In recent years, the Manic Pixie Dream Girl of every other romantic comedy has been displaced as pop culture’s dominant female fantasy figure by another type: the she-sleuth with people problems. The character differs in degrees; in The Killing, say, or Zero Dark Thirty, she’s obsessive, unable to maintain much semblance of a life outside work, while in The Bridge, or Homeland, our hero is certifiably on the spectrum, and there’s a dubious implication that her condition – exhausting as it may be for her colleagues – gives her insights others aren’t privy to.