Surely six seasons of a police procedural must degenerate into stodge? Not so in the case of “Bosch.” Season 4 and Season 5 both scored 9/10 from me, and I noticed that when the marvellous sax-led theme tune came on near the start of the first episode of Season 6, tears sprang to my eyes. Even more than the terrific, longstanding Bosch book series, by Michael Connelly, the screen version has hit the sweet spot with what must be twenty pitch-perfect characters revolving around the luminous performance of Titus Welliver as Harry Bosch, homicide detective in the City of Angels. Season 6 begins with what appears to be a simpler crime than usual: a doctor steals radioactive cesium when his wife is threatened, and Bosch combines with the FBI to peer into the heart of right-wing terrorists. But the plot twists and twists again in an organic, satisfying manner. And around the action swirl the lives of all the core characters. Pacing is perfect, the cinematography is precise yet lush, and the script is wonderfully tight. Every episode entertains and nearly every episode moves. In a world seemingly rent asunder by a virus and unleashed hatred, “Bosch” Season 6’s classic, people-driven story of right versus wrong stands as a blessing.
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