LIFE IN PIECES Holds Together Well

Article originally published as LIFE IN PIECES Review on Seat42F.

Every once in awhile, a family sitcom comes along that just feels fantastic. The most recent was Modern Family, the first such program to do the mockumentary style, and now comes LIFE IN PIECES, a single-camera show that feels a bit more poignant than its peers, at least at the start, with a truly terrific ensemble, bridging the gap between dramas like Parenthood and comedy.

LIFE IN PIECES revolves around a couple in their 70s, their three children, and the families of those children, all undergoing major transitions in their lives. The half hour is split into four pieces, one for each couple, and through the short vignettes, reminds us of what life is about. It’s hard to tell a moving story in roughly five minutes, but this show manages to do so four times over, and by keeping them so short, leaves material for future, fresh episodes on the same topics.

In the pilot, John (James Brolin, Pensacola: Wings of Gold, Catch Me If You Can) decides to stage a mock funeral for his seventieth birthday. His loved ones have varied reactions to the event, but it’s his wife, Joan (Dianne Wiest, In Treatment, I Am Sam), who is the most affected, as one might expect, as while the couple isn’t near death, it’s something they’ll have to think about sooner rather than later.

Son Matt (Thomas Sadoski, The Newsroom) is at the opposite end of the spectrum, just beginning to date Colleen (Angelique Cabral, Enlisted), who is still living with her ex (Jordan Peele, Key & Peele), so they haven’t yet begun their lives together. Other son Greg (Colin Hanks, Fargo) has just become a father for the first time with wife Jen (Zoe Lister Jones, Whitney). Daughter Heather (Betsy Brandt, Breaking Bad) is sad about her kids growing up, as her son, Tyler (Niall Cunningham), looks at colleges, daughter, Samantha (Holly J. Barrett), has her first period, and daughter, Sophia (Giselle Eisenberg, The Wolf of Wall Street), becomes disillusioned about Santa Claus. Too bad her husband, Tim (Dan Bakkedahl, Legit), isn’t much help.

As you can see, LIFE IN PIECES is not just a Modern Family retread. For one thing, only one of the four couples has kids that can be a part of the plot. For another, the topics they are tackling are a little more mature and complex. That makes the show a little less frivolous, and a bit more mature, than its peer.

(For the record, I’m not knocking Modern Family; I still love that show. I’m just illustrating the differences.)

The material is genuinely funny, and the performances are what you would expect from such a strong cast. In twenty-minutes, I was moved numerous times by the trials and frustrations of life. It’s relatable because LIFE IN PIECES shows us things most people go through, but it’s also emotional, as life is just a series of pieces, and these are the important ones to hang onto, or that will be remembered. It’s this insight, not novel, but still vital, that makes the show so good.

Obviously, one episode is not enough to judge a show on, and it would be hard to deliver four pivotal bits every single week, twenty-two weeks a year, for seasons on end. But the way LIFE IN PIECES approaches its topics, big moments, but just a part of lives constantly moving, sets up a repeatable format and a way to keep things going. The immediate aftermath of Jen coming home from the hospital, for one, is important, but there will be many other important bits in that first year, and new things the couple must go through. It gets a little gross, like life, but remains relevant and compelling.

I’m excited about LIFE IN PIECES and am already setting a season pass on my TiVo. I’m usually terrible at predicting which shows will do well and which ones won’t, so I’ll just say that I hope this one catches on. I want to still be watching it five years from now.

LIFE IN PIECES premieres Monday, September 21^st at 8:30 p.m. ET on CBS.

BREAKING BAD Broken At Last

Article first published as BREAKING BAD Broken At Last on TheTVKing.

One of the most anticipated series finales in a while, AMC's Breaking Bad aired its swan song, "Felina," last night. Walter White (Bryan Cranston) returns to New Mexico to settle some scores and preserve his legacy, in danger of being gone completely. It is a very satisfying end for the chemistry teacher-turned-meth cook, though the episode did not serve the supporting characters as well.

It's surprising to see "Felina" start with Walt going to the home of Gretchen (Jessica Hecht) and Elliot Schwartz (Adam Godley). Their part of the story was way back in the early episodes of the show, and they aren't mentioned much after. Yet, there's a nice full-circle feel to Walt confronting Elliot and Gretchen now. At the end of a series, one wants it to tie back to the beginning, and because Walt needs them, it doesn't feel forced to revisit them in this last hour.

