BETTER CALL SAUL Worth Picking Up

Article first published as BETTER CALL SAUL Review on Seat42F.

BETTER CALL SAUL doesn’t shy away from its roots. Last night’s series premiere on AMC, “Uno,” begins a little bit after Breaking Bad ended. Saul Goodman (Bob Odenkirk) has relocated to Omaha, Nebraska and is the sad, pathetic manager of a mall Cinnabon. The highlight of his day is going home to his little house, pouring himself a stiff drink, and watching commercials from his glory days. This is where the story ends, and where it begins.

The meat of BETTER CALL SAUL is set six years before Breaking Bad even starts. Saul is known as Jimmy McGill back then, a very unsuccessful lawyer with a crummy office in the back of a nail salon. Desperate for clients, he also cares deeply for his disabled brother, the once-great lawyer Chuck McGill (Michael McKean, Clue, This Is Spinal Tap). Jimmy is at the end of his rope, making very little money representing very cruel teenagers and unable to convince Chuck he should cash out of the thriving firm he helped create.

Jimmy is not as far away from Saul as Walter begins away from Heisenberg, but there is definitely a lot that must happen to turn Jimmy into the sleazy, well-connected “success” he will become. This version of Saul is plenty willing to work outside the law; he just only does so in small ways, and his bravado is much more faked.

I don’t think we can condemn Jimmy for his hatred of Chuck’s partner, Howard Hamlin (Patrick Fabian, Big Love, Veronica Mars). Jimmy thinks Chuck, trapped at home without power because of a crippling disability, is being taken advantage of. Chuck obviously has a big heart, not wanting to hurt the business he built because of how it would affect the employees. But Jimmy sees his big bro as a bit of a schmuck who Howard is pulling one over on. Is Jimmy right, or does he just not have the mind-frame to see Howard and Chuck’s more altruistic viewpoints?

It’s easier to blame Jimmy for what happens or will happen to a pair of young scammers. To try to win a client who is (understandably) reluctant to sign, Jimmy gets the boys to fake an accident. What Jimmy doesn’t know is that this leads them into the den of psychopathic drug dealer Tuco (Raymond Cruz), a place Jimmy ends up as well by the end of the hour. Jimmy may not know who he’s messing with, but he does do something incredibly dumb that gets him and the boys into the situation, so he is to blame.

That makes me wonder how viewers are supposed to feel about the protagonist. Breaking Bad proved you can make a show about a character who is often unlikeable, but there’s something about Saul that makes me care. In Jimmy, this is even more prevalent. He’s the little guy, pushed down, and all his antics are him fighting back against what he sees as a rigged system. This is a sympathetic position, whether he’s right or not.

The style of BETTER CALL SAUL is very reminiscent of Breaking Bad. It is slow burn, with very artistic direction, confusing close-ups, and the very real feel of a larger story than what is being presented. This is by the same guys who did that show, and you can easily tell that, the connections being more than just a character or two.

Joining Jimmy, Chuck, and Howard, the cast includes: Mike (Jonathan Banks), whom fans will remember from the mother ship, and who gets only one (very special) scene in “Uno;” Kim (Rhea Seehorn, Whitney, Franklin & Bash), a lawyer who works for Howard, but seems to at least like Jimmy a little bit; and Nacho (Michael Mando, Orphan Black), a criminal I didn’t notice at all in the first episode, so he may not have shown up yet. This seems a good mix of new and old faces from various worlds, leaving open a number of possibilities as to how the series can move forward.

I like Better Call Saul. Odenkirk is still doing the great work he did in Breaking Bad, deepening the character and showing more range. While I have pointed out a number of similarities to that other series, it also has the bones to be its own story completely, not reliant on its predecessor as it goes on, with references being more funny that necessary. It’s early to make a judgment, but AMC’s decision to already order a second season makes me optimistic my faith in BETTER CALL SAUL is not misplaced.

BETTER CALL SAUL moves to its normal night and time this evening, airing episode two at 10 p.m. ET on AMC.

Throne Beseiged By Pirates

Article first published as 'Game of Thrones' Pirates on Blogcritics.

