Tag Archives: Gus

Season Finale: Breaking Bad – “Face Off”

“Face Off”

October 9th, 2011

“I won.”

For the sake of the fact that writing an opening without spoilers feels like an impossibility at the moment, let’s throw all of this behind the fold and get to the real meat of the issue.

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Breaking Bad – “Crawl Space”

“Crawl Space”

September 25th, 2011

This isn’t going to make much sense, but when things get particularly busy it’s the good shows that suffer.

I am aware that this sounds odd, and do lament that I’ve been sitting on the sidelines for the past two weeks when it comes to Breaking Bad, but the reality is that I’m less likely to write about something when it’s delivering on this kind of level. Without screeners, I’m not able to watch things in advance, and my early week schedule is such that any sort of extended breakdown of the episode just isn’t feasible in the way it was during the summer. Even as I write this, I’ve got lesson plans to work on, names to learn (I made promises!), and reading to get a jump on, and so it becomes much easier to just hand you all off to Alan or Noel (whose reviews were posted as soon as the episode concluded) who I am quite certain share my opinion that “Crawl Space” was a pretty great episode of Breaking Bad.

While I remain a strong believer in the value of post-air analysis, I’ll admit there are points where our coverage of “prestige” dramas like Breaking Bad becomes a bit hivemind-y. It’s possible we might focus on different things, or make slightly different observations, or offer different theories for where things go from here. Similarly, we might write more or less, and include more recap or less recap depending on our proclivities on that subject. However, at the end of the day, we’re all basically saying that Breaking Bad’s fourth season has been particularly strong, and that “Crawl Space” benefits from having brought numerous storylines together in a blissful bit of horror as Walt manically laughs while his life falls apart around him, a capper to what was a truly impressive performance from Bryan Cranston.

If I had time, I’d love to explore the inner-workings of this episode more closely, diving into smaller details or analyzing character arcs as compared with earlier seasons, but the problem is that I don’t have time to do it. Really, I don’t have time to do Breaking Bad justice, which is why I haven’t written reviews for the past two weeks and why I don’t have as much to say about “Crawl Space” as I might like to. The great shows are the ones you watch even when you should probably be doing something else, but they’re also the ones that you’re less likely to write about when you know that everyone else is more or less saying the same things.

However, at the risk of being repetitive, here’s a few hundred – okay, it ended up being more like a thousand – more words about the stellar “Crawl Space.”

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Breaking Bad – “Hermanos”

“Hermanos”

September 4th, 2011

There are some definite echoes to be found in the paths of Zjelko Ivanek and Giancarlo Esposito when it comes to their Emmy Award ambitions.

Both actors were regulars on series in which they played minor roles on a weekly basis (Ivanek on FX’s Damages), and both became the focus of episodes later in the season where their characters were fleshed out through flashback. And, both were strong enough in those episodes that they were labeled as Emmy contenders; while we will have to wait twelve months to see if Esposito will have any success in this area, Ivanek stole the Emmy out from his co-star Ted Danson (and a lot of other contenders) in 2008.

The difference, I would argue, is that Ivanek’s episode is meant to be shocking. We knew nothing about Ivanek’s Ray Fiske (a name I wouldn’t remembered without the help of Wikipedia) before that episode, and hadn’t really been given any reason to care about the character beyond considering him as a legal opponent. And so when we started delving into his past, including his homosexuality and his self-destruction related to an unrequited love, it was meant to throw the viewer off-guard. Fiske’s arc in the episode is a statement, a singular one in fact, and it was the “shock” of it all that made it resonate in subsequent episodes and with Emmy voters.

By comparison, Gus Fring has been an enigma from the minute he was introduced. The show has always kept a certain distance from Gus, always resisting showing us his perspective on events, and in the process it has created a large number of mysteries. Whereas Ray Fiske was a character taken from obscurity to a sudden point of interest, Gus has always been a character begging for an origin story, or in the case of “Hermanos” an origin story mixed in with another escalation in the season’s focus on perspective (this time focused more closely on the narrative). As a result, it comes with a great deal of anticipation but also a great deal of expectation, and raises another question entirely: is it worse to have too many questions or too many answers?

