Best show on TV Breaking Bad
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mldardy
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I just found out more about them. They are his cousins. I think? I am getting conflicting opinions that they aren't his cousins but they are cousins to each other and are from the Cartel. I don't know I guess we'll find out soon.sm0kie13;3316549 said:
MarionBarberThe4th
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"Breaking Bad," one of the best dramas on TV, is back. I reviewed the new season generally in Friday's column, and I have a spoiler-y review of the season premiere coming up just as soon as I give my car keys to a goat...
"People move on. They just move on. And we will move on. We will get past this. Because that is what human beings do. We survive. We survive and we overcome." -Walt
"You either run from things, or you face them, Mr. White... I learned it in rehab, it's all about accepting who you really are. I accept who I am." -Jesse
"And who are you?" -Walt
"I'm the bad guy." -Jesse
"You're a drug dealer." -Skyler
Season two of "Breaking Bad" opened on a bit of macabre imagery (the eyeball floating in the pool) that we needed the whole season to fully understand. Season three's premiere (once again directed by Bryan Cranston, with the usual brilliant assistance from director of photography Michael Slovis) begins with another arresting image, only this time its meaning is apparent within minutes.
We head south of the border again to see an old Mexican man crawling desperately through the dirt. Is he injured? Dying of thirst? And why on earth won't anyone in this small village stop to help him, or even notice him? But then our angle changes, and we see that the old man is just one of many people crawling. (What. The. Hell? Is going on here? I asked myself as I watched this.) They're soon joined by two dangerous-looking men in shiny suits with skulls on their boots, who without comment get down on their bellys and inch their way towards a shrine in the desert, where they say a prayer and pin up a totem of the object of their prayer: a rough pencil sketch of the man the cartel knows as Heisenberg, and that we know as Walter White.
Many of you kept expecting the cartel to be responsible for the carnage at Walt's house and were surprised (and/or disappointed) when the plane crash was revealed. But it turns out the cartel was only delayed, and there is no way this can end especially well for Walt.
But up in Albuquerque, Walt has no idea these two fearsome men (referred to in the scripts as "the Cousins") are on their way. Instead, he and Jesse and Skyler are all grappling with the events from the end of last season: Jane's death, the crash it ultimately caused, and Skyler's astute decision to banish Walt from her life.
One hundred and sixty-seven people died in that crash, to be added to the butcher's bill after Jane, and Combo, and Spooge, and Tuco, and Krazy 8 and Emilio, and all the victims of the blue meth we never see. So many dead, so much pain caused, nearly all of it traced back to Walt's decision to enter the drug trade...
... and Walt still doesn't get it. He stands in front of that school assembly (in a scene that's just unbearable to get through, for all the right reasons) and makes everyone there feel horrible just to alleviate his own guilt. He tells Jesse to blame the government.
Even when he's not lying to others, he's lying to himself. In the riveting scene where Skyler confronts Walt about the drug-dealing - which, in that "Breaking Bad" way, becomes simultaneously hilarious because of how she keeps underestimating the depth of the situation (and because Bryan Cranston's reactions are priceless) - Walt has no choice but to finally lay everything out for her. But at the end of the confession, he assumes the honesty will finally start to repair things between them, when in fact it's only made things worse.
Jesse gets it. He comes out of rehab having accepted that he's the bad guy: that Jane would still be alive if she'd never crossed his path, and that in turn the planes wouldn't have crashed. And if he can't forgive himself, he can at least take the rehab counselor's advice to be "good enough to be okay with who and what you are." But Jesse can do this because he's never had Walt's capacity for self-deception, nor the obsessive pride that keeps Walt from opening up emotionally to others. Walt could never have the conversation that Jesse has with the counselor, nor could he have ever accepted the man's advice. His only method of coping is to deny and power through - to survive and overcome, no matter the emotional cost to those around him.
And if Walt's trying to escape his drug-dealing past (even refusing a "Godfather"-level offer Gus Frings couldn't have expected him to refuse), something tells me the Cousins (and whoever sent them) won't let him. And then survival becomes a very, very open question.
