Breaking Bad
posted at 1:54 pm on June 1, 2009 by Doctor Zero
printer-friendly
Last night brought the season finale of one of my favorite television shows, “Breaking Bad” on AMC. It’s a brilliant combination of clever writing and terrific acting, especially lead actor Bryan Cranston. His performance drives the show – he’s so good that you can see the rest of the cast stepping up their game and improving their own performances with each passing episode. Alternately tragic and darkly hilarious, “Breaking Bad” has something serious to say about the way people are all connected to each other, causing every action we take to ripple through the lives of everyone around us.
I’ll try to keep this spoiler-free, in case you haven’t watched the show yet. The basic premise is that one day, a mild-mannered high-school chemistry teacher named Walter White discovers that he has terminal lung cancer, despite being a lifelong non-smoker. Walt quickly realizes that his cancer treatments are not only likely to be futile, but will hopelessly bankrupt his family. Driven over the edge by this final, cosmic injustice – in what we will learn is a lifetime of injustices and missed opportunities – he hatches a radical plan for paying his bills and putting together enough money to care for his family after he’s gone. After a chance meeting with Jesse Pinkman, a former chemistry student, who dropped out of school and became a low-level crystal meth dealer, Walt uses his brilliant chemistry skills to create the purest form of methamphetamine ever seen, and partners up with Jessee to go into the meth business.
The ensuing tragedy, which unfolds like a slow-motion train wreck, results from Walter’s foolish belief that his activities will be a “victimless crime,” peddling a high-quality illicit product to willing customers who have already ruined their lives, and would only buy lesser quality drugs from other suppliers if Walt didn’t step in to claim his slice of the underground pie. Much of the dramatic tension in the show comes from our hero’s increasingly desperate attempts to keep his family from learning about his double life, as he continues to teach chemistry in school and present himself as a respectable member of the community. The stress of maintaining this deception, and the consequences of Walt’s immersion into the violent drug underworld, cause incredible damage to his family, in ways he would never have predicted at the beginning of the series. As a man of science, he believes he can mix a carefully calibrated amount of criminality into his life, balancing the light and dark elements of his soul like chemicals in a formula… and as the series unfolds, he receives a series of very painful lessons that human beings are not factors in a equation, and moral cancer spreads even faster than the biological kind.
The recurring theme of “Breaking Bad” is the way people’s lives are linked together, in a ballet of action and reaction that even the most highly trained scientist cannot predict. Even the people Walter thinks he knows best, such as his wife and son, continue to react in ways that surprise him. His own evolving relationship with his “junkie imbecile” partner Jessee unfolds in ways he could never have anticipated, even though he thinks he knows every square inch of his own soul. Seemingly minor decisions turn out to have shattering consequences. Walter finds himself making one moral compromise after the other, until his degeneration becomes a headlong slide into darkness… even as he remains an essentially decent man, acting from the noble desire to take care of his family. (The key to understanding much of what Walter does is that his family has grown by two members over the course of the series.) At the end of this season, he finds himself compelled to do something truly monstrous, and a great many people suffer the astonishing consequences.
Some criticism of the show suggests its roller-coaster plotline relies on some unlikely coincidences, but that’s exactly the point: life is filled with unlikely coincidences, which destroy every plan designed to treat the human experience as an equation to be resolved, or manage evil as merely a dangerous ingredient in a complex formula. In retrospect, the path from Walter’s first night cooking meth, to a business meeting with the manager of a fast-food chicken restaurant, to a quick late-night beer with a man he didn’t realize he was connected to, is a straight line… ending in the horrifying reason behind a burned, eyeless teddy bear floating in Walter’s swimming pool. At every step along the way, it looked like an inscrutable maze of unguessable outcomes. The humility to accept those outcomes are unguessable is a necessary ingredient to living a virtuous life, and doing the right thing when cutting corners, or claiming what the world “owes” us, seems so very reasonable.
Bryan Cranston’s amazing, understated performance brings the audience along with Walter every step of the way. Sometime during the next season, he’s going to learn who that guy in the bar was, and the knowledge may be too much to bear. Like all the best stories, “Breaking Bad” builds drama, and black comedy, from an essential truth: every person we meet is one link in a chain of lives, and another chain of lives radiates from us. There is nothing more absurd, or tragic, than the notion of a “victimless crime.” It’s the kind of idea that can lead a good man to become a monster.










Blowback
Note from Hot Air management: This section is for comments from Hot Air's community of registered readers. Please don't assume that Hot Air management agrees with or otherwise endorses any particular comment just because we let it stand. A reminder: Anyone who fails to comply with our terms of use may lose their posting privilege.
Trackbacks/Pings
Trackback URL
Comments
Sounds exclt – if not exactly your average piece of feelgood escapism. Had no idea it even existed. Will have to start DVR-ing it when/if they start it over from the beginning.
CK MacLeod on June 1, 2009 at 2:09 PM
Thank you for a wonderful review. Yes, the production is extraordinary for a television seriers. There is nothing to jar us into disbelief. But there’s more.
