Breaking Bad withdrawal support society

I also strongly prefer BCS, but I had a great conversation with a friend recently about how much of a moral distance there is between Jimmy and Saul, and yeah you can't have those kinds of insights if you just dispense with BB (apologies if that has been discussed to death on the BCS thread which I ignore since I'm a season behind)

a thing that doesn't rerun so strongly the second time through is how much fun it was watching bryan cranston playing serious dark -- this pass we just know he can

does jesse ever pop up in bcs? I'm still on s1

no

what else do you want to know about what happens in the next four years before you watch it

s9, customer at the cinnabon

definitely down for 39-year-old Aaron Paul to turn up regularly playing a teenager meanwhile though

:0 :D
https://www.youtube.com/watch?v=4DPGjjCBcAg
https://www.youtube.com/watch?v=QHnemDkHvgA

can i really be the only person watching LA REINA DEL SUR?

i mean i assume this is not a new thing in the telenovela format but i had quite forgotten i'd liked the first when i fell for the second

Getting away from the rubric of this thread here, but I feel like the season finale of BCS went a long way towards justifying Mike's presence beyond 'because Mike is cool and we love him and want to see more of him'. By which I mean the thing where we get to see the two characters simultaneously erupt from their BCS cocoons and metamorphose into their BB selves (one giddily, one super reluctantly). Definitely put a neat cap on what had seemed like increasingly-disparate and unrelated journeys.

it's also been extremely realistic that Jimmy and Mike went a year or two without interacting, after the entanglements in earlier seasons.

I was definitely in the BCS > BB camp until this last season, now I’m not sure, but I might just be forgetting the older BCS seasons. 16 months or whatever between seasons will do that though

saul goodman klaxon

just (re)watched thru to end of s2 -- forgot how utterly fkn grisly the final scene is emotionally

(it isn't even hate or rage, it's -- i don't know what it is, him grasping he has no need to reign anything in? it's "letting die" not "killing" but it's the door he's deciding to let swing open -- first panic, then indecision, then cowardice, then a mix of what-if! and self pity and i think some actual sadness (tho not directed at jane at all or jesse except in his strange twisted-dad way) and then back to that pitiless burn-it-down thing that's always just under his surface

The conversation in the bar between Walter and Jane's father, and then the way they connected her father's breakdown to the rest of the story, were two of the highlights of the entire run for me.

https://variety.com/2018/tv/news/breaking-bad-movie-in-the-works-1203021681/amp/?__twitter_impression=true

Twitter has the impression that this is true so good news

actually e12 is not the end of s2, there's a 13th ep in which we meet MIKE for the first time (interestingly his voice is not quite as rumbly-deep on first encounter)

He was much younger then than his later younger self

I remember when bcs started I was pretty shocked that mike had liver spots & every single character he encountered conspicuously referred to him as a cantankerous old “geezer”

I really didn’t remember him seeming *that* old in breaking bad. Now I worry that he’ll croak before they finish bcs

the breaking bad movie had better be a badger and skinny pete adventure, that’s all i’m saying

(it isn't even hate or rage, it's -- i don't know what it is, him grasping he has no need to reign anything in? it's "letting die" not "killing" but it's the door he's deciding to let swing open -- first panic, then indecision, then cowardice, then a mix of what-if! and self pity and i think some actual sadness (tho not directed at jane at all or jesse except in his strange twisted-dad way) and then back to that pitiless burn-it-down thing that's always just under his surface

kinda wonder how many actors out there could've pulled this off. much less dudes primarily known for sitcoms.

we just got to the end of S2, not sure how I feel about the big "reveal" at the end because clearly those 'flash forward' scenes lead you somewhere else and having this big deus ex machina thing explain it feels really manipulative. though you kinda figure it out, at some point you realize there's only 5-6 minutes left, one really big plot point coming, and a lot of focus on this air traffic controller...

tbh comedy actors turning in good work in serious roles is -- if not quite a cliche -- certainly not that unusual; i think many comic actors do actually have a wider, more thoughtful range than many so-called "serious" actors (who'd be terrible at comedy), but typecasting casts a harsh shadow. still, i'd never paid much attention to cranston even when watching and enjoying MitM

i was expecting it this time obviously but first time through i was quite bothered by the aircrash. it seemed a bit too (in the lol modern young people's sense as well it's proper sense) "random" -- a surreal or inexplicable alienation effect. except it isn't really surreal or inexplicable, and it has a clear structural role. it's a highly over-visible and maybe somewhat over-determined shorthand for collateral damage -- and NOT just crashing entirely in from beyond the story and its concerns, despite rogueishly suggesting that's exactly what it is. it's play-acting at being a comedic an upping of the ante in the ghoulishness stakes ("have we gone too far this time?"). but the whole of s2 is about pulling back from right in the heart of walt's rage and fear (per s1, where we get drawn into seeing his side quite sympathetically despite his extremely self-centred drives), to the damage spreading out from him, that he's actually causing, that his decisions are causing, by making some things happen, by not stopping others. not so much his immediately family yet, even including jesse as his "family", but a step or two beyond them -- and suddenly that's a big societal tremor and not cartoon domestic knockabout any longer. so it's clever -- and it does kind of work -- but it's kind of bullshit at the same, and mainly saved by arty effects (burnt plush bunny in a pool etc)