For years now, online piracy has been on the rise. The very public spectacle of the demise of MegaVideo aside, there doesn’t seem to be much stopping it, as virtually any television show or movie that has been publicly released can be found somewhere on the web for free. True, you may have to wade through false links and spam and viruses to find a program, but it’s out there.

Part of the trouble is a lack of available, convenient legal options. CBS has the worst record of online offerings of the Big Four broadcast networks, which is likely it has two shows in the top ten most pirated of 2013. Most cable networks don’t offer any streaming service at all, so AMC’s Breaking Bad and The Walking Dead, History’s Vikings, and Showtime’s Homeland and Dexter also rank quite high on the list.

These are quality shows that appeal to the younger demographic who most engage in piracy, but were there another easy option, many would not. Even for those networks that put their stuff on the web through one portal or another, access must be easier. Hulu and official show websites usually force one to watch commercials. While I know commercials pay for programming, those used to DVRs have given them up and aren’t about to go back. Netflix gets away with a subscription, rather than ads. How about using that model, or putting more current shows on the service?

Personally, I will admit to having pirated stuff, but only rarely. The exceptions I make are if a DVR recording is screwed up, the air time is unexpectedly pushed late by sports so the ending is cut off, or the broadcast is interrupted for weather alerts or the like. The latter two, I feel completely justified, blaming the network for messing with my show, and I’m usually only missing a few minutes. Because it’s a short bit, I’m certainly not paying for it again (I already pay plenty for cable), and don’t even think of it as wrong. For the first example, though, a missed recording, which is usually a full episode, I do seek legal means first, such as buying the episode on Amazon, and only pirate if I can’t find it.

Now everyone’s barometer on what’s acceptable is different, and I’m sure my reasoning is more conservative than most, though some will say piracy should not be practiced under any circumstances. It’s become a grey area, and while the law may disagree that it should be, it’s impractical at this point to cut it out completely, so instead, steps should be taken to not drive viewers to it. At least, not those who want to behave.

Piracy is only getting worse, and in the Internet age, it’s nearly impossible to stop it. Once the video file is removed from one site, it pops right back up somewhere else. I’m certainly not excusing this terrible behavior; as much as I want as many people as possible to watch fantastic entertainment like Game of Thrones, viewers should also be prevented from stealing it. But if it’s going to continue, the networks simply have to find a way to make it a less attractive option.

Some claim piracy is a victimless crime. This is not true. I don’t believe it hurts anyone for me to grab the end of The Good Wife on an illegal site because CBS still inexplicably doesn’t know how to figure out football scheduling decades after it started. But frequently grabbing shows online through less than savory means takes away from not just the big studios and networks, but the working actors, creative team, and even the same viewers who are illegally watching. Don’t understand that last category? I’ll explain.

According to at least one report, HBO’s Game of Thrones was the most pirated show of the year, with the 5.9 million illegal views nearly equaling the 6.1 million that tuned in properly. This is a crying shame.

Besides being an awesome series, it’s also one that deserves to be paid for. With that many people opting out of the subscription price, the budget cannot be nearly what it should be. The production team does a good job with what they have, but it could be better without piracy. There have been memorable sequences from the books slashed by the series because of the prohibitive cost of filming them. Can you imagine if those 5.9 million all signed up for HBO, at least for a couple of months out of the year? Game of Thrones could be a much more faithful adaptation on an even grander scale.

So those who pirate Game of Thrones are hurting themselves. Stop trying to skirt the system, guys! The pirates are taking advantage of all of us who do pay for HBO, and who are stuck subsidizing the series for the rest of the viewers, as well as lowering the amount of money that can be spent making it as good as it can be.

One way HBO could reduce piracy is to offer the episodes for sale on a service such as iTunes or Amazon, or offer online HBOGo subscriptions for sale. However, this is complicated by a number of factors, not least of which is that cable companies have a vested interest in not allowing viewers to get to the shows any way other than the traditional model. Complaining about those cable companies could fill several more columns, HBO needs to break away from its conventional model.