Breaking Bad is a monumental television event. Finally, this is the powerful storytelling that television pioneers expected the medium to deliver. By intimately exploring the esoteric topics of the illegal narcotics and terminal illness industries, we get all the voltage of science fiction without the fantasy. There is no alternative-reality escapism allowed; that makes the story even more excruciating.
If Breaking Bad was published as a book, it would be a monumental literary event. The writers invoke elements of classical drama in a completely original setting. Student should study Breaking Bad as an exemplar of contemporary American literature.
Helly, retired chemist
HelenW on June 1, 2009 at 3:09 PM
This is an excellent series. Watched the DVD version of season 1 a few weeks, and can’t wait to see the 2nd season.
Vanbasten on June 1, 2009 at 3:25 PM
Uh, that’s AMC–noting worth a crap has come out of A&E since the ’80s. And you’re right, it’s a great dramatic series. (And a very good review, Doctor Zero.) Still, I always knew Malcolm’s dad would go bad after, I imagine, Reese killed Lois (or vice versa).
andycanuck on June 1, 2009 at 3:53 PM
noting = nothing
andycanuck on June 1, 2009 at 3:53 PM
Dang, I always get those two networks confused! I’ll fix the reference in the original post.
Doctor Zero on June 1, 2009 at 4:09 PM
Still, an excellent (non-spoiler) review.
I was about to suspend disbelief over the “big event”, Doctor, but the acting is just so good and the tie-in to the opening scene that had me saying to myself at the show opening, “What’s [that government department] doing there?” then being answered, was amazing.
And the second season opener where a guy playing a cripple in a wheelchair using a bell to “talk” was as well-acted and as meaningful as any written dialogue was just amazing.
andycanuck on June 1, 2009 at 4:30 PM
I have never seen The Godfather, Goodfellas, or any other gangster/mob movie because I don’t like putting myself in the position of having to choose which villains deserve to win and which deserve to die. It’s tough enough to have to navigate through dilemmas in everyday life in which you must decide whose evil actions are preferable; my philosophy has been, “Why complicate your leisure time with such choices when you can avoid doing so?”
I broke my vow not to seek such entertainment when I accidently taped Breaking Bad after Mad Men one night, and was astonished at the appearance and performance of Bryan Cranston. This is the same actor who played the smarmy, womanizing dentist on Seinfeld and Malcolm In The Middle‘s all-too-familiar clueless, emasculated dad? Cranston was absolutely unrecognizable in every respect, which is to me the hallmark of a great character actor. I was thrilled when he was nominated for an Emmy for Best Actor, and even moreso when he beat the odds and won.
The no-name supporting cast is also great. Standing out among them is Aaron Paul as Pinkman, the bong-hitting slacker/part time crank dealer who is pushed to new entrepreneurial heights by White after the maniacal kingpin they sold their product to … well, I don’t wanna spoil it for newbies. Pinkman’s a loser and a lawbreaker, but not a killer, and the dance over and back the line of violence necessary to keep the enterprise profitable is dizzying to him.
IMHO, Paul deserves a Best Supporting Actor Emmy nomination for his performance in the episode in which he is given a gun by White, and must retrieve thousands stolen from one of his dealers at knifepoint by a brain-fried criminal couple. Pinkman has to try his best to be menacing against his nature when he breaks into the thieves’ filthy den, but has to reverse course quickly when he discovers a dirty, undernourished toddler surviving among the squalor.
The show was created by former X-Files writer-producer Vince Gilligan, who hasn’t lost any of his chops. His crew of screenwriters (especially Supervising Producer John Shiban) is top-notch. The new characters introduced this season have been almost perfect. A picture of Breaking Bad‘s opening title logo should be in the dictionary next to “dark humor” — it hits the mark without being too cute or gratuitously cruel (and thankfully, free of political content thusfar). And no program in production today — not even Lost — delivers the “Holy …!” moment like Bad does (one word: “Tortuga”).
All that being said, it’s hard for me to continue to watch, and here’s why: I realized weeks ago that there’s NO way this is story is going to end up short of tragedy in many fronts. Somebody (or everybody), I thought, will either go to jail, will end up dead (and who’s to say that they don’t have that coming to them?), or end up killing other people. Last night’s episode confirmed my suspicions earlier than I expected (even after last week’s misty-eyed ending), but I have no clue where the story could possibly go next season; things are wide open. The biggest hazard is that in order to fulfill the demand for the minimum number of episodes, the ways in which White, his family, and Pinkman continue to escape their fate will become outlandish and contrived — after all, how can the show go on unless somehow White stays free and/or sane? It is threatening to be Vince Gilligan’s Gilligan’s Island if not played craftily.
L.N. Smithee on June 1, 2009 at 9:15 PM
A decent review, too, LN. As “Uncle Tio” would say, “ring, ring, ring, ring!”