I kinda wonder how it would've come off without the flash-forwards, which clearly imply that something happened to Walt's daughter and that two people he knew were dead in his driveway. It's almost soap opera-ish, where they say "Tune in Next Week..." and preview a scene from the next episode where a character walks in on his wife cheating on him, only to have that scene actually be some sort of dream, or whatever

which is unfortunate, because otherwise I think it would've been a really awesome ending, something unexpected and extreme that's also highly symbolic

Would've liked to have seen a Breaking Bad starring Phil Hartman.

tbh comedy actors turning in good work in serious roles is -- if not quite a cliche -- certainly not that unusual; i think many comic actors do actually have a wider, more thoughtful range than many so-called "serious" actors (who'd be terrible at comedy), but typecasting casts a harsh shadow. still, i'd never paid much attention to cranston even when watching and enjoying MitM

Cranston wasn't a "comic actor" so much as he'd just done a sitcom beforehand (when Malcolm was running I used to say the casting director should just get the Emmy every year until it went off the air - the whole family, Muniz aside, were astoundingly great), but it certainly seems like they took him as a lesson in teaming Odenkirk and McKean on BCS

i think the only thing i'd spotted him in ever before that -- and i didn't put two and two together till quite recently -- is seinfeld, as the swinging dentist

You should check out the Gilligan-penned episode of X-Files he starred in, for sure.

yeah that x-files ep is great

Was just checking his imdb, and it's crazy just how journeyman his career was pre-MIM: loads of TV series one-offs with the occasional movie (That Thing You Do!). His run on Seinfeld probably the most substantive (5 episodes).

I read somewhere that he really had to fight to get the role of Walter White, as he correctly surmised the producers considered him a sitcom dad.

It’s been pretty journeyman post-bb!

I had decided he was pretty much a genius based on Malcolm & was always saying so at the time, he was amazing in that show

cranston in mitm is amazing - he’s totally willing to do whatever humiliating thing the writers ask him to do, just a remarkably ego-free performance

I read somewhere that he really had to fight to get the role of Walter White, as he correctly surmised the producers considered him a sitcom dad.

not so much that he had to fight producers, but the producer/creator/writer said "I cast him in this other thing and I wanna cast him in this, look at this other thing" and AMC said "oh yah"

he's so good in that x files episode

Is it a standalone ish ep?

no you have to sit through every other bad x files first, ie the normal kind

*and then they glimpsed the hill he would die on*

hard to pick it out from among all those other hills tbf

no this time i mean it

bookmarking this post for future reference

ANYway, yes, the ep with Cranston is a wholly standalone ep of the television series called the X-Files.

I recently read a thing about two name actors who were offered the role of Walter White before Cranston and turned it down. One was Broderick, can't remember the other rn.

Balking Brod

It’s been pretty journeyman post-bb!

I dunno about that--he's had loads of starring roles and vehicles, seems pretty bankable. He's even written a memoir! It's just amazing to me that had he not landed Malcolm (much less BB) he'd have just been another one of those "Oh, that guy..." utility character actors.

there are a few fleeting moments were Walt channels Hal - the part in S3 E1 where he says to Jesse "I blame the government!" was hilarious to me

also kinda funny that Walt's hairstyle in the S1 flashback (when he was presumably around 30) is the same that MitM used in flashbacks, and also the same style he had on Seinfeld

(when Malcolm was running I used to say the casting director should just get the Emmy every year until it went off the air - the whole family, Muniz aside, were astoundingly great)

to be fair Muniz really did nail the character he was given, maybe b/c Malcolm was so close to what he was in real life

I started working through the Darin Morgan and Vince Gilligan standalones (plus a few others) between S1 and S2 of Better Call Saul. Still have three years of X-Files and one of The Lone Gunmen to go, but these Gilligans are good:

S2e23: Soft Light (starring Tony Shalhoub) - one of the only cold pitches from a freelancer to get bought by the show
S3e17: Pusher
S4e04: Unruhe
s4e10: Paper Hearts (continuity: apparently it's a thing that Mulder believed his little sister was abducted by aliums)
S4e12: Leonard Betts
S4e20: Small Potatoes (starring Darin Morgan!)
S5e01: Unusual Suspects (Lone Gunmen origin story, set before The X-Files)
S5e12: Bad Blood (starring two Luke Wilsons)
S5e19: Folie a Deux
S6e02: Drive (the Cranston ep)
S5e04/e05: Dreamland/Dreamland II (starring Michael McKean)
S5e10: Tithonus
S6e14: Monday
S6e20: Three Of A Kind (sequel to Unusual Suspects)
S6e21: Field Trip

Most of these are funny, like Breaking Bad is funny.

xpost: yes, I meant to add that Muniz absolutely does not harm the show or bring down the ensemble - the way Malcolm is written as at once immediately sympathetic, and more cartoonish and simple than the other characters, suits his level of performance perfectly.

Yeah, when I was cranking through the X-Files again a while back (kinda stalled out where you did, sic), I was baffled that I hadn't paid attention to Gilligan as a writer the first time around. His eps were pretty much up there with the Darrin Morgan joints.