Hodge continues to ground Cross as brilliant but wounded. In “PDTV,” his obsession with protecting his kids (Jannie and Damon) while closing the case reaches a breaking point. There’s a scene where he watches a hostage video of someone close to him — his silent, barely contained rage is gripping.
Isaiah Mustafa’s Sampson gets more to do here than just be the loyal friend. He questions Cross’s judgment, and their disagreement feels earned, not melodramatic. What doesn’t work 1. Pacing drags mid-episode After a strong opening, “PDTV” spends too long on Cross staring at evidence boards and making leaps of logic without clear on-screen deduction. For a thriller, it loses momentum.
The episode introduces a “live broadcast” element: the killer streams his activities through hacked public TV screens. It’s a timely, unsettling touch (think The Joker meets Watch Dogs ). The cat-and-mouse game gets personal in a way previous episodes only hinted at.
Worth watching for Hodge’s performance and the surveillance horror vibe, but suffers from pacing lulls and a familiar twist.
Hodge continues to ground Cross as brilliant but wounded. In “PDTV,” his obsession with protecting his kids (Jannie and Damon) while closing the case reaches a breaking point. There’s a scene where he watches a hostage video of someone close to him — his silent, barely contained rage is gripping.
Isaiah Mustafa’s Sampson gets more to do here than just be the loyal friend. He questions Cross’s judgment, and their disagreement feels earned, not melodramatic. What doesn’t work 1. Pacing drags mid-episode After a strong opening, “PDTV” spends too long on Cross staring at evidence boards and making leaps of logic without clear on-screen deduction. For a thriller, it loses momentum.
The episode introduces a “live broadcast” element: the killer streams his activities through hacked public TV screens. It’s a timely, unsettling touch (think The Joker meets Watch Dogs ). The cat-and-mouse game gets personal in a way previous episodes only hinted at.
Worth watching for Hodge’s performance and the surveillance horror vibe, but suffers from pacing lulls and a familiar twist.