Everything that leads Walt to his former business partners is a natural happenstance. We realize that they are the first ones that screwed him over, in his opinion, and so set him on the path of changing from powerless to powerful. What happened with them shaped Walt into the man we've seen him become. Instead of taking revenge, though, as Walt has on others, he uses them as a tool to get money to his family. Their offense is minor, by comparison, and so is their punishment. Though, since Walt needs them alive to fulfill his purpose, that could contribute to the decision not to hurt them.

Is it necessary for Walt to scare and threaten them? His entire interaction with Elliot and Gretchen, from sneaking into their house, to nonchalantly examining things until they notice him, is designed to strike fear into their hearts. We've seen Elliot be generous with Walt before, and it's likely Elliot would have cooperated without the danger of a hit man looming over him. But there's always the chance Gretchen would block Elliot from doing so, and Walt is nothing if not thorough. He leaves nothing to chance.

The fact that Walt's "assassins" are Skinny Pete (Charles Baker) and Badger (Matt Jones) is a perfect twist! Walt sells the idea that he has hired professionals, but part of me was thinking it just might be them, and hoping for it. We get an amusing scene with these two wonderful characters, and I can't help but think they really deserve to be part of this finale, glad that there was a logical way to work them in.

Now, not every important Breaking Bad character gets to be part of the finale. Hank (Dean Norris) is dead, though we see a glimpse of him in flashback. And Saul (Bob Odenkirk) is absent completely, but he already had his ending, disappearing. So while I will not say Skinny Peter and Badger are more essential to the last episode than these two, because Hank and Saul have already had their endings, it's OK that they are missing, and no other important players are excluded.

Even Marie (Betsy Brandt) gets one moving scene. She calls to warn Skyler (Anna Gunn) that Walt is back in town. It's clear the sisters are still estranged, but this conversation shows that Marie has not given up on Skyler, and still cares about her. They will face a very long road if they ever want to get back to having a relationship, but at least there's still a window left open.

Walt is nothing if not brilliant, and he has figured out how he can move around town freely, as he needs to: he simply calls in lots of tips on himself. Marie mentions "two or three voices," so Walt probably has Skinny Peter and Badger calling, too. But how smart is that? Knowing that he will be spotted and that the authorities really want him, he distracts them by appearing to be everywhere at once, spreading the DEA's resources thin.

Walt and Skyler's final scene together is tense, and most of what occurs happens between the lines. We can see that Skyler still loves Walt, evidenced by the fact that she not only lets him in, but lets him see his daughter. And Walt loves Skyler, not telling her the money is coming to her, so as not to sabotage his own efforts, and giving her the coordinates to where Hank and Gomez (Steven Michael Quezada) buried to exchange for leniency from the authorities. But their time is over, and their lack of kiss or hug is very telling. Walt has lost his family.

It's even sadder that Walt can only glimpse Junior (RJ Mitte) through the window, knowing that approaching his son would be his undoing, as Junior would not hesitate to scream for the officers guarding the apartment. In that moment, watching Junior go into his run-down home, Walt has got to feel very guilty and helpless, as he deserves to be.

Then, it's time for Walt to take down his enemies. This is purely in order to satisfy his own selfish feelings, as doing so does not help his family nor anyone else. Walt goes after Jack (Michael Bowen) and crew, and mows them down by outsmarting them, not exactly hard to do with their less-than-stellar brain power, but still impressive. He even thinks to poison Lydia (Laura Fraser) ahead of time, to make sure all the bases are covered. "Felina" needs one good action scene, and the shoot out at the compound takes care of this, but because it's an exhibition of Walt's intelligence, it doesn't feel gratuitous.

Walt's rescue of Jesse seems incidental. Walt doesn't know Jack still has Jesse until he gets to town, and while it could be argued that Walt may want to save Jesse, it feels more like that he wants to get even for having his money stolen, and Jesse being there is just convenient, though not in a false way. That being said, once Walt sees Jesse, he has to tackle him and not just let him get shot.

No matter what has happened between them, Walt still thinks of Jesse as family. In their final scene together, Walt is saying he's sorry without uttering the words. Walt isn't about to grovel and beg for forgiveness, nor is he bogged down in regret about handing Jesse over to Jack. But he sees Jesse has paid his penance, and doesn't want to make Jesse suffer any further. And, as Walt knows he isn't making it out of the compound alive, it doesn't cost him anything to offer Jesse the chance to put him down.

Jesse doesn't feel the same sense of reconciliation. He hates Walt, and has every reason to, blaming Walt for pulling him into this ugly business that has led to the death of not one, but two women he loved. The only reason Jesse doesn't kill Walt is because Walt wants him to do so, and says it. Jesse would rather Walt suffer, and knows Walt isn't having a good life, whether he lives to leave the compound or not. Jesse wants Walt to be miserable as long as possible, and leaves him to be so.