Some other thoughts on "No Mas":
• Vince Gilligan, who wrote this one, gave Cranston plenty of cool material to shoot with the Cousins (who very much come off like a silent pair of Anton Chigurhs from "No Country For Old Men"): not just the opening crawl, but them silently stealing the farmer's clothes (which surprisingly fit them, since they both look bigger than him), and then blowing up the coyote truck because that one poor ******* recognized what the skulls on their boots meant (and could therefore identify them later to law-enforcement). And speaking of which...
• The Cousins are played, in fact, by a pair of brothers, only one of whom had any acting experience: Luis Moncada (the actor) and his brother Daniel (the rookie). Basically, they loved Luis's audition and asked if he had any relatives who looked like him. Both have screen presence to burn, as well as the self-possession to not flinch when the truck blew up. I asked Gilligan about that scene, just to confirm my assumption that it was a practical special effect and not something created later by computers. Vince wrote:
No CG! That was definitely a practical effect, Alan -- the two Cousins were sixty feet from the truck when it blew up (although it looks like they were even closer than that due to the long lens which was used on the camera). All that flaming stuff you see raining down around them -- and even in FRONT of them, if you look closely enough -- was truly there, and not added in afterwards. I'm so proud of Luis and Daniel Moncada for the way they pulled that off. Bryan Cranston, their director, told them we'd get only one take at it, so they'd better not flinch... and by God, they didn't!
• Between the matches Walt likes to light and then toss, the teddy bear and other airplane debris, and now the barbecue full of burning drug money, it seems like there's always something flaming landing in the White family pool, isn't there? Walt's guilt-ridden attempt to burn the money was one of his few moments of non-denial in the hour, but of course he wimped out, because burning the money would mean everything he did was for nothing.
• Loved Skyler's reaction when her new divorce lawyer tells her that spouses are adept at hiding all kinds of insane things from each other. If she only knew...
• Because Walt was so convincingly established at the start of this series as this milquetoast guy that no one would ever suspect of being a drug lord, we can have those occasional comic moments when he tells the absolute truth about himself to someone else (in this case, telling Hank that the duffel bag is full of cash) and have the other person laugh it off as Walt making a funny.
• Because this show is shot on a modest cable budget, I'm always amazed at the scope the directors and Slovis are able to create. I don't know if the school assembly scene was full of real students/extras, or if most of them were computer-generated, but it effectively conveyed how many people were affected by the airplane tragedy.
• That was Jere Burns as the rehab counselor. He's best-known as a sitcom actor. but like many comedy types, he can pretty easily make the transition to drama (see also the fella with two Emmys on his shelf for playing Walter White). The monologue about how he killed his daughter while hungry for cocaine was a very nice moment, and a reminder that Walt and Jesse aren't the only characters in this world to have caused pain, suffering and death for others.
• As Walt tried to tell Skyler, then Jesse, how complicated certain scenarios were ("there were many factors at play"), I got a real "Big Lebowski" vibe: "This is a very complicated case, Maude. You know, a lotta ins, lotta outs, lotta what-have-yous."
What did everybody else think?
http://sepinwall.blogspot.com/2010/03/breaking-bad-no-mas-say-hi-to-bad-guy.html
"People move on. They just move on. And we will move on. We will get past this. Because that is what human beings do. We survive. We survive and we overcome." -Walt
"You either run from things, or you face them, Mr. White... I learned it in rehab, it's all about accepting who you really are. I accept who I am." -Jesse
"And who are you?" -Walt
"I'm the bad guy." -Jesse
"You're a drug dealer." -Skyler
Season two of "Breaking Bad" opened on a bit of macabre imagery (the eyeball floating in the pool) that we needed the whole season to fully understand. Season three's premiere (once again directed by Bryan Cranston, with the usual brilliant assistance from director of photography Michael Slovis) begins with another arresting image, only this time its meaning is apparent within minutes.
We head south of the border again to see an old Mexican man crawling desperately through the dirt. Is he injured? Dying of thirst? And why on earth won't anyone in this small village stop to help him, or even notice him? But then our angle changes, and we see that the old man is just one of many people crawling. (What. The. Hell? Is going on here? I asked myself as I watched this.) They're soon joined by two dangerous-looking men in shiny suits with skulls on their boots, who without comment get down on their bellys and inch their way towards a shrine in the desert, where they say a prayer and pin up a totem of the object of their prayer: a rough pencil sketch of the man the cartel knows as Heisenberg, and that we know as Walter White.
