As a true crime drama in the year 2024, Hulu’s Under the Bridge at least knows the giant potholes of the genre to avoid. The eight-episode limited series starring Lily Gladstone and Riley Keough, an adaptation of Rebecca Godfrey’s 2005 book on a sensational murder in Canada, knows not to glorify law enforcement as hyper-competent, or to privilege perpetrators’ emotional lives over a faceless victim’s, or to depict gratuitous violence. “I think people should be remembered for who they were, not what happened to them,” Keough, as Godfrey, tells the parents of Reena Virk, a 14-year-old girl horrifically beaten to death and drowned by both strangers and her so-called friends. As an exercise in how to make entertainment out of a real crime with real perpetrators and victims – particularly Virk, ably embodied by Vritika Gupta – Under the Bridge is self-aware and empathetic, clearly thinking through implications, its heart in the right place.
Unfortunately, as a television show, it often has the feeling of flat cola – tepid, stale and reminiscent of something buzzier and brighter. Though it assiduously dodges some of the worst of the so-called “dead girl” tropes, it falls prey to the most irksome ones of prestige streaming TV: bloated episode counts, multiple timelines, blurry formal shifts, portentous voiceovers, mistaking correct politics (on racism, incompetent law enforcement, trauma and more) for nuanced, compelling craft.
Though the crime itself is almost too awful to believe, there’s little to distinguish Under the Bridge, developed by the late Godfrey and Quinn Shephard, from other recent, better true-crime dramas such as Under the Banner of Heaven, The Staircase, The Act or The Girl from Plainville, nor from shows unraveling stomach-churning dead-girl crimes such as True Detective or Mare of Easttown. The series most overtly recalls the superlative Sharp Objects, HBO’s adaptation of Gillian Flynn’s novel, in that it also revolves around an unscrupulous, capital-T Troubled journalist returning to investigate the shocking murder of a teenage girl in her small home town, after escaping the tragic death of a sibling. But whereas Amy Adams’ cliched-to-hell unethical journalist was at least compelling, and the late Jean-Marc Vallée’s vision of midwestern Gothic hypnotic, Under the Bridge runs cold, even as it tries to capture the inexplicably white-hot rage of teenage girls (and one ill-placed, murderously angry teenage boy, played by Euphoria’s Javon Walton) on a small island in British Columbia in 1997.
The leaders of those girls are indeed terrifying – Josephine Brooks (Chloe Guidry) the alpha dog prone to bite swift and hard, Kelly Ellard (Izzy G) the chilling, lethal beta predator. The girls were self-styled “gangstas” who idolized John Gotti and fetishized mob violence; they practiced their cruelty on Dusty (Aiyana Goodfellow), a Black fellow resident at Josephine’s group home, and particularly on Reena, a shy and yearning outcast desperate for friends, nursing a nascent obsession with the Notorious BIG. (The series gestures just enough at the late-90s moral panic over pop culture’s influence on teenagers.)
The first half of the series unspools both the “gang” allure to a young outcast like Reena and the months, days, hours and minutes before her death. Reena was isolated – the eldest daughter in a south Asian family, her mother Suman (Archie Panjabi) a devout Jehovah’s Witness, her father Manjit (Ezra Faroque Khan) a Sikh immigrant from India, she was a minority within a minority on a very white island. Even in death, her life was dismissed – as a non-priority and “bic girl runaway” by the Saanich police (the moniker was “because we’re disposable”, says Dusty, in one of many heavy-handed lines). Only Godfrey, home from New York to write a book on Victoria’s disaffected youth, and officer Cam Bentland (Gladstone), a fellow outsider as an Indigenous woman adopted by the police chief (Matt Craven), take Reena’s disappearance seriously.
Gladstone, though occasionally prone to overacting, has always imbued her characters with a deep well of dignity, and does so again despite working with little characterization beyond “lonely and sad” as a Native woman adopted into a casually racist white family – a trait that highlights shameful Canadian national crimes, though is not enough for a whole person. Still, Gladstone is a reassuring on-screen presence, even if she’s forced to visibly wince at every mention of the word “race” or her boss/dad’s invocation of “sweetheart”. Keough, who rose above the middling Daisy Jones and the Six, is likewise underserved by the material; her portrayal of Rebecca as a hall-of-fame boundary-less, self-absorbed journalist – one who sleeps with a law enforcement source and does drugs with a teenage one – is at least watchable, if hardly palatable.
The thread of her “investigation”, if one could call it that, is hard to take, but at least there are others – most interestingly, if not smoothly, Reena’s dramatic rebellion against her parents in the months before her death. The fourth episode, written by Stuti Malhotra and directed by Nimisha Mujkerji, epitomizes the promise and pitfalls of this sprawl, juxtaposing the Virks’ family history as immigrants in British Columbia with a humiliating, hard-to-watch dinner they host for Reena’s soon-to-be attackers. The lines are on-the-nose and clunky, the episode too long, but the point stands: there was more to this story then, a different, better way to tell it now. If only its practice kept up with its principles.
Under the Bridge is available on Hulu in the US with a UK date to be announced