In the end, I hope those who’ve illegally downloaded Game of Thrones episodes feel bad enough to eventually stop doing it. So, let’s make them feel bad for doing it and shame them into wearing the white hat. If you have a friend who steals what you pay for, tell them how angry it makes you.

They are robbing you, and you have every right to smack them around (metaphorically speaking) for it. Our culture is too permissive of this particular sin, and it’s time we stop sitting by and allowing it. Perhaps cutting off fingers for piracy, as Stannis Baratheon did to Davos the Onion Knight, is a little extreme. But speak up. If you see something, say something. (To the individual, anyway; I’m not advocating calling the cops.)


The next time, I want to see Tyrion lead the army in battle, not get knocked out and wake up after the action is over!

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.

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.

Enter THE WRITERS' ROOM

Article first published as Enter THE WRITERS' ROOM on TheTVKing.

Sundance, a channel not available in all areas, unspooled an intriguing new series this summer entitled The Writers' Room. Even if you don't get that network, though, all six episodes of its freshman run, recently completed, are available on amazon.com to download or stream.

The Writers' Room is hosted by Oscar-winning writer Jim Rash (The Descendants), who also co-stars as the crazy Dean on NBC's Community. In each half-hour installment, Rash sits down with the creator, writers, and sometimes actors of a popular, well-written show. He not only talks to them about their work, but also makes them prove their mettle in fun exercises.

The first episode I watched was the fourth. The guests are New Girl creator Liz Meriwether, series star Jake Johnson, who plays Nick, and writer / producers Dave Finkel and Brett Baer. These four expound upon their process, and Rash challenges them to each pick a different oddity, then combine them into a script idea. It's a very entertaining premise, especially to those fascinated with writing as a medium and television as an industry.

After that, I watched the first episode, which was even better. Featuring Breaking Bad creator Vince Gilligan, series lead Bryan Cranston, and quite a few writers, they told stories from the set, contemplated mass suicide, and even went into how the show was pitched. Some of what they said is already familiar to fans of the show, but much is new material, just now revealed to the general public.

Rash is a very capable host. He knows a lot about the subject at hand himself, being a writer, but he also has that charm and natural humor that serve him well in Community. His job here is not to be as outrageous as the Dean, but to keep things moving and to toss in a few jokes. This, he does very well. This could easily be the writer's answer to Inside the Actor's Studio, with Rash an even more magnetic James Lipton.

Another cool feature of The Writers' Room is that pop-up facts appear on screen throughout each installment. These give more information than those on the show have time to get to in the brief installments. It's unknown whether they come from edited-out material or things that have just been researched, but they are relevant and interesting. At least until the series can be expanded to an hour-long project, they help with the value of the production.

Other episodes available include interviews with the staffs of Game of Thrones, Dexter, Parks and Recreation, and American Horror Story. So, in short, The Writers' Room only attracts the best of the best, with this half dozen being among the truly great shows currently airing.

As a writer myself, I love this show and hope for more episodes, perhaps covering shows such as Mad Men, Hannibal, The Newsroom, The Walking Dead, and Buffy the Vampire Slayer. (Yes, the last one is canceled, but one can hope, can't one?) It does not appear to be renewed yet, but it deserves to be. The writers of a show are so often forgotten or overlooked, but they are the ones who come up with the stories fans love. It's time they got to speak out in their own voices.

Check out The Writers' Room on amazon.com now.

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.

Breaking Bad pauses in final season

AMC's Breaking Bad pauses this week, a mere eight episodes into its finale season. There will be eight more installments, but they are being held until next summer to give the writers more time to figure out an ending for the popular, critically acclaimed series. This wait sucks, to be frank, but I guess it's worth it if the ending of the show delivers, as it almost always does, rather than trying to rush greatness.

In this midseason finale, "Gliding Over All," Walter White (Bryan Cranston) takes stock of where he is. Walt has become a kingpin, controlling his own drug empire, and striking fear into the hearts of those who would oppose him. Killing anyone who might expose his secret trade, he is finally the kind of ruthless bad ass that he once cowered to.

