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.
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.
July 31st, 2011
“Anything we should talk about?”
There was a lot of internet chatter last week about how “Thirty-Eight Snub” was a ‘slow’ episode of Breaking Bad, a complaint that I don’t entirely understand. No, last week’s episode wasn’t as exciting as the premiere, but that was sort of the point: as Walt and Jesse face the post-“Box Cutter” era in their own ways, the gravity of their situation begins to wear them down. For Walt it drives him to purchase a gun and confront Mike, while for Jesse it drives him to make life one giant party so he never has to be alone to let the guilt over Gale’s death wash over him. However ‘slow’ the episode might be, that break was necessary to focus on how these characters are going about their normal lives after what they went through.
Now, I’m more open to arguments that “Open House” is a slow episode, although I would still contend this isn’t a huge problem. It does suffer, though, by uncomfortably extending the themes of last week’s episode another week, expanding the agency of both Marie and Skyler within the ongoing storylines. Some of this ends up feeling a bit same-y, especially with Jesse, but it wasn’t necessarily unnecessary. As an exploration of the show’s female characters, “Open House” continued to build on key ideas that run throughout the series, getting through some important procedure necessary for the show to move on to the next stage of its seasonal development.
Which might, yes, be a little less slow.
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.
I think Twitter was the main reason I chose to read Suzanne Collins’ Hunger Games trilogy.
No, it wasn’t because my followers on Twitter suggested I read the books, or that a person I follow recommended them at large. Instead, I was becoming completely unglued at every sight of the never-ending casting announcements for the upcoming film adaptation of the first book in the series, The Hunger Games, coming in the Spring. More than any other film in recent memory, it seemed as though every single role was a piece of news, and I became too curious to resist diving into the series.
A few weeks later, I emerged with an understanding for the books’ appeal and a large pile of critical thoughts that I’m itching to discuss with other folks who have read the books. Although I rarely dive into literature around these parts (although this will likely not be the first time this summer that I do so), I figured that this is as good a place as any to consider what makes the series distinct, what makes the series an ultimate disappointment, and why I’m extremely curious to see how they plan to adapt this story given some of its particular qualities.
Spoilers for the entire Hunger Games Trilogy follow.
June 13th, 2010
“We had a good run…but it’s over.”
When I sat down at about 3:00 am last night to watch the Breaking Bad finale after arriving home from my trip to Madison, I discovered that AMC was showing “Shut the Door. Have a Seat,” Mad Men’s third season finale. It took me a good ten minutes before I managed to turn on my recording of “Full Measure.” There is something exhilarating about that finale, something immensely pleasurable as lingering storylines that were sort of floating their way through the season (Lane’s dissatisfaction, Joan’s marginalization, etc.) become wrapped up in an unforgettable heist narrative which launches the show in a fascinating new direction.
And as I sit down the next day to consider “Full Measure,” I can’t help but make some comparisons, although less in terms of quality (both are great, we don’t need to qualify which is “better”) and more in terms of structure. “Full Measure” is similar to “Shut the Door…” in that it shows our protagonists struggling to respond to a new set of circumstances which threaten them in some capacity, but the world of Mad Men values creativity first and foremost, something which Breaking Bad tends to oppress (as we see with Jesse as the paralyzed artist figure, his youthful drawings or woodcraft projects signs of wasted potential). So while Don and Co. got out of their situation with some creative thinking, and the series found its finale in contrasting the creation of a new direction while simultaneously dissolving another, Walt and Jesse solve their circumstances with a cold dose of reality, and the series finds its finale in doing as it has always done: following through on the social, psychological, and monumental consequences of going down this dangerous path.
The result is a fairly simple tragedy with less than simple ramifications, as “Full Measure” uses the show’s trademark tension to cap off a stunning season of television which went on a run that is most certainly not over as the series heads towards its fourth season with an obnoxious amount of momentum.
April 25th, 2010
Sunset is one of the most beautiful times of any day, but it is also its end: while it may be magical, and it may capture the beauty of the natural world, it is also the beginning of the night.
Walter White is in the process of rediscovering the magic of chemistry, cooking meth in an environment where it feels like every bit the accomplishment of science that he has always believed it is. However, at the same time, his day may be coming to an end: just as he has finally found an environment where his rationalizations surrounding his involvement in the drug trade are being supported at every turn, his brother-in-law is getting closer than ever to discovering the perversity of his notion of “child support.” And just as said brother-in-law, Hank, is getting closer than ever to solving the case which has given him the run-around for months, he quickly becomes collateral damage in Walt’s own sunset of sorts.
Unquestionably the season’s best episode so far, “Sunset” mines both tension and introspection from the magic, and terror, which comes with the end of each day, drawing the battle lines for what is going to be an intense conflict in the episodes ahead.