It's a triumphant moment when Jesse escapes. He gets to kill Todd (Jesse Plemons), Jesse's personal torturer, the only one quick-witted enough to duck the bullets, but shocked dumb enough to stare out a window and turn his back on his enemies. Jesse is now free of both the gang and of Walt. It's just a shame he doesn't take a few minutes to find some of Walt's money so he has some cash to start a new life.

The last scene is of Walt, who has been shot protecting Jesse, dying in a meth lab, the melody "It's All Over Now, Baby Blue" playing. This is very powerful and fitting. Walt's product, his "baby blue," was the thing he loved, and it couldn't turn it's back on him like everyone else, not being a person, so he dies in it's company. The bullet Walt takes while shielding Jesse is not redemption; that, Walt will not have. But he has accomplished what he set out to do, and he's ready to lie down and be done.

The story of Breaking Bad is Walt's personal journey, an amazing character study, with the protagonist fundamentally changing from one end to the other. In this, "Felina" serves as a very well-done ending, hitting the beats Walt needs to go through to finish his life, and giving him the death he wants when he wants it. Perfect.

I'm a little sad we don't get to see what happens to Jesse, Skyler, and Junior down the road. I'd hoped, after Walt died, for a montage to let fans know these others are OK. The show isn't about them, though, it's about Walt. That kind of montage could have only been post-Walt's death, but that would robbed the final shot from being of Walt, which it needs to be. So while I really wish for a glimpse of these people down the road, that has to be let go and appreciate that the show did exactly what it should do.

Thank you Vince Gilligan, Bryan Cranston, and company for creating one of the best shows ever made. This is the reason those who previously only read books, looking down on the visual medium, are beginning to turn to television, as excellent examples of storytelling can be done on the small screen, too. The entire five-season epic will stand as a shining example of what TV can and should be.

Breaking Bad will be missed.

MICHAEL J. FOX Has a SHOW Again

Article first published as THE MICHAEL J. FOX SHOW Review on Seat42F.

Michael J. Fox (Back to the Future, Spin City) is such a beloved star whom viewers have so long yearned to see return to television in a regular series role that this fall’s THE MICHAEL J. FOX SHOW on NBC may just be the year’s most anticipated new comedy. In it, Michael plays Mike, a newscaster with Parkinson’s disease who leaves his job as a popular newscaster, but then decides to return to work, much to the relief of his family. It’s semi-biographical.

Most people don’t know a lot about Parkinson’s, but the obvious symptom is the incessant shaking. Like Fox himself, Mike suffers from this ailment, which makes it easier for the actor to inhabit the role. It takes very little time, though, to see Mike as any other person, and get past the disease. In the twenty-two minute “Pilot,” this is possible early on, a credit to Fox.

The character should please those looking for the comeback, as Mike has the wit and charm we’re accustomed to seeing from Fox. It’s easy to see why everyone loves him so much, both the actor and the character, and not just because of the bravery he has at fighting his illness.

The Parkinson’s is not ignored. Quite the opposite, really. THE MICHAEL J. FOX SHOW plays on the perception others have of Fox, and the things they think about him or say to him. People on the street feel empowered enough to make comments and share stories of their own afflicted relations, and his boss at news network, Harris (Wendell Pierce, Treme), is happy to take advantage of the situation when advertising for Mike’s triumphant comeback. All of this makes Mike uncomfortable, but it’s just something he has to deal with, which he does with grace.

Inside his home, however, he is not worshipped and fawned over. Like most families, Mike’s doesn’t see him as anything special, though they love him. Daughter Eve (Juliette Goglia, Easy A) thinks nothing wrong with milking Mike’s condition for a school project, which thankfully the teacher sees right through. Mike’s sister, Leigh (Katie Finneran, Wonderfalls), mooches off of him for an apartment, then complains when it’s in the basement. No one will sit down and eat together as a family. Everyone wants Mike out of the house during the day.

And that’s actually the problem with THE MICHAEL J. FOX SHOW: it’s just a normal family sitcom. There isn’t any special or notable about their interactions. School assignments, avoiding college, a broken dishwasher, sparring (then bonding) siblings, kids who thinks their father is lame; these are things faced in many others shows on the air, and this one handles them in much the same, familiar manner. It’s just like beloved classics like Everybody Loves Raymond, Full House, and Home Improvement.

I understand it is hard to find a fresh take on this genre at the moment, which so few have managed to do, but if it can’t be done, it shouldn’t be attempted. Fox is an accomplished performer with many great credits to his name, but this seems to be a waste of his talent. Perhaps the type of show he is most familiar with, Spin City and Family Ties, has just grown stale, and he needs to make a bigger departure, like he has during his recurring stint on The Good Wife these past years. The writing is just way too mediocre here.