But at what cost? His wife, Skyler (Anna Gunn), feels like a hostage, drinks heavily, and won't meet his eyes. She keeps his kids away, refusing to let them stay in the house with a criminal whose business is so dangerous for himself and those around him. Walt has murdered Mike (Jonathan Banks). He has run off his long-time partner, Jesse (Aaron Paul), who hates what Walt has become. And all he has left is a somewhat inept assistant named Todd (Jesse Plemons, Friday Night Lights, Bent).

This is a turning point for Walt. He has to choose between his loved ones and his meth making life, because he can no longer balance both. One or the other must be given up, lest he destroy everything. And it's a decision he must make himself, since no one else wants anything to do with him, the supporting characters not only stepping away from Walt, but appearing far less on screen, too, enhancing the feeling of loneliness in a very neat way.

Walt chooses his family, telling Skyler he is out, and attempting to make amends with Jesse. What would cause Walt to do this? The entire run of Breaking Bad has been about turning the sickly, mild-mannered chemistry teacher into a hardened thug at the top of the food chain. Walt loves the power and control, and relishes his new-found confidence. There are almost no signs that he would back down, especially after refusing to budge when Jesse and Skyler plea with him to. Why does the let the loneliness get to him now, of all times?

A hint may be found in a montage slightly earlier in "Gliding Over All." As the various character are shown going about their business in this changed world, Walt revisits the hospital. Is his cancer back? That's not clear from this episode. It seems a safe assumption to make, as there wasn't really anything else in the hour that would spur Walt to shift direction now.

But Breaking Bad doesn't finish with the viewer there. After seeing Walt in a happy, normalized life again, there is a final bombshell. Hank (Dean Norris), while sitting on the toilet in Walt's house, finally makes a connection. Hank now knows that Walt is the elusive Heisenberg, whom Hank and the rest of the DEA have been searching for. Will Hank do his duty and bring Walt in? Or will family loyalty win out, especially now that Walt has given up the trade and moved on? The way that Hank has been built up, as a wonderful, complex character, his next move in not predictable.

So what will the finale eight episodes be about? Well, a big piece has to stem from Hank's decision based on his new knowledge. Will Walt's family be protecting him? Will they work against him, as there is a point in "Gliding Over All" that it seems like Jesse and Skyler will turn him in? It's too bad that Skyler hates Jesse, because they would probably find much to agree on. Is Walt lying? Is he dying? Will he turn back to meth if the going gets tough? Will someone, or more than one someone, end up dead?

Breaking Bad concludes next summer on AMC.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! First posted on TheTVKing

Please "Live Free" Breaking Bad!

Grade: 88%

AMC’s BREAKING BAD moves into its final season this week with “Live Free or Die.” After the usual cryptic opening set in the near future, the premiere does not set up a new story. Instead, the events of the hour deal with the aftermath of last year’s finale. With Gus (Giancarlo Esposito) recently killed, everyone tries to process that news, and figure out their next step.

Gus may be dead, but Walt (Bryan Cranston) and the others aren’t out of the woods yet. Remember that video camera that followed Walt around the lab? So does he. But before he can get his hands on the footage, Hank (Dean Norris) and the police take Gus’s laptop as evidence. Locked up in a very secure evidence room, it seems there is no way that Walt’s nefarious activities won’t come out. Mike (Jonathan Banks) advises they all run.

Walter White has come a long way on his journey to becoming a kingpin. In earlier seasons, the former chemistry teacher would have panicked, or perhaps not known what to do. And Walt will do something, because he has no intention of uprooting this life he has built himself, or fleeing from anyone. While Mike doesn’t even consider any other option, Walt remains calm, and quickly devises a plan.

Actually, it’s Jesse (Aaron Paul) who suggests the genesis of the scheme. Again, another character who has shown a lot of growth. Jesse used to be an idiot junkie. But after learning much about chemistry and attitude from Walt and Mike, he is able to keep a clear enough head to remember that magnets can destroy computers, and that might be something that they can use.

So after Jesse convinces Mike not to kill Walt, the three of them embark on the crazy mission of driving a giant junkyard magnet right up to the wall of police headquarters and cranking it all the way up. This is effective, and while their ride is sacrificed, they do make a clean get away. They are safe, for now.