Or, of course, you could just split the difference and embrace them both equally, as “Hermanos” achieves quite admirably.

[Heads up: while I tiptoed around it above, I’m going to spoil Damages Season One here, so skip past the next paragraph if you’ve still got those DVDs sitting around. I’ll drop in another warning when it’s done.]

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Breaking Bad – “Problem Dog”

“Problem Dog”

August 28th, 2011

“I never wanted any of this.”

We’re reaching the point in the year where my schedule is going to make covering Breaking Bad weekly a bit challenging, but we’re also reaching the point where I honestly don’t know how much I have left to say.

Now, I could technically write 2500 words talking about what happened in “Problem Dog,” given that the show continues to build on its mythology of tension and self-destruction. However, I’m finding that the show doesn’t really need to be “explained” or even “analyzed” at this point in its fourth season, with the focus instead being on experience. It’s something the show has been doing from the beginning, really, but the fourth season has been particularly built around the audience either sitting back to enjoy the spectacle (as was the case in Hank’s big scene this week) or on the edge of our seats full engrossed in the characters’ plight (as with Jesse at pretty much every point this season).

I’ve stopped taking notes while I watch the show, in part because anything I write down is just as likely to spring from my brain an hour later as I sit down to write a review, and in part because it feels counter-productive. I’m hopeful that I can keep writing about the show in future weeks, but chances are my responses will be a little more free-flowing, and a bit less detailed, given the position the show is in right now.

Which is a damn fine position, just so we’re clear.

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Breaking Bad – “Cornered”

“Cornered”

August 21st, 2011

Admittedly, I am once again delayed in getting to Breaking Bad by another commitment (this time covering The Glee Project finale over at The A.V. Club), but I also think it’s another episode where an extra-long treatise feels sort of unnecessary.

“Cornered” is another straightforward hour for the show, getting right to the point thematically and having the characters more or less follow suit. Walt, in particular, has been an open book in recent weeks, at least to an audience that has been watching the show all along. It’s not quite a cry for help, as Skyler diagnoses it early in the episode, but I do think that it’s an obvious sign that Walt’s worst neuroses are rising to the surface.

And that Walt and Jesse are as much alike as ever before.

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Breaking Bad – “Shotgun”

“Shotgun”

August 14th, 2011

It was late this evening before I got to tonight’s Breaking Bad, as a result of filling in on Entourage at The A.V. Club, but when I finished watching “Shotgun” I found myself at a loss. Perhaps it was simply that I knew my review would be less than timely (especially with most critics still working with screeners), but it also seems like “Shotgun” pretty much lays its cards on the table.

It’s a rare instance where we see both the cause and the effect, and where character actions are contextualized in almost every instance. While the show doesn’t outright spell everything out for us, there are enough moments of clarity within an often impressionistic hour of television for us to be pretty confident in where things are headed from this point forward.

And while there’s something a bit strange about that, I can’t deny that it remained a satisfying stage in the season’s development.

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Breaking Bad – “Bullet Points”

“Bullet Points”

August 7th, 2011

“Walter H. White – a man of hidden talents.”

When I reviewed the premiere a few weeks ago, I discussed whether or not the show’s flashback opening rendered the episode a “wee bit too writerly.” Obviously, considering that I used the phrase “wee bit,” I didn’t consider it a serious problem, but it is something that Breaking Bad can engage in on occasion.

“Bullet Points” is filled with writerly moments. It’s an episode in which the show’s characters literally script out their actions, and where elements of performance and theater are put front and center. There is nothing more writerly than meta-storytelling, and Moira Walley-Beckett’s script certainly doesn’t hide the fact that it’s gesturing back to previous seasons in a major way.

It’s also blisteringly funny, suspenseful without necessarily relying on major plot developments, and offers a great deal of insight into how these characters confront their demons: some of them bury them, some of them obsess over them, and all of them are in desperate need of someone to talk to.

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