Which is not to say that people won’t watch it. It does feel quite good to see Fox back in my living room, doing what he does best, even if the material is lackluster. He deserves a good show, and even if this isn’t it, perhaps it’s a stepping stone to something better. In the meantime, the novelty of his comeback combined with the sympathy many feel for him may just be enough to keep THE MICHAEL J. FOX SHOW going.

I would like to say I was impressed with what Betsy Brandt brings to the role of Mike’s wife, Annie, not necessarily because she stands out among the others, but because she blends in so well. Annie is nothing like Brandt’s recent role of Marie in the extremely popular series Breaking Bad, and so it’s cool to see that she can differentiate herself even in two characters that could potentially be very similar. She melds well with Fox and their television children.

THE MICHAEL J. FOX SHOW premieres Thursday, September 26^th on NBC.

BREAKING BAD's Empire Falls in "Ozymandias"

Article first published as BREAKING BAD's Empire Falls in "Ozymandias" on TheTVKing.

"Ozymandias" isn't just a character in Watchmen; it's also a Greek poem about the fall of an empire. How fitting, then, that AMC's Breaking Bad's ante-penultimate episode, which depicts Walter White's (Bryan Cranston) crumbling drug empire completely self-destructing, bears that title.

"Ozymandias" begins with a flashback to Walt and Jesse's (Aaron Paul) first cook in the desert, at the same location where the shoot out in the previous episode takes place. Jesse acts an idiot as Walt calls home to pregnant Skyler (Anna Gunn) to lie about his whereabouts and discuss what to name their daughter. It's a touching throwback to how it all began, as well as showing the bookends of the main plot arc. I can't imagine a better way to tie everything together.

Then, we're back to the current timeline of the story. It was hard to accept last week that neither Hank (Dean Norris) nor Gomez (Steven Michael Quezada) was shot in the hail of gunfire brought about by Uncle Jack (Michael Bowen) and company. Turns out, Breaking Bad just chooses not to show us their wounds until this week, perhaps allowing viewers to hold out hope, as Walt does, that there is a way his brother-in-law can survive this showdown.

In fact, Walt pleads with Uncle Jack, as Gomez lays dead and Hank shot in the leg, willing to give up his entire eighty million dollar fortune to save Hank. Walt's hubris has been laughable before, but it's been a long time since he's been this pathetic, groveling with absolutely no power. It's a bit of a surprise that Walt will give up his money for Hank, but I guess family still matters to him somehow, or at least the idea of it does, as his actions during this hour show him scrambling to hang onto something he has already lost.

Hank is completely the opposite in this situation, defiant and bad-ass 'til the end. He knows he's dead, and he's not about to whine about it. Whereas Walt would never accept death with dignity, Hank is wise and brave enough to understand the scenario and hold his head high anyway. Hank doesn't want to die, but he sure fools everyone, biting out some great bits of dialogue before Jack inevitably puts a bullet in his brain.

It's hard to lose Hank, especially now. With Walt so close to being taken down, the one man who has spent so much effort working towards that goal doesn't get to see it happen. And Hank has kind of become the hero of the show. He will definitely be missed.

That said, at least the way this plays out fixes the hesitations about the end of last week's episode, unfolding the way it realistically should.

Walt does get to leave the desert, but not before angrily selling out Jesse, whom he definitely blames for Hank's death, leaving Jesse with the bitter truth behind Jane's (Krysten Ritter) death. There isn't any logical reason to cause Jesse this last bit of pain; it's delivered purely from a place of anger. Heisenberg is gone, and petty Walter White comes out, a despicable, weak man, the father-son relationship they once had completely gone now, both feeling betrayed.

Jack is willing to dissolve his deal to make Walt cook one more time in exchange for most of the money, and Walt departs with a single barrel, still having plenty of cash to live the rest of his life on, but  getting the more valuable outcome of being completely done with Jack. Walt is separating himself from the drug life, and in this moment, we witness the end of the character's professional journey.

It's not a problem for Jack to lose Walt's expertise because he has Jesse. Sure, Jack will likely eventually fulfill the bargain and kill Jesse. But until then, Todd (Jesse Plemons) gets to use Jesse to help make meth the way it's supposed to be made. Jesse cooperates because he still cares about Andrea (Emily Rios) and Brock (Ian Posada) and Todd knows this, using them as leverage.