Is there anyway that the magnet can be traced back to them in the upcoming investigation? Many, many criminals surely have things in the evidence room that they would like destroyed, and surely there are multiple laptops, even if Gus’s is the only one shown. But while the magnet may be nondescript, it shouldn’t take the police long to find the one junkyard in town that has a new one. After that, it is anyone’s guess how the employees at said junkyard will react to an interrogation.

Long before that happens, though, there might be a more immediate problem. The alliance between Mike, Jesse, and Walt is temporary. Who will fill the power vacuum left by Gus? One of them, or someone else? If it is someone else, they might stick together a little while longer. If it’s one of the trio, someone will have to end up dead, because these are some very strong personalities that just won’t become subservient.

It won’t be Jesse. Jesse is a follower. He naively trusts both Mike and Walt, and that will likely be his undoing, sadly. He may suggest a course of action, but he believes in them, is willing to stick his neck out for them, and is happy to take orders, rather than give them. Walt has already used this against Jesse, manipulating him by poisoning a child. Should Jesse realize this, the tide may change. But until that happens, Jesse is blind to his friend’s machinations, which means that he is putting his faith in someone that he shouldn’t.

Surprisingly, perhaps, Mike has developed a bit of loyalty towards Jesse. While Mike wants to shoot Walt immediately, he stands down when Jesse gets in the middle. It could also very well be that Mike only participates in the magnet plan to protect Jesse. Their mentor-mentee relationship was formed as another way to control Jesse, but if Mike’s affection for the lad wasn’t real, why would he go along with this?

Maybe it will take Mike and Jesse to bring Walt down, should the true depth of Walt’s dark soul ever be exposed. Walt has everything that he needs, but after each accomplishment, he only gets more over confident, and desires more power and money. This cannot go on forever. Look at Gus, a true power player, who is eventually stricken down. The play BREAKING BAD presents is a tragedy if ever there was one, and Walt will not, can not, end up on top.

Elsewhere, Ted (Christopher Cousins) wakes out of his coma. This sends Saul (Bob Odenkirk) and Skyler (Anna Gunn) into a panic, as just before Ted was injured, he was ready to expose their money laundering. Only a lucky fall saved them then.

Skyler rushes to the hospital to confront Ted, and see what must be done now. Given how disturbed Skyler was by Ted’s accident in the first place, as well as her horror at what Walt has become in killing Gus, it is unlikely she would sign off on any plan that would cause Ted further harm, no matter what the consequences to herself. Thank goodness Ted is now compliant, thinking his life is in danger if he doesn’t keep his mouth shut. Which means that Skyler shouldn’t have to follow her husband’s descent to protect her family.

What is more surprising is how Walt reacts to learning about the Ted situation. Previously, Saul and Skyler kept this issue from Walt. Saul tells Walt the story, and after a bit of anger, where Walt is clearly threatening Saul, Walt returns home, hugs his wife, and tells Skyler that she is forgiven. This is arrogant and creepy, something that plays well on Skyler’s face. What has Walt become? Does she even recognize who her husband is these days? And can she ever love a man like this?

BREAKING BAD is a masterful character study. With only fifteen episodes left, there is a real sense that some things will soon be coming to a head. Each character is going to have to figure out what they want, and what they are capable of doing to get it. There has to be betrayal, because many of these goals will run counter to each other. If the writing continues to be as good as it consistently has been for the past four years, viewers are in for one heck of a finale!

BREAKING BAD’s final season airs Sundays at 10 p.m. ET on AMC.

Ultimate "Face Off" on Breaking Bad

     The season finale of AMC's Breaking Bad, "Face Off," finds Walt (Bryan Cranston) and Jesse (Aaron Paul) plotting to kill Gus (Giancarlo Esposito). They get a lucky break when they find Tio Hector (Mark Margolis) more than willing to cooperate, even volunteering as a suicide bomber. Tio manages to blow up Gus, and Walt rescues Jesse from Gus's men. Together, Walt and Jesse burn down the lab. What Jesse doesn't know, though, is that Walt is the one who poisons Brock (Ian Posada).