We’ll have to see if the writers can keep it up, but it should be easier with a short-seson-run series like this one. And with any luck, the writers do have a finite plot line already worked out that comes to a believable conclusion.
andycanuck on June 1, 2009 at 9:59 PM
Paul is great too, and Jesse has become an interesting character – a walking avatar of missed opportunities and wasted potential. It seems like there’s a part of Jesse that’s trapped inside him, peering helplessly out of his eyes and watching the horror show of his life unfold. Aaron Paul put a lot of skill into perfecting that wild-eyed, caged animal look Jesse gets when things go completely off the rails for him.
If anyone besides Cranston deserves an Emmy for this season, it’s Aaron Paul for what he did in the season finale. Jesse and Jane were a heartbreaking example of the arrested adolescence and hedonistic self-indulgence that leaves young people so emotionally unequipped to deal with the real world. They finally found true love with each other, and they had no idea what to do with it. Jesse’s broken primal scream into Walt’s shoulder, that he loved her “more than anything in the world,” was the frightened wail of a child trying to wrap his mind around emotions he doesn’t understand. If Jesse ever finds out Walt was in his room that night, the resulting scene will be more painful than Walt’s cancer operation.
It occurs to me that anyone unfamiliar with the show who reads this thread will think it’s some kind of depressing, soul-destroying root canal. Nothing could be further from the truth… it’s just hard to convey exactly how funny “Breaking Bad” is. There are a lot of honestly earned belly laughs in between the apocalyptic turns of the plot. Its writers and actors have the best understanding of the relationship between comedy and tragedy since Chaplin. Almost every scene with Walt’s sleazy lawyer or lovable lug of a brother-in-law is hilarious. The episode where Walt and Jesse stole the chemicals for their meth lab was a scream.
Speaking of Walt’s brother-in-law, it’s a damn good thing he never thinks to Google the name “Heisenberg…”
Doctor Zero on June 1, 2009 at 11:43 PM
On a hunch, I went to TV.com to check the credits for one of the most pleasurable two hours I have spent watching the tube: The X-Files episode “Dreamland,” in which Agent Mulder (David Duchovny) and a “man in black” working at the secretive Area 51 base (Michael McKean from Spinal Tap and Laverne & Shirley) experience a cosmic event that switches their bodies. That two-part episode was written by Breaking Bad‘s Vince Gilligan & John Shiban.
L.N. Smithee on June 1, 2009 at 11:50 PM
Dang, Doc, I’ve gone out of my way to avoid this one, and now I feel like a dope. Netflix, here I come!
Jim Treacher on June 2, 2009 at 1:17 AM
I think Vince Gilligan also wrote the X-Files with Luke Wilson as a small-town sheriff dealing with possible vampires. Sort of a Rashomon sorta deal.
Jim Treacher on June 2, 2009 at 1:18 AM
SPOILER ALERT!
When Jane revealed that she was in recovery, I thought perhaps their closeness would take Jesse out of the dope business, and that White would become an extortion target. Of course, that didn’t happen … at least not that way. When she couldn’t turn the doorknob to leave Jesse’s apartment as he dipped into his meth supply to deal with mourning his friend, I knew she would follow him down. But White is right that Jesse didn’t kill her — it was she that scored the horse that did her in just hours after vowing to get clean and use Pinkman’s cut to start a new life for both of them.
It’s an excellent point you make about White’s two additions to his family, especially when you look at the distance with which he treated his son’s sincere and heartfelt act of creating a donation website vs. the great effort he made to rescue Jesse from the vortex of smack addiction.
FWIW — In October 2008, I explored how much Mad Men‘s Don Draper and Barack Obama have in common on my blog.
L.N. Smithee on June 2, 2009 at 6:22 AM
The actress who played Jane was another fine addition to the cast. I thought the scene where she made her fateful decision to “follow Jesse down” was haunting. Did she lose control of an appetite that destroyed her, or was she just looking for an excuse to fall off the wagon… or did she follow him because she loved him, even though the better part of her knew it would mean erasing all the gains she made in rehab? The second time I watched that scene, I began leaning toward the latter motivation. She had something of that same trapped-in-my-own-skull look of fear and quiet resignation Jesse so often wears. The better angel of her nature, the artist who drew that beautiful mural on her bedroom wall, died for Jesse that night.
Doctor Zero on June 2, 2009 at 8:01 AM
It’s easy to get into the show, because the first season was only something like seven episodes long. Netflix a couple of discs, watch that first season… and if you’re hooked, rest assured it only gets better.
Doctor Zero on June 2, 2009 at 8:03 AM
Ditto. I keep flipping past it looking for the new season of “Mad Men” another excellent series on AMC.
Knucklehead on June 2, 2009 at 12:00 PM
Thanks for this great review. My husband and I watch the show like it’s a date night. The last two episodes have haunted us through the week, we keep talking about how crazy they were. Excellent acting, writing, everything.
Jane’s dad is a great actor, too. The look on his face as he drives up to the house… His relationship with Jane, the breakfast, it’s all so realistic and surreal simultaneously.
NTWR on June 4, 2009 at 1:08 PM