This is the worst end for Jesse imaginable. His dignity and humanity are stripped from him, making him a disposable slave with a very finite time limit left on his life. Fans may hope a miracle happens and Jesse survives this, but it doesn't look likely at this point, and even if he does, it will come at great cost. With all of the dark stuff unfolding in "Ozymandias," it's not hard to imagine that the final two hours will be just as depressing.

Meanwhile, we see Marie (Betsy Brandt) in a position of triumph. Surprisingly, Marie is gracious in victory, still offering to help Skyler out. True, she makes Skyler spill everything to Junior (RJ Mitte), who doesn't believe the story at first. But she's determined to make sure her sister comes through this OK, which shows their bond isn't completely destroyed. This is good because the women will definitely be needing one another to lean on with both of their husbands removed from the picture.

This is really the first time we get to see Marie so strong. She doesn't possess the evidence to further Hank's mission alone, so this is all very short-lived. But it's a great pay off for a sometimes annoying character, stepping up and getting some good material.

After running out of gas (serves him right!), Walt finally makes it home and tries to flee with his family, who are less than cooperative when they quickly realize Hank is dead. It doesn't matter that Walt denies he did it, and in Walt's own twisted brain he probably thinks he isn't responsible; they blame him anyway. Hank's death is what finally wakes up Skyler to turn on Walt, and she has Junior's support.

There is a very tense scuffle with a knife, when viewers can be forgiven for thinking a member of the White family may be grievously injured. However, the scene is more emotional than physical confrontation. This is where the line in the sand is drawn and sides are taken, and it's probably also the final time we will see all four together. Walt's family's collapse is right on the heels of his business's demise, and so he snaps.

Snapping is the only way to explain the way in which Walt flees, smashing Skyler's car, taking all the money, and abducting baby Holly. Walt has never much taken care of his infant daughter, more in love with the idea of being a dad than determined to be a good one, and he likely takes Holly more to punish Skyler than because he wants to raise her himself. It's a very low blow.

I have to hand it to Vince Gilligan and the writers, though. Just when you think there is absolutely zero humanity left in Walt, he shows a smidgen of it, returning Holly via the fire department and calling Skyler to give her an out. Yes, the angry words Walt says to Skyler probably have a lot of honesty in them. They also serve, though, to absolve her of legal liability, making the cops think he bullied and forced her to participate, and his tears show he knows this, sacrificing himself for her.

It is a sacrifice, too, because what Walt says can be used as evidence to prove him guilty. Up to this point, with Hank and Gomez dead, there is still a chance Walt can get away with things, even if it would probably be temporary. In doing this, he focuses the blame now so that it won't continue to plague his family or eventually take them down, even though such events would likely come after Walt's death from cancer so it doesn't personally benefit him to do so. Though he doesn't leave his family the money, at least not yet, so his selfishness shows, too, even if one may argue he's "keeping it safe" for them until they can actually use it.

Then Walt gets into Saul's (Bob Odenkirk) guy's van and heads away for his new life. This is probably where we'll get the time job and reach the moments shown briefly in the season premiere, with Walt returning home well after what we've just seen. This is really the end, with those others hours serving as an epilogue. Or is it?

"Ozymandias" will stand as one of the best episodes in one of the best shows on television. The drama is heavy, the feelings are flowing, and the stakes are high. Beloved characters go down, and relationships are dissolved forever. Yet, it all feels completely natural to the story, and with the stunningly brilliant acting of this cast, it's as moving as anything I've ever seen on the small screen. Extremely well done.

Breaking Bad has two episodes left, airing Sundays at 9 p.m. ET on AMC.

BREAKING BAD Showdown at "To'hajiilee"

Article first published as BREAKING BAD Showdown at "To'hajiilee" on TheTVKing.

I figured out what the super secret twist is for the series finale of Breaking Bad while watching last night's episode - the show will give us all coronaries so we won't be around to see the last hour. Brilliant!

Seriously, with only three hours left now, last night's "To'hajiilee" started to feel like a series finale, and made the tension and surprises of the first four hours seem tame. Jesse (Aaron Paul) tells Hank (Dean Norris) that if they want to catch Walt (Bryan Cranston) red-handed, they have to go after his money. Between them, they come up with a tricky scheme that does the job, getting Walt to panic, and having him lead them straight to where he buried the cash, where they finally arrest Walter White.

Walt thinks he's smart, and he is. But when two other intelligent people team up, namely Jesse and Hank, Walt falls apart. He is used to second guessing one person, but not two that know him so well and are so intent on taking him down. As much as Walt may be the protagonist of the series, it is definitely satisfying to see him outwitted in this manner.

