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This article interrogates the geopolitical content of the internationally popular television series Bron/Broen ('The Bridge') and its two subsequent adaptations. In my analysis of The Bridge as a global phenomenon, I make a threefold contribution to the literature of popular geopolitics and cultural geography. First, in a normative contribution intended to challenge mainstream assumptions regarding the banality of the medium of television, I situate TV-viewing within the discursive battlefield of global politics as an affective act of world-building, a phenomenon enabled by the emergence of a third phase of television (Television 3.0). Second, via a theoretical contribution, I conceive of Bridge-gazing as a form of quotidian geopolitical interaction, wherein the spectator maps their own emplacement in the world's various (b)order regimes, while also engaging with the distant politics of the series' narratives. And, third, in an empirical contribution, I provide a exegetic analysis of the three iterations of The Bridge by interrogating the three series' geopolitical interventions into pressing issues associated with unfettered globalisation, the purported victory of neoliberalism and the waning of the nation-state. [ABSTRACT FROM AUTHOR]