pretty good idea of where our heroes will be traveling. Lucky for you guys, I’m one of those nerds. War is coming. See the exclusive trailer debut this Friday. #WarcraftMovie https://t.

The Bridge Season 2, Episode 13 “Jubilex”

Written by Elwood Reid

Directed by John Dahl

Aired 10/1/14 on FX

Well, that all certainly happened quickly: once “Jubilex” gets rolling, Big Things just start happening left and right in the second half. Galvan is down – and brought in by Marco to be booked into Mexican prison. Eleanor’s father gets to see sunlight – and promptly gets a bullet in his temple before Eleanor is arrested by Sonya. Buckley gets taken out, and Daniel and Adriana get closer as friends; all of these things are happening in the short 46 minutes of “Jubilex”, so it’s no surprise some of it feels compressed, highly coincidental – or in some places, downright nonsensical (wait… so Eleanor got overpowered by her captive, weak father? And Cerisola knew she was going to the tree she was raped at… how?). Thanks to spending half a season untangling itself from the messes of last season,...

The Bridge Season 2, Episodes 9 & 10 “Rakshasa”/”Eidolon”

Written by Marisha Mukerjee/Patrick Somerville

Directed by Guillermo Navarro/Colin Bucksey

Airs Wednesdays at 10pm Et on FX

For all the talk around the internet of how The Bridge solved “the David Tate” problem of season one by removing the whole Serial Killer with a Personal Vendetta crap from the proceedings, “Rakshasa” and “Eidolon” both prove – as the entire season has, really – that the show hasn’t really ‘solved’ this issue at all, even after killing off David Tate a few weeks ago. They’ve merely replaced it, morphing a scorned employee of a main character’s wife into a one-off villain whose personality and characteristics are as random as the motivations David Tate seemed to have throughout season one’s episodes. I’m obviously talking about Eleanor Nacht – and while the performance and dramatic storytelling around it continue to be entertaining, her...

Earlier today, I published an interview with "The Bridge" showrunner Elwood Reid about how great season 2 has turned out to be. Now I have a review of tonight's episode coming up just as soon as I throw in a pair of custom boots... There were times early in this season where I worried that the story was becoming too big and diffuse. Marco and Sonya were only occasionally together and the entire ensemble (seemingly larger than ever) was scattered all over the map in stories that were vaguely linked to one another. Even though I was enjoying certain parts of the season (Frye and Adriana's investigation, or the compelling oddness of Franka Potente's work as Eleanor), the whole of it wasn't entirely working. But this second half of season 2 has been a powerful, thrilling reward for the slow and expansive first. Everything is moving faster now, and everything has...

In this Golden Glut of TV drama, it's hard for any new drama to break through and find an audience, because there are so many options out there (not to mention easy access to most of the great dramas of the previous 50 years). It's harder still for a show that has an audience and loses it to get those people back, no matter how good it becomes. Case in point: FX's "The Bridge," the current belt-holder for Best Show You're Not Watching. In season 1, the ratings weren't huge, but they were decent enough for FX to order a second season. The problem is that the original batch of episodes — translating the Scandinavian series "Broen" from the Denmark/Sweden border to the one dividing the U.S. and Mexico, complete with a relatively faithful rendering of that show's serial killer story — wound up turning a lot of viewers off as the season went along.

A review of tonight's "The Bridge" coming up just as soon as I turn up the relaxing strings... "That war is finally here, in the U.S." -Marco Season 2 of "The Bridge" has featured a pretty sprawling narrative — too sprawling, on occasion. But the stories have been converging nicely in the last several weeks, and "Rakshasa" is a fairly streamlined episode. There's action on both sides of the border, but all of it spins out of various factions — the DEA, Sebastian and Eleanor, Marco and Sonya — trying to take down the fugitive Fausto Galvan, and on Fausto's attempts to strike back at his many enemies. No reporters this week, no Linder and Eva freelance revenge squadding, just the bare minimum needed to move this part of the story along. By the end of another violent hour, the Chopper, the DEA agents, Charlotte, Chip the realtor(*) and the notary are all...

The Bridge Season 2, Episode 7 “Goliath”

Written by Elwood Reid & Dario Scardapane

Directed by Jakob Verbruggen

Airs Wednesdays at 10pm Et on FX

The longer The Bridge‘s second season continues, the more a singular thematic thread becomes apparent. Regardless of character, the second season of The Bridge is about the struggles of living in a world of compromise, where morals and traditions fall to the wayside, and everything in life becomes a transaction or an ultimatum. Is there such thing as definitive “justice” in the modern world, or forgiveness? Is there such thing as absolute loyalty, or do the negotiations between politics, personal pride, and business ruin those who refuse to live sitting on the fence? These are the kinds of questions the pulpier, more character-based second season of The Bridge is exploring: and although it’s not quite hitting on all cylinders in “Goliath”, that central idea continues to manifest in fascinating ways.