Jesse has every right to hate Walt. No matter what small signs Walt shows that he cares for Jesse, such as when Walt asks Uncle Jack (Michael Bowen) to kill Jesse in a quick and painless manner, Walt also screws Jesse over, like when he visits Andrea (Emily Rios) and her son in "To'hajiilee" as a threat. Jesse may not know about either of these two things, but they illustrated patterns that Jesse has experienced at the hands of the kingpin.

The utter look of relief and happiness in Jesse's eyes when Walt is captured is great. Jesse has been through a lot, and most of it can be blamed on Walt. With Walt put away, and Jesse not having to sacrifice more of his soul by killing Walt, Jesse finally sees a way to escape this and put it behind him. Jesse isn't concerned about jail time for himself right now; he's just glad to be done with the meth life and everything that comes with it.

Marie (Betsy Brandt) is also excited, as she reveals in a phone call with Hank. She may love her sister, Skyler (Anna Gunn), but Marie hates Walt for everything he has done to their family. Hank proves he is the good husband and excellent officer of the law by taking down Walt for her, and she is grateful.

Sadly, Marie and Hank's phone call, sweet as it is, just foreshadows to viewers paying attention that things will not go down smoothly. Uncle Jack ignores Walt's plea to call off the hit on Jesse and shows up with a full armed posse at the site where Hank, Jesse, and Gomez (Steven Michael Quezada) have captured Walt. Guns go off, and the good guys are pinned down.

I was totally convinced that Gomez, at least, and probably Hank, were going to die at the end of "To'hajiilee." That no one actually went down, the DEA officers ducking behind their SUV, Walt and Jesse shielding themselves in the cars, and Jack, Todd (Jesse Plemons), Kenny (Kevin Rankin), and the others coldly unloading clip after clip at them, unconcerned about return fire, is amazing, and a little bit of a let down, feeling inauthentic.

Let's dissect this for a moment, though. It's unsurprising that no one from Jack's gang dies yet because Hank and Gomez are trying to duck and cover, thus leaving them shooting mostly wildly and blindly. But why can a group of guys, well armed with fast-firing weapons, not hit two men who are out in the open when the shooting begins? Could it be that they don't want to kill a cop if they don't have to, somehow hoping they can shoot Jesse and nab Walt without taking down either DEA agent? Are they just really terrible shots? I don't think Todd is, with that steely gaze. I assume there is a purpose to their missing, or Hank would already be bleeding in the dirt.

Which begs the question, how can this stand-off possibly end? Will Jack give Hank and Gomez the opportunity to leave if they hand over Walt and/or Jesse? Uncle Jack needs Walt to cook. And Uncle Jack doesn't know about the barrels of money, nor does anyone else not at this place, as Hank didn't officially call in the raid or mention the cash to Marie, so that shouldn't be part of the equation. The end of the episode, going black after many shots fired, but with no one bleeding, leaves an optimistic feeling that this isn't quite the Alamo.

However, with only three hours left, there will be some major movement at this place. The days of tip-toeing around Walt are over, and this is full out war between the various players. We don't know how a free, beaten-down Walt eventually makes it back to his ruined house, but that is the only glimpse of the future we've had. Everything else is completely up in the air. It's going to be great!

Other wonderful moments in "To'hajiilee," besides the final scene: Junior (RJ Mitte) starstruck at meeting Saul (Bob Odenkirk), Walt's panic when Saul shows up at A1, the way Hank, Jesse, and Gomez fool Huell (Lavell Crawford), turning him into a blubbering mess, Todd's weird flirtation with Lydia (Laura Frazer), and Uncle Jack's suggestion that blue food coloring will fix Todd's non-blue meth batch.

"To'hajiilee" is a fantastic episode with funny moments, some unintentionally so, great tension building, and one of the most memorable finales ever, letting viewers know that the gloves are fully off and this is it. Buckle up and get ready for the end.

Breaking Bad has three episodes left, airing Sundays at 9 p.m. ET on AMC.

BREAKING BAD Pure "Money"

Article first published as BREAKING BAD Pure "Money" on TheTVKing.

AMC's Breaking Bad kicks off its final eight hours with "Blood Money." After a glimpse at a bleak future where Walter White's (Bryan Cranston) secret is out and his home is abandoned and defiled, the action picks up right where the previous episode (which aired last summer) left off: Hank (Dean Norris) finally suspects Walt of being Heisenberg, Jesse (Aaron Paul) wrestles with guilt, and Walt lies and threatens anew.

I feel like the only way for Walt's story to end is in death. Walt has become an extremely bad dude, as evidenced with many of his words and deeds in "Blood Money." This is a kingpin who is no longer trustworthy for anyone, and he must be brought down. The question is, who will end Walter White's life?