Many of you kept expecting the cartel to be responsible for the carnage at Walt's house and were surprised (and/or disappointed) when the plane crash was revealed. But it turns out the cartel was only delayed, and there is no way this can end especially well for Walt.
But up in Albuquerque, Walt has no idea these two fearsome men (referred to in the scripts as "the Cousins") are on their way. Instead, he and Jesse and Skyler are all grappling with the events from the end of last season: Jane's death, the crash it ultimately caused, and Skyler's astute decision to banish Walt from her life.
One hundred and sixty-seven people died in that crash, to be added to the butcher's bill after Jane, and Combo, and Spooge, and Tuco, and Krazy 8 and Emilio, and all the victims of the blue meth we never see. So many dead, so much pain caused, nearly all of it traced back to Walt's decision to enter the drug trade...
... and Walt still doesn't get it. He stands in front of that school assembly (in a scene that's just unbearable to get through, for all the right reasons) and makes everyone there feel horrible just to alleviate his own guilt. He tells Jesse to blame the government.
Even when he's not lying to others, he's lying to himself. In the riveting scene where Skyler confronts Walt about the drug-dealing - which, in that "Breaking Bad" way, becomes simultaneously hilarious because of how she keeps underestimating the depth of the situation (and because Bryan Cranston's reactions are priceless) - Walt has no choice but to finally lay everything out for her. But at the end of the confession, he assumes the honesty will finally start to repair things between them, when in fact it's only made things worse.
Jesse gets it. He comes out of rehab having accepted that he's the bad guy: that Jane would still be alive if she'd never crossed his path, and that in turn the planes wouldn't have crashed. And if he can't forgive himself, he can at least take the rehab counselor's advice to be "good enough to be okay with who and what you are." But Jesse can do this because he's never had Walt's capacity for self-deception, nor the obsessive pride that keeps Walt from opening up emotionally to others. Walt could never have the conversation that Jesse has with the counselor, nor could he have ever accepted the man's advice. His only method of coping is to deny and power through - to survive and overcome, no matter the emotional cost to those around him.
And if Walt's trying to escape his drug-dealing past (even refusing a "Godfather"-level offer Gus Frings couldn't have expected him to refuse), something tells me the Cousins (and whoever sent them) won't let him. And then survival becomes a very, very open question.
Some other thoughts on "No Mas":
• Vince Gilligan, who wrote this one, gave Cranston plenty of cool material to shoot with the Cousins (who very much come off like a silent pair of Anton Chigurhs from "No Country For Old Men"): not just the opening crawl, but them silently stealing the farmer's clothes (which surprisingly fit them, since they both look bigger than him), and then blowing up the coyote truck because that one poor ******* recognized what the skulls on their boots meant (and could therefore identify them later to law-enforcement). And speaking of which...
• The Cousins are played, in fact, by a pair of brothers, only one of whom had any acting experience: Luis Moncada (the actor) and his brother Daniel (the rookie). Basically, they loved Luis's audition and asked if he had any relatives who looked like him. Both have screen presence to burn, as well as the self-possession to not flinch when the truck blew up. I asked Gilligan about that scene, just to confirm my assumption that it was a practical special effect and not something created later by computers. Vince wrote:
No CG! That was definitely a practical effect, Alan -- the two Cousins were sixty feet from the truck when it blew up (although it looks like they were even closer than that due to the long lens which was used on the camera). All that flaming stuff you see raining down around them -- and even in FRONT of them, if you look closely enough -- was truly there, and not added in afterwards. I'm so proud of Luis and Daniel Moncada for the way they pulled that off. Bryan Cranston, their director, told them we'd get only one take at it, so they'd better not flinch... and by God, they didn't!
• Between the matches Walt likes to light and then toss, the teddy bear and other airplane debris, and now the barbecue full of burning drug money, it seems like there's always something flaming landing in the White family pool, isn't there? Walt's guilt-ridden attempt to burn the money was one of his few moments of non-denial in the hour, but of course he wimped out, because burning the money would mean everything he did was for nothing.
• Loved Skyler's reaction when her new divorce lawyer tells her that spouses are adept at hiding all kinds of insane things from each other. If she only knew...
