May 30th, 2010
“She saw something new every time she painted it.”
It’s been three weeks since I last checked in with Breaking Bad, which is unfortunate but not that surprising: I was busy graduating two Sundays ago, and then last week anyone without screeners was out of luck if they were simultaneously a fan of both Breaking Bad and Lost. It’s particularly unfortunate since both “Kafkasque” and “Fly” were pretty fantastic. To briefly offer my perspective on each, I loved the parallel between Jesse and Walt each watching their confidantes spinning a web of lies in “Kafkaesque,” in particular Walt’s reaction to Skyler’s ability to pull off the gambling alibi with such precision. And as for “Fly,” I thought Rian Johnson did a fantastic job of taking a purposefully contained – for budgetary reasons – episode and and allow it to be defined by its sense of atmosphere. The show tiptoed dangerously close to Walt revealing the truth about Jane’s death, and by embracing that tension without exaggerating it the series created an episode which remained definitely “Breaking Bad” without the shoot-outs and chaos the show has used so effectively this season.
“Abiquiu” remains a fairly low-key affair, as characters plot out their next moves more than necessarily finding themselves in the middle of a firefight, but I say this in the best possible way. While the thrills of “One Minute” are part of the series’ identity, it is often better in those quiet moments where character are forced to live with their actions or where taking the next step means crossing a threshold they might not be able to cross. In many ways, we’ve seen these characters at this point before, but each time Breaking Bad brings us to a crossroads we see something new in these characters, whether it be confirmation of what we’ve always believed or a new facet of their personality emerging – and frankly, at this point, the show can paint that door as many times as it wants as far as I’m concerned.
April 4th, 2010
Breaking Bad is a show more or less governed by self-destructive behaviour. We’ve been watching Walter White fall further and further into choices that threaten to destroy his family for over two seasons, and more importantly we’ve been watching everyone around him fall into similar patterns. If we really break it down, Walter’s self-destructive path has led directly to the struggles facing Skyler, Jesse, and Hank, and so “I.F.T.” becomes a sort of test of how Walt, and those he put on a similar path through his actions, are dealing with their self-destructive tendencies.
The result is one character who refuses to accept the consequences of his actions, and three characters who embrace self-destruction in an attempt to take control of their fate, although some more reluctantly than others.
“My Old Kentucky Home”
August 30th, 2009
“It’s a mistake to be conspicuously happy.”
Roger Sterling is a man trying to find happiness, but discovering that no one particularly wants to share in it. His daughter and his wife, as we saw last week, want nothing to do with the new woman, and here the employees of Sterling Cooper view their swanky country club soiree as a work obligation more than a chance to celebrate. There’s a fantastic moment during the party where Pete Campbell and his wife Trudy take to the dance floor and show off some admittedly very impressive moves. However, watch Pete’s face: while Trudie is getting into the music, enjoying herself, Pete spends the entire time smiling and glancing at Roger to see if he’s impressing him, to see if he’s got his attention. All social events have a sense of obligation, but this particular one feels more than all others like an event where people do as Pete desires and start handing out business cards.
“My Old Kentucky Home” is very much about the ways in which happiness is a negotiation, a struggle between individual desires (and therefore personal happiness) and the desires and hopes of everyone else around you. For Roger Sterling, his new marriage pits him against the world, having broken the cardinal rule of not romanticizing or idealizing one’s affairs. For Joan Holloway, her knowledge of the world and the customs of society place her at odds with the role her husband believes she should play. For Peggy Olsen, her own self-awareness of her position and her ability to navigate the complex world of a male-dominated business are questioned by those who have seen it all before and who know that it’s not that easy.
And for Don and Betty Draper, happiness is an act, a coverup for hidden desires and hidden secrets which can never be revealed so long as they continue to play charades. In this quasi-musical of an episode, we discover the consequences of being conspicuously happy, but also the consequences of avoiding happiness and finding one’s self just as lost as you would be if you were at odds with society’s expectation.