     Is it truly necessary to see Gus post-explosion? His ruined face is an extremely memorable, gruesome moment that will not soon be forgotten. Breaking Bad frequently delivers on shock, but this one might just be a haunting nightmare not easily shaken away. His manner of death gives the episode's title a double meaning.

     With "Face Off," Breaking Bad presents a whole new Walt. Slowly, over four seasons, Walt gets deeper and deeper into the criminal world. This year, it seems like Walt is trying very hard to be the bad ass kingpin. Sure, he's afraid for his life, and those of his family. But he's also pretty willing to embrace the tactics needed to survive as such a man. From sending a helpless neighbor woman into his house, which he correctly suspects is being watched, to poisoning an innocent little boy, Walt demonstrates a lack of basic human compassion. Plus, when it's all over, his response is "I won." Call me crazy, but what goes down doesn't seem like a win for anyone.

     Is this change irreversible? That much is unclear. Walt is quick to sacrifice whoever needs sacrificed for the sake of his family, or possibly just out of self-preservation. Walt begins to look like Gus, who kills to make a point, and kidnaps Jesse to get him back to cooking meth. If Walt is rapidly turning into what Gus is, and Gus certainly never shows any signs of reverting back to a decent human being, than it might be too late for the former chemistry teacher. In fact, realizing what Walt is doing, his wife, Skyler (Anna Gunn), even looks scared of him as they speak on the phone.

     If Jesse ever finds out that Walt is the one that makes Brock sick, and considering this is television, he likely will, there will be a show down to the death between the partners. While Walt grows less and less in touch with his decent side, Jesse develops in the opposite direction. The youth is a hardened druggie when Walt begins working with him. They seem to develop a friendship as Jesse cares more about life, and even finds love. He turns into someone who would like to be a contributing, productive member of society. Yet, Walt doesn't care much about Jesse, either, even though he rescues him, since Walt is willing to risk the life of someone Jesse loves to manipulate him. As things stand now, fans will be rooting for Jesse to kill Walt once and for all, to stop Walt before he becomes does something even worse than he's already done.

     But there are still sixteen hours of Breaking Bad left before the series comes to a close forever. The writers will not allow such a shown down to be the only plot for that long. Though Walt burns Gus's lab, his new personality probably will not keep him out of the drug business for long. Will he include Jesse when he tries to become the next big boss in the area, as he surely will, or will Walt cut Jesse out now? Kingpins do not have partners. Jesse and Walt's family, on the other hand, would be happy living calm, peaceful lives from here on out. Too bad Walt's actions will bring them more trouble.

     Also, Mike (Jonathan Banks) sits out the entire showdown, still recovering from injuries. This is probably the only reason that Walt is able to succeed in taking out Gus. Would Mike be willing to work for Walt? Or might he seek revenge for Gus's murder?

Breaking Bad will return to AMC next year for a final,16-episode fifth season.

     If you like my reviews, please follow me on Twitter!

     Please click here for streaming episodes, Blu-ray, and DVDs of Breaking Bad.

Article first published as TV Review: Breaking Bad - "Face Off" on Blogcritics.

"Problem Dog" causes trouble for Breaking Bad

     The title of this week's Breaking Bad is "Problem Dog." This refers to Jesse's (Aaron Paul) pretending that Gale (David Costabile) is a dog when telling the story of how Jesse kills him, which he does to get issues off of his chest at his Narcotics Anonymous group. Jesse is torn, because Walt (Bryan Cranston) asks him to kill their boss, Gus (Giancarlo Esposito), which he agrees to do. But later, he passes up two opportunities to carry out the plot. It might be wise for Jesse to hurry up and complete the assignment, considering that Hank (Dean Norris) now seems to suspect Gus of heading a drug organization. If Hank catches Gus, it could expose Walt and Jesse. 

     Breaking Bad is a slow burn show that features long, powerful scenes, rather than lots of action. It gives the viewers a chance to really dwell on the characters, and what they are going through. It's a brave concept for television, and not one seen a lot. For it to work, the actors must be top notch. Luckily for Breaking Bad, it features Emmy winners Cranston and Paul. Not to mention, Norris deserves an Emmy, and has been robbed of nomination multiple times. The same might be said for Esposito. So there are a lot of very clear voices making Breaking Bad an absolute must-see show.