• Because Walt was so convincingly established at the start of this series as this milquetoast guy that no one would ever suspect of being a drug lord, we can have those occasional comic moments when he tells the absolute truth about himself to someone else (in this case, telling Hank that the duffel bag is full of cash) and have the other person laugh it off as Walt making a funny.
• Because this show is shot on a modest cable budget, I'm always amazed at the scope the directors and Slovis are able to create. I don't know if the school assembly scene was full of real students/extras, or if most of them were computer-generated, but it effectively conveyed how many people were affected by the airplane tragedy.
• That was Jere Burns as the rehab counselor. He's best-known as a sitcom actor. but like many comedy types, he can pretty easily make the transition to drama (see also the fella with two Emmys on his shelf for playing Walter White). The monologue about how he killed his daughter while hungry for cocaine was a very nice moment, and a reminder that Walt and Jesse aren't the only characters in this world to have caused pain, suffering and death for others.
• As Walt tried to tell Skyler, then Jesse, how complicated certain scenarios were ("there were many factors at play"), I got a real "Big Lebowski" vibe: "This is a very complicated case, Maude. You know, a lotta ins, lotta outs, lotta what-have-yous."
What did everybody else think?
http://sepinwall.blogspot.com/2010/03/breaking-bad-no-mas-say-hi-to-bad-guy.html
Tusan_Homichi
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I wonder how the already whacky relationship between Walt and Jesse will be now. Jesse is all about accepting what he is and Walt is the master of denial. Walt can justify ANYTHING. Just hearing him rambling about how there have been worse plane crashes was just painful, but it was pure Walt.
Tusan_Homichi
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Great episode tonight. The pizza on the roof amused me more than it should have.
MarionBarberThe4th
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I thought they were going to make him cook for them, which is an idea I didnt like.
I like what they did w/ it
I like what they did w/ it
Tusan_Homichi
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Wow. Tonight's episode was such greatness. Easily the best of the season.
Maikeru-sama
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Thanks for the heads up, I will definitely check this out.
MarionBarberThe4th
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Anyone else read these reviews?
http://sepinwall.blogspot.com/2010/04/breaking-bad-sunset-partners-in-crime.html
"Please tell me you got something!" -Jesse
Walt spends much of the first half of "Sunset" in the company of Gale, his new lab assistant in the Walt-cave, and a nail-biting chunk of the second half trapped in the RV with Jesse. And while Walt and Gale seem a perfect match on paper in nearly every way, it's clear by the end of this gripping episode that for all their flaws and incompatibilities, Walt and Jesse are, much to both their chagrins, made for each other.
After Walt tried to ban Jesse from the meth business last week, I assumed it might be a long time before the two might work together again. I of course neglected to factor in two things: 1)Walt and Jesse's tremendous capacity, both separately and together, for screwing up; and 2)The weird gravitational pull that RV held over their relationship.
"Breaking Bad" always seems to find a higher gear whenever those two are in the RV together, and so it shouldn't be a surprise that their final time in that accursed but useful vehicle/domicile would be one of the most memorable yet. I've loved every minute of season three so far as the show has gone in an even darker direction, but the climax to "Sunset" felt very much like old-school "Breaking Bad": Walt and Jesse finding a way to make a bad problem worse, stuck in the RV together, Jesse waiting for Walt's great brain to find a way out of the mess.
From the minute Walt pulled onto Clovis's lot and started barking orders about destroying the RV, I knew things would go pear-shaped, and they did. Where Walt feared that Hank might have tapped Jesse's phone and hung up without explaining the situation, what he should have feared was the exact reaction Jesse had when Badger told him Walt was taking away the RV (Jesse's entire business) to destroy it. And so Jesse led Hank right where Walt didn't want him to be, with those scenes feeling oddly like a desert twist on "Jaws," with Hank as the shark circling the boat, looking for a way in to devour the lives of the men inside. So intense, so well-acted by Cranston and Paul and Dean Norris, and so well-written and directed by John Shiban (behind the camera for an episode of TV for the first time since a 2002 "X-Files").
Walt ultimately recognized the three words that have saved his hash so many times before - "better call Saul" - but the look on Hank's face in the hospital (confusing, then relief, then complete and utter rage) suggests that the hunt from Heisenberg has turned from an excuse to avoid El Paso into an absolute vendetta.
