, for lack of a better word — an all-hands, what-the-heck, kinetic scramble of the type that does indeed take place in real newsrooms. There is a lot to admire in the execution of those sequences. Late in the season, Stella runs through the newsroom in a moment of chaos, and it is legitimately thrilling. And they continue to cast good actors: Nicole Beharie is a very solid addition. Tig Notaro pops up in a small-ish but interesting role as Marks' right hand. And, of course, Jon Hamm.
The driving story of the season, heavily reliant on Hamm's effective blend of charm and menace, is the possibility that Marks will buy UBA. A billionaire? Buying a media company? And everyone is nervous about the implications? The devil you say. So there's a lot here. At some moments in the third season, there is air under the wings of the show, and it seems to be getting off the ground in new ways.returns to its lead characters. They are played by its two biggest stars.
On the page, Alex and Bradley are sharply drawn satirical examples of solipsistic celebrity journalists. Alex exposed her co-workers to COVID, treats the people she works with abominably, takes her one loyal friend for granted over and over again, and ignored her co-anchor's sexual harassment of others for years before hounding him to lie for her until she arguably convinced him to drive off an Italian cliff rather than continue the conversation.
Bradley, though less purely loathsome than Alex, took a job she was not qualified for and then often ignored the advice and the needs of the people who produce the show. She had an affair with someone she was covering as a reporter. She attacked another journalist for reporting accurately on Alex's affair with her co-anchor and her likely complicity in enabling his misdeeds, not for any substantive reason but, as she explained, because she and Alex are friends.
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