     "Problem Dog" gives Jesse many chances to shine. Dealing with grief and guilt for killing Gale, Jesse spends much of his time with drugs and at parties, trying to forget that he's a murderer. Then Gus sends Mike (Jonathan Banks) to pull Jesse out of his downward spiral by making him look like a hero in a staged robbery. This works, giving Jesse purpose as muscle for Gus. However. Although that emotional journey is apparent in prior episodes, "Problem Dog" really lets Paul breathe life into Jesse's whole mental state, and it works brilliantly.

     The aforementioned support group meeting is a powerful scene, but it's the culmination a journey, not its starting point. First, we see Jesse playing a violent video game, with Gale's visage flashing into it. This is not social commentary on how video games can cause bad actions, but rather, more like a PTSD flashback situation. Then Jesse feels accepted when protecting Gus, so he doesn't poison him like Jesse promises Walt he will do. The meeting is Jesse's explosion of his pent up thoughts and feelings, as the earlier scenes allude to, and really explores the character in a very moving way. Killing someone is not as easy as it seems on television. But Jesse might be able to live with himself for it. The question is, is he willing to do it again?

     Will Jesse kill Gus? This is a thought ripe for fan debate. Gus is playing a naive Jesse, pure and simple, but Jesse doesn't know that. Jesse now has self-worth and purpose, which pulls him out of the dark place he is in. Yet, Jesse does seem convinced by Walt's sales pitch that whatever Gus does now doesn't make up for the horrible things that he had done before.

     But then Jesse hesitates to take out Gus. Jesse is not being weak willed and easily manipulated, as much as he might appear to be during some points of "Problem Dog." Instead, he is taking in all the information before he makes a decision. At this point, while the structure of the series points to Jesse eventually trying to murder Gus, likely after lies are exposed, or Jesse's life is in jeopardy, it could still possibly go the other way. Viewers will just have to wait and see.

     As Jesse moves towards stability, pulling himself away from reckless action, and working on a major decision, Walt goes in the opposite direction, his behavior getting more and more reckless, perfectly exemplified by the way he torches a car in "Problem Dog." Walt doesn't even try to be discrete, causing the vehicle to explode, and calling a taxi to come and get him from the scene. Sure, Saul (Bob Odenkirk) is able to negotiate down to only a fine, and keep Walt's record clean, but what is Walt thinking? And, feeling indestructible, he doesn't even care that he got in trouble. That's dangerous. It seems, as Skyler (Anna Gunn) earlier accuses him, he wants to get caught. Why else commit such a blatant act of destruction? The money lost may not be much of an issue, but the attention surely is a big risk.

     On a semi-related note, why is Skyler asked to launder a bunch of fifty dollar bills? Saul did encourage other investments than the car wash, but as someone experienced in illicit activity, wouldn't Saul realize that the large bills would be difficult to do something with? Wouldn't he be helping with a solution, rather than leaving it in Skyler's lap? Saul doesn't want to get caught, and while Skyler does take over this part of the operation, it would be in the lawyer's best interest to help out as much as he possibly can in the illegal scheme.

     Hank is a brilliant character, who isn't very interesting when sulking in bed, collecting minerals. Thankfully, the super detective is not only on his feet again in "Problem Dog," rapidly improving his walking ability, but also already hot on Gus's trail as a meth kingpin. This is a fascinating development for Breaking Bad, and it's now only a matter of time until Hank blows the whistle.

     Hank's extended spiel to his former co-workers in "Problem Dog" is exhilarating and suspenseful. Norris gets a chance to deliver amazing lines once more, as the character almost instantly recovers from being a drag on the series to once more mattering in a very big way.