Of course, Hank is now the target of a vendetta himself, as Gus has decided that the headache of a murdered DEA agent is less vexing than losing Walt's genius too soon. (Even though I believe Gus is going to use Gale to copy the Heisenberg formula so he can produce it without this egomaniacal loose cannon.) Hank may be able to win the day in a bar fight, but the only thing that has thus far been able to stop the Cousins is Gus himself. I've been worried for a while that Hank might not survive the season, but is he even going to make it deep into the second half of it?
And what happens to Walt and Jesse now that the RV is gone? Does Walt take pity on Jesse and offer him either money or a job (assuming Gus would allow this) to make up for the mobile meth lab's destruction? Or, without that vehicle to hold them together, will the rift between the two grow wider and nastier?
Incredible episode. My jaw was on the floor for large chunks of it.
Some other thoughts:
• Loved Walt insisting on taking the model home, and then going through a morning ritual (the shirt, and the brown bag lunch with his name on it) as if he were going to a real punch-the-clock job. It's a fake life he's living, and so he needs all the accessories to make it look (and make himself feel) good.
• Badger returns to New Mexico after fleeing the state late last season after Walt and Jesse's business got him into legal trouble. And he busts a few fancy dance moves upon returning.
• Lots of great, off-beat music throughout the episode, but particularly the use of some of Vince Guaraldi's "Peanuts" music for the meth-cooking montage in the Walt-cave.
• You can find the full text of "When I Heard the Learn'd Astronomer" here.
• Two notable guest stars: David Costabile (recently a villain on "Damages," but also the "more with less" newspaper editor in "The Wire" season 5 and Mel's husband on "Flight of the Conchords") as Gale, and Larry Hankin (who, to me, will always be the Kramer from Jerry and George's sitcom pilot on "Seinfeld") as the legally-wise junkyard manager.
• As I watched the Native American cop head towards his demise at the hands of the Cousins in the prologue, I again thought to myself that someone is missing a golden opportunity at giving a spin on the cop drama series by setting one on an Indian reservation. "Mystery!" did a few adaptations of Tony Hillerman's Joe Leaphorn/Jim Chee novels in the early '00s, and at one time there was talk of DC Comics trying to turn "Scalped" into a TV show, but that world feels like it has so much untapped potential for a weekly cop show. Am I alone on that?
http://sepinwall.blogspot.com/2010/04/breaking-bad-sunset-partners-in-crime.html
"Please tell me you got something!" -Jesse
Walt spends much of the first half of "Sunset" in the company of Gale, his new lab assistant in the Walt-cave, and a nail-biting chunk of the second half trapped in the RV with Jesse. And while Walt and Gale seem a perfect match on paper in nearly every way, it's clear by the end of this gripping episode that for all their flaws and incompatibilities, Walt and Jesse are, much to both their chagrins, made for each other.
After Walt tried to ban Jesse from the meth business last week, I assumed it might be a long time before the two might work together again. I of course neglected to factor in two things: 1)Walt and Jesse's tremendous capacity, both separately and together, for screwing up; and 2)The weird gravitational pull that RV held over their relationship.
"Breaking Bad" always seems to find a higher gear whenever those two are in the RV together, and so it shouldn't be a surprise that their final time in that accursed but useful vehicle/domicile would be one of the most memorable yet. I've loved every minute of season three so far as the show has gone in an even darker direction, but the climax to "Sunset" felt very much like old-school "Breaking Bad": Walt and Jesse finding a way to make a bad problem worse, stuck in the RV together, Jesse waiting for Walt's great brain to find a way out of the mess.
From the minute Walt pulled onto Clovis's lot and started barking orders about destroying the RV, I knew things would go pear-shaped, and they did. Where Walt feared that Hank might have tapped Jesse's phone and hung up without explaining the situation, what he should have feared was the exact reaction Jesse had when Badger told him Walt was taking away the RV (Jesse's entire business) to destroy it. And so Jesse led Hank right where Walt didn't want him to be, with those scenes feeling oddly like a desert twist on "Jaws," with Hank as the shark circling the boat, looking for a way in to devour the lives of the men inside. So intense, so well-acted by Cranston and Paul and Dean Norris, and so well-written and directed by John Shiban (behind the camera for an episode of TV for the first time since a 2002 "X-Files").
