Skip the boring bridge scenes that are not required for plausibility. If skipping a scene might break audience immersion, include enough to patch that leak in your story.
For example, in many shows, we see a pair looking over evidence, one realizes something, looks up and says 'Kevin is in London!'
Cut to same two characters dressed differently in some iconic place in London.
Why does that work? Because none of the details of arranging travel or traveling are relevant to the story. The audience gets that, we skipped the boring parts.
In a Sherlock story, Sherlock examining evidence has an epiphany, and declares he knows who killed Miss Piggy. Cut to the police interrogation room, the team thanks Kevin for coming in, he may be able to help them narrow down the killer's escape route...
In a military show, the team is informed they have to take out Kevin the multi-billionaire criminal boss, super well-protected. Cut to a scene in which they begin the infiltration of Kevin's camp.
Why can't we just cut to the fight with Kevin himself? Because that is implausible. The audience is jerked out of immersion, and into analytic mode, by anything that makes no sense. How does a multi-billionaire criminal boss end up completely unprotected in a fight with our hero?
Unless you need some scenes for character development or as part of a sub-plot romance or something, you want your scenes to be like expensive stepping stones, as far apart as possible from one plausible scene to the next plausible scene, but not a noticeable "jump" that leaves the audience saying "Wait... How did they know X? Or Y?"
The audience will presume your characters are normally competent human beings, and can get from Denver to London without incident.
Or can manage to find a restaurant, order, receive their food, and begin a conversation. So on the phone, "Let's meet at that lunch counter by the courthouse". Don't show a response, or hanging up, just cut to the attendees at a booth, already seated, served, and food eaten, small talk accomplished, then start the crucial plot-advancing conversation.
Yes, skip all the bridge scenes you can. But that may not be ALL bridge scenes. Sometimes they are crucial for the audience to understand what is going on.
You can't go from Sherlock saying "I know who killed Miss Piggy." To the interrogation room with a distraught Kevin telling a smug Sherlock, "Okay, I did it! Okay? I had to!"
That has skipped too much. The audience will lose story immersion, "Wait, he never told us how he knew... What just happened?"
Bridge scene or not, you must include the scenes that impart information crucial to advance one of the plots of your story. The main plot or subplots, like romantic interests, or a reveal about a character's past. Or the main plot is rescuing our child, the subplot is rescuing our broken marriage.
Often, bridge scenes that could otherwise be skipped, because nothing crucial happens in the main plot, are still good places to advance a subplot. Precisely because such moments are not overshadowed by the main plot. So keep that in mind as a second use of bridge scenes.