     How much does Gus continue to be important? From his meeting this week, it's obvious that Gus is not the biggest fish in the pond. With some very, very bad men wanting to knock him out of business, will it even matter if Hank catches him? Will Hank catch him in time to save his life, perhaps? Or will Jesse kill Gus first, opening up the opportunity for these new villains to take over the operation, or for Hank to reach another dead end? It doesn't appear that Jesse hesitates in killing Gus because he is afraid of someone else taking

     Do not miss Breaking Bad, Sunday nights at 10 p.m. ET on AMC.

     If you like my reviews, please follow me on Twitter!

     Please click here for streaming episodes, Blu-ray, and DVDs of Breaking Bad.

Article first published as TV Review: Breaking Bad - "Problem Dog" on Blogcritics.

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.

     If you like my reviews, please follow me on Twitter!

     Please click here for streaming episodes, Blu-ray, and DVDs of Breaking Bad.

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

2010 Emmys: Drama

    Yesterday, the Emmy nominations for this year were released.  This is television's biggest awards show, and as a television reviewer, I couldn't help but be excited.  Sure, there were some snubs, but there were also some pleasant surprises.  With 51 days left until the statues are handed out on August 29th, there is plenty of time to examine who's up for what.  In this first in a series of articles, I'll look at the the big categories for Dramas.

Outstanding Drama Series: Breaking Bad (AMC), Dexter (Showtime), The Good Wife (CBS), Lost (ABC), Mad Men (AMC), True Blood (HBO).  Mad Men is favored to win for the third year in a row, so this category probably won't be much of a surprise.  However, The Good Wife got a lot of nominations, and seems to be quite the darling this year, so it could stage an upset.  It's a shame that Lost probably doesn't have a chance because it's a brilliant show that has garnered few major awards over it's six year run, despite the fact that it deserves them.  The other shows on this list are great shows, but considering they weren't able to break past Mad Men the last two years, and there weren't any gigantic, ground shaking changes, any more so than on MM, they aren't likely to do it this year either.  Too bad Friday Night Lights got the snub here.

Outstanding Lead Actor in a Drama Series: Bryan Cranston, Breaking Bad (AMC), Michael C. Hall, Dexter (Showtime), Kyle Chandler, Friday Night Lights (NBC / DirecTV), Hugh Laurie, House (Fox), Matthew Fox, Lost (ABC), Jon Hamm, Mad Men (AMC).  This list pairs pretty closely with the one above.  I am most pleased with the long overdue inclusion of Chandler, but as he hasn't even garnered a nomination for the role before, I don't think it likely.  Cranston has already taken the award the past two years.  In my opinion, Laurie most deserves it.  He took Dr. House to new levels, yet again, this past season, and it's time he was recognized for it.  Hall not so long ago valiantly fought (and beat into remission) cancer while filming his show, and had some really exciting twists this past year on screen, so I could see him taking it.  Of all of the talented actors involved in Lost, Fox is not at the top of my list at all.  It's a shame he earned a nod while so many of his more deserving cast mates did not.  That being said, I'll take anything the Emmys will give Lost, as it's been so woefully underrepresented.  This is one category, though, that any of the nominees would be deserving choices.

Outstanding Lead Actress in a Drama Series: Kyra Sedgwick, The Closer (TNT), Glenn Close, Damages (FX), Connie Britton, Friday Night Lights (NBC / DirecTV), Julianna Margulies, The Good Wife (CBS), Mariska Hargitay, Law & Order: Special Victims Unit (NBC), January Jones, Mad Men (AMC).  Half of this list is new this year!  That sure makes things exciting.  And there's some variety of shows and networks that weren't in the above two categories.  I hope this doesn't mean Emmy voters think women can't carry a Best Drama show.  I would disagree vehemently with that.  Close is the previous winner, but I don't know that she should win again.  Sure, she was fantastic, but with so many deserving actresses out there, I hate to see the same people win over and over, and other loose out.  But Damages has likely been prematurely canceled, so she may win it out of a sense of completion.  Britton, a first time nominee, would be my first choice, though I don't think her likely for the win.  Jones can star pensively with the best of them, but I don't think that is enough to earn her a statue.  Marguiles may be the favorite, with her new show getting so much attention, although Hargitay is long overdue, and has been nominated before without the win, so it could be time to make it up to her.  If Sedgwick wins, I'm not sure I can