My money is on Walter White. We see him with an M-16 and poison in the opening of the installment. With his cancer back, something he is neglecting to tell anyone, Walt doesn't have long to live, anyway. Perhaps he wants to go out on his own terms, either peacefully by consumption of tainted food or liquid, or violently in a showdown.

The argument against this theory is that Walt is a survivor. He wants people to know who he is, and he isn't content to allow himself to be caught. These feelings could waver in the face of his mortality, but Walt's conversation with Hank, in which he brags to Hank that no jury will send a dying man to prison, shows that Walt is not ready to give up yet. Backed into a corner, this could change.

Or Hank might get Walt. Hank is loathe to publicly accuse and investigate family until he's sure Walt is Heisenberg, staying home from work and checking on things off-book. However, when Walt and Hank have their confrontation, we see how angry Hank is, and Hank punches Walt, making it clear he won't help Walt get away with anything. Hank will work vehemently in these final episodes to bring Walt down.

I hope Jesse doesn't have to hurt Walt. Jesse is having enough trouble dealing with his own behavior, handing out cash he sees as "Blood Money," rather than keeping his earnings from making meth. Jesse is reckless, intent on punishing himself for what he thinks he deserves if no one else will. Yet, we know Jesse is a good guy at heart and we want to see him get better, not descend further. Having to kill Walt could permanently destroy Jesse.

A nice surprise might be if Skyler (Anna Gunn) has to pull the trigger. She's back in Walt's life, sharing his bed, and running the car wash business together. However, she is not a pushover, and would not hesitate to protect her family, and would be able to sleep at night afterwards. She will be furious when she learns Walt is hiding his cancer from her again. Perhaps it's time for her to show ever more backbone and be the ultimate hero.

One thing is certain, Lydia (Laura Fraser) doesn't have the guts to do it. She may be desperate, seeking Walt's help at work, even as Walt tells her to stay away, but that won't be enough to bring down Breaking Bad's protagonist. She is weak and scared and that counts against her.

"Blood Money," besides giving us much to ponder, is a wonderful hour, finely crafted. From Marie's (Betsy Brandt) joking comment that Walt is the devil, to Walt's two 'hello's to his neighbor, to Badger (Matt Jones) and Skinny Pete's (Charles Baker) Star Trek conversation, there are layers and metaphors and memorable moments. There are also beautiful, dramatic, character-driven scenes between Hank and Walt and between Walt and Jesse. This indicates the show will maintain its quality til the end, and that is definitely something to look forward to.

Breaking Bad airs Sundays at 9 p.m. ET on AMC.

"God Laughs" at Private Practice

     ABC's Private Practice premiere, "God Laughs," finds Addison (Kate Walsh) talking to a therapist about her life, especially the fact that her new fertility doctor turns out to be Jake (new series regular Benjamin Bratt, Law & Order, The Cleaner), whom she recently flirted with. But that's just the framework. The real action involves Pete's (Tim Daly) heart attack, Violet's (Amy Brenneman) encounter with an abused wife and her decision to return to Pete, and Amelia's (Caterina Scorsone) fall off the wagon into booze.

     The title is excellent, even if you do not believe in a deity, a valid conclusion. That's because it does seem like every time plans are made, reality will step in to mess with them. Life is messy, and some people, including many of the characters on Private Practice, tend to forget this. Love the reminder.

     Many will be happy to learn that Pete comes through his medical emergency more or less intact. It's touch and go for awhile, and with Private Practice's willingness to kill off main characters, there is some real drama built up. Even worse, a still inebriated Amelia operates on him, so anything could really happen. But Pete lives to doctor another day, and saves the series from having to replace another main character. This is great, because all the Pete / Violet drama deserves a happy ending, and not more turmoil.

     Violet's story in "God Laughs" is a little less enticing, but still interesting. Stuck at the airport, phone battery dead, ignorant to what is happening with Pete, Violet strikes up a conversation with a stranger (Breaking Bad's Betsy Brandt). Some of what they talk about it just patient of the week stuff, a little unexpected, since Violet's license is suspended. But she's not officially counseling, so she isn't technically breaking any rules, I think. However, there are also things in the conversation that remind Violet that she has it good with Pete, and she shouldn't leave him. Even if she's doing towards something instead of running away this time, that is no excuse to leave her still-fragile family. In the end, Violet makes the right choice.

     Addison takes care of a strangely silent Lucas the entire episode, sparking her to seek motherhood once more. This is the least effective story in the hour, not because of Addison's desire, a long running theme that does not resolution, but because it just doesn't fit with everything else. Pete might die, and Addison is thinking of having a child? There are other concerns going on. Yes, death can make one rethink priorities, but save it for next week. Private Practice is strongest when it is a true ensemble show, and now when Addison finds a way to draw focus constantly.