Walt ultimately recognized the three words that have saved his hash so many times before - "better call Saul" - but the look on Hank's face in the hospital (confusing, then relief, then complete and utter rage) suggests that the hunt from Heisenberg has turned from an excuse to avoid El Paso into an absolute vendetta.
Of course, Hank is now the target of a vendetta himself, as Gus has decided that the headache of a murdered DEA agent is less vexing than losing Walt's genius too soon. (Even though I believe Gus is going to use Gale to copy the Heisenberg formula so he can produce it without this egomaniacal loose cannon.) Hank may be able to win the day in a bar fight, but the only thing that has thus far been able to stop the Cousins is Gus himself. I've been worried for a while that Hank might not survive the season, but is he even going to make it deep into the second half of it?
And what happens to Walt and Jesse now that the RV is gone? Does Walt take pity on Jesse and offer him either money or a job (assuming Gus would allow this) to make up for the mobile meth lab's destruction? Or, without that vehicle to hold them together, will the rift between the two grow wider and nastier?
Incredible episode. My jaw was on the floor for large chunks of it.
Some other thoughts:
• Loved Walt insisting on taking the model home, and then going through a morning ritual (the shirt, and the brown bag lunch with his name on it) as if he were going to a real punch-the-clock job. It's a fake life he's living, and so he needs all the accessories to make it look (and make himself feel) good.
• Badger returns to New Mexico after fleeing the state late last season after Walt and Jesse's business got him into legal trouble. And he busts a few fancy dance moves upon returning.
• Lots of great, off-beat music throughout the episode, but particularly the use of some of Vince Guaraldi's "Peanuts" music for the meth-cooking montage in the Walt-cave.
• You can find the full text of "When I Heard the Learn'd Astronomer" here.
• Two notable guest stars: David Costabile (recently a villain on "Damages," but also the "more with less" newspaper editor in "The Wire" season 5 and Mel's husband on "Flight of the Conchords") as Gale, and Larry Hankin (who, to me, will always be the Kramer from Jerry and George's sitcom pilot on "Seinfeld") as the legally-wise junkyard manager.
• As I watched the Native American cop head towards his demise at the hands of the Cousins in the prologue, I again thought to myself that someone is missing a golden opportunity at giving a spin on the cop drama series by setting one on an Indian reservation. "Mystery!" did a few adaptations of Tony Hillerman's Joe Leaphorn/Jim Chee novels in the early '00s, and at one time there was talk of DC Comics trying to turn "Scalped" into a TV show, but that world feels like it has so much untapped potential for a weekly cop show. Am I alone on that?
Yeagermeister
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By far my favorite show on TV right now.
MarionBarberThe4th
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theebs;3375609 said:
The point of the show is that its pretty realistic. The dont leave out any detail. Every action has reverberations, and the reverberations have reverberations.
They dont have scenes where Walt is hanging out of a helicopter while shooting perfectly at the bad guys. I think in the spirit of the show, he cant get away w/ all this. Its bound to have a tragic ending.
They want to end the show in a season or two, so I can see them telling the story the way they want to and not drag it on to ridiculous levels like a lot of shows
Yeagermeister
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I kind of want Walt to get caught just so we can see the look on Hank's face. I think it will be something like this 
hno:. lol
hno:. lol
Maikeru-sama
Mick Green 58
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Let me ask you guys a question.
Is 'Breaking Bad' an episodic series, meaning a new case is presented and solved each episode are is it there a problem presented at the beginning of the Season and it gets solved at the end of the Season, like Dexter?
Thinking about shelving Mad Men and watching this, I just don't want a "Monster of the Week" type series.
Is 'Breaking Bad' an episodic series, meaning a new case is presented and solved each episode are is it there a problem presented at the beginning of the Season and it gets solved at the end of the Season, like Dexter?
Thinking about shelving Mad Men and watching this, I just don't want a "Monster of the Week" type series.
Yeagermeister
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Maikeru-sama;3376190 said:
It's a continuing story line.
I'm pretty sure you'd like it.
Maikeru-sama
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Yeagermeister;3376283 said:
Sweet!!
Once I get tired of Friday Night Lights and a few Japanese Anime shows I am currently watching, I may start watching this.
I got the 1st Season of Lost, so I may opt to watch it instead.