“Bosch” in fact was a binge pioneer back when bingeing was a novelty, and mastered it the old-fashioned way, with layered plots, intricate character development and first-rate performances by an ensemble of actor’s actors.
The first scene of the first season appeared to catch him in the act of tampering with evidence in a wrongful-death shooting, and from that point forward, the ethical contortions only multiplied.
“Bosch ” loved and embraced LA as few series ever have, by creating as vivid a character as any of the complex human ones — semi-functioning, chaotic, corrupt, but also beautiful, fully alive and strangely traffic-free for the most part.
This final season revisits a favorite theme — the so-called “greater good,” which in the context of “Bosch” is always an ethically squeamish edict that typically means the sacrifice of an individual to some powerful, vested interest.
This is a workplace drama that cared deeply about both the work and the place — policing and those neon-lit warrens, the “precinct,” where cops spend parts of their lives pushing papers, while others spin intrigues.