     Finally, Amelia's addiction arc is actually rather well done. Amelia has a tendency to fade into the background since joining the cast, and any story that gives her some focus is welcome, as Scorsone is a good actress that can hold her own with her co-stars, and deserves to. Charlotte (KaDee Strickland) has been through enough, and doesn't need a relapse, so it's cool that she is the tough cop trying to give Amelia a gut check about what she is doing, rather than the center to this story. Sheldon (Brian Benben) might be even more vital, providing help, but not enabling. Maybe a genuine romance could spring up between the pair after he finishes helping her get better? God knows Sheldon really deserves true love, but then again, "God Laughs."

     Private Practice also stars the excellent Paul Adelstein and Taye Diggs. It airs Thursdays at 10 p.m. ET on ABC.

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Breaking Bad defends itself with a "Box Cutter" and a "Thirty-Eight Snub"

     AMC's Breaking Bad finally returned last week after more than a year's absence. Like much of the series, the first two hours flow with connecting arcs, rather than tell stand-alone stories. In the first episode of the fourth season, "Box Cutter," Walt (Bryan Cranston) secures jobs for Jesse (Aaron Paul) and himself, narrowly avoiding death at the hands of Gus (Giancarlo Esposito). But Gus shows his displeasure at Walt's ruse by butchering one of Gus's own henchmen in front of them. In "Thirty-Eight Snub," Walt seeks a more permanent solution to his continued well being, but Mike (Jonathan Banks) is unwilling to form an alliance, and tells Walt he will never see Gus again. Which means Walt and Jesse can continue making meth, but only until Gus finds a replacement and takes them out, and there's nothing they can do about it.

     It is no coincidence that both episode titles are weapons. "Box Cutter" features one of the most graphically violent scenes ever shown on basic cable television. The murder Gus commits is both chilling and fascinating, proving that Esposito is on a tier of his own in terms of acting talent. The frustrating silence and steely eyed glare make the long, drawn out scene one of supreme artistic excellence, as well as keep the suspense taunt. It is no wonder. too, that Walt is now deathly terrified of Gus, and thinks the only way to take him out may be to do a little killing of his own. Obviously, Gus is a very dangerous man, and Walt and Jesse are only alive to keep production flowing.

     Walt and Jesse handle their fear in very different ways. Walt goes for the tough guy routine, something the once meek chemistry teacher steadily grows more and more comfortable with, by buying a "Thirty-Eight Snub" and trying to turn Mike against Gus. Whether Walt has any chance at all of overcoming a powerful, cold-hearted criminal mastermind like Gus remains to be seen. Luckily, Breaking Bad has a masterful way of delivering twists, and the outcomes expected likely won't play out in a predictable way.

     Jesse, by contrast, begins growing reckless. He spends massive amounts of money on a new stereo system, and parties hard. This means Jesse's sobriety is out the window. If Gus doesn't take out Jesse, Walt's assistant will remove himself from the equation soon enough. Interestingly, Jesse shows he has lost faith only in himself, not the world, by giving Andrea (Emily Rios) a large amount of cash and trusting her to buy a better life, rather than spend it on drugs. He is a very complicated character indeed.

     In the meantime, blissfully unaware of the danger, Skyler (Anna Gunn) inserts herself more dominantly into Walt's affairs, attempting to buy the car wash her estranged husband used to work at. Unfortunately, the owner remembers her, and shuts down that idea quickly. But Skyler's concern for Walt is more than about money, as evidenced by the way she frantically searches for him when he is missing. True, she could just be concerned about her family's financial future, but her frenzy seems to indicate that she still has feelings for the man that she now keeps at arm's distance. Any possible reconciliation will be long off, but the door is not yet closed forever.

     Marie (Betsy Brandt) scores a bit more screen time in season four of Breaking Bad as she suffers through husband Hank's (Dean Norris) recovery. Hank is surly towards her, though kind to his physical therapist. He tries to get better, but won't accept the slightest comfort from the woman he is closest to. Who would have thought that Marie has the saintly patience to put up with such a grouchy, uncooperative spouse? Yet, Brandt finds inner strength from somewhere, and swiftly develops Marie from an annoying woman into a near hero. Her strength as Hank undergoes the turmoil that comes with his trauma is impressive, and the subplot is most welcome.

     Breaking Bad airs Sunday nights at 10 p.m. ET on AMC.

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Article first published as TV Review: Breaking Bad - "Box Cutter" and "Thirty-Eight Snub" on Blogcritics.