Tag Archives: Mike

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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Cultural Checkup: USA’s Suits and White Collar

Cultural Checkup: Suits and White Collar

August 12th, 2011

Although I’ve stopped watching Burn Notice, and ceased my bizarre commitment to the dull Royal Pains this summer, and didn’t bother with Covert Affairs’ second season, and didn’t even bother with Necessary Roughness (which I thought looked terrible), I remain really quite interested with USA as a network. With White Collar, they have a show that I think hits a lot of interesting buttons, and with Suits you have a show that seems to be aiming for the same goal. They’re shows that I like a great deal in particular moments, and that are in two very different stages of development.

However, as I drop in on both shows this week, I’ll admit that I find them a bit frustrating. While Suits has a lot of potential, its youthfulness shows signs of uncertainty in regards to questions of genre and narrative, problems that White Collar continues to carry even as it clearly leads the network’s offerings in terms of quality. I know that the general approach to USA programming is not quite this hyper-critical, but I’ve stored up a few too many things to say about the two shows, so I figured the Cultural Checkup was a good way to get through them.

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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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Breaking Bad – “Thirty-Eight Snub”

“Thirty-Eight Snub”

July 24th, 2011

“It’s like nothing but good days ahead.”

Walt remarks near the end of “Thirty-Eight Snub” that it’s been a hell of a last couple of weeks, which is certainly true: in fact, the sheer dramatic weight of the entire third season hangs in the air throughout this episode, the first one where the show feels stops to take a breath.

That breath doesn’t contain a great deal of surprise, much as last week’s resolution to the season three cliffhanger went about as one might expect. Based on what we saw at the end of last week’s episode, Jesse and Walt respond about as one would expect to their attempts at returning to something of a normal life, but just like last week’s episode the predictable remains compelling. There is so much baggage within these characters and within this show as a whole that the pathos is enough to carry even storylines that call attention to their true purpose. That line above is way too on-the-nose in laying out the theme of Jesse’s portion of the episode, for example, but it only serves to reinforce instead of undoing the work that was done.

Free from the “suspense” of last week’s outing, “Thirty-Eight Snub” instead just throws the show’s fantastic actors into tense situations and asks them to play out life as they would know it. It’s striking, it’s evocative, and it’s a whole lot of momentum for an episode that actively evades any major showdowns.

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Season Premiere: Breaking Bad – “Box Cutter”

“Box Cutter”

July 17th, 2011

It has been over thirteen months since Breaking Bad finished its third season, which isn’t something that happens all that often. Of course, AMC will be dealing with this issue twice in one year when Mad Men returns early next year, but that show didn’t leave on an arresting cliffhanger. “Full Measure” was a thrilling hour of television, creating suspense through uncertainty as opposed to mystery. We know what happened, and the sequence of events that allowed it to happen were delineated without any sudden twists or turns, but the finale left us with a sense of disbelief: we were haunted by that final image more than we were shocked by it, and we desired its conclusion less to have something resolved and more to see something begin.

“Box Cutter” picks up where “Full Measure” left off, although not immediately. The episode is very interested in the dramatic power of delay, lingering in those moments of waiting for the other shoe to fall. It doesn’t seek to surprise us so much as it seeks to make us reconsider: it knows we spent a year thinking about the various possibilities, so it lays out a likely scenario and then basically sits back and lets our own anxiety drive this story forward. The result is bracing in its minimalism if a wee bit writerly, further cementing Breaking Bad’s reputation as one of the most distinctive dramas on television.

And, yes, one of its finest as well.

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Glee – “Special Education”

“Special Education”

November 30th, 2010

The performance episodes of Glee have been pretty universally strong: both “Sectionals” and “Journey” avoided relying purely on spectacle, delivering episodes which consolidate season-long developments. The first episode confirmed that New Directions could survive without Will and come together as a team, while “Journey” brought both Sue’s relationship with New Directions and Rachel’s relationship to Finn to a triumphant close.

“Special Education” is notable in that it is the first performance episode that doesn’t serve as any sort of ending. With “Sectionals” positioned as the closing hour of the show’s original 13-episode order (and filmed before the show became an established hit), and with “Journey” as the first season finale, there was always a sense of closure. By comparison, “Special Education” isn’t even closing out the first part of the season (the Christmas episode airs next week), which means that the event is going to be considerably less climactic than what we’ve seen before.

While not perfect, I quite like what Brad Falchuk and Paris Barclay did with this hour. A self-reflexive deconstruction of the balance between the individual and the group within the series, the episode lacks subtlety but resists the urge to smooth over its various conflicts. While the show doesn’t quite commit to the character drama to the point where it avoids the cheery group number at episode’s end, I thought it had some legitimately interesting insight into what that balance means to the series. The spirit of the show may not be broken, but there are enough cracks in the armor that “Special Education” successfully delivers spectacle and transition without resolving anything.

Allowing for the Christmas denouement next week.

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