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 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.
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.
March 21st, 2010
“That’s what human beings do – we survive.”
I wrote a fair deal about my reaction to the first two seasons of Breaking Bad on Thursday, about questions of agency and questions of tragedy amidst the show’s complex and fascinating character study. But I knew going into my catchup period with the show that I was, in some ways, watching it “wrong”: this is a highly contemplative show, so I knew I was missing part of the true experience by rushing through Season Two in a four-day period. While the mystery of the pink teddy bear was a long and drawn-out process for some, it was a four day journey for me, and while the show purposefully tries to play with the pressures of time and the challenges that one faces when his or her worst fears are compounded by the temporality of it all I nonetheless felt like I was cheating in some ways.
“No Mas” picks up where “ABQ” left off in terms of displaying the passage of time through the struggle and torment that it creates for these characters. It turns out that the questions that viewers have been mulling since May (or, in my case, since Thursday) were weighing on Walt, Jesse, Skylar and “Flynn” as well, questions that after only a week have started to eat through their attempts to survive this trauma. However, while Walt makes the argument that what human beings do is survive, Walter White’s struggle is that he wants to do more than survive. He wants to live, and he wants to have everything he believed he was fighting for when he cooked his first batch of meth in that RV, and he is forced to decide what he needs to do in order to be able to live with the man he is, even when he seems unsure of just what kind of man he believes himself to be.
In short, Breaking Bad remains an enormously compelling character study, a stunning visual spectacle, and the kind of show that anyone with a love of dramatic television should be watching.
At length, meanwhile, check out some more detailed thoughts after the jump…
Agency begets Tragedy: AMC’s Breaking Bad
March 18th, 2010
Last night, as Todd VanderWerff and I talked about this year’s Emmy awards on Twitter, he remarked that Breaking Bad will always be held back at the Emmys thanks to its Albuquerque setting – by filming outside of Los Angeles, and outside of more acceptable industry alternatives like Vancouver or New York, the show is alienated with primarily L.A.-based voters. My response to this was to make what, on the surface, seems like a really complimentary comparison: Breaking Bad, in other words, is the new The Wire, another show that by shooting in an off-market city (Baltimore, in the case of The Wire) was never able to get as much respect as it perhaps deserved.
Now that I’ve finished the second season of AMC’s second original series, this comparison is infinitely more interesting than I had imagined it last evening. While I love The Wire, and fell in love (in an entirely non-romantic way, considering the darkness of the show) with Breaking Bad over the past few weeks, the two shows couldn’t be more different in terms of how they represent agency. While The Wire tends to argue that the organizations which govern both sides of the law are inevitably corrupt and fraught with challenges that prevent all but a lucky few from rising above it, Breaking Bad offers Walter White countless opportunities to escape the life he has chosen to live, and at every turn he makes personal decisions that send him further down his dark path.
If I tried to talk about everything I had to say about the first two seasons of the show, I would be writing for days, so instead I’m going to focus on a few elements of the series (many relating to questions of agency) that I thought were particularly effective. If you have yet to watch the series, I can’t recommend it enough if you’re not afraid to watch something that’s morally compromising and unafraid to go to some very dark places – this isn’t a show for everyone, but it’s fantastically well-made, and you can all look forward to reviews of the show’s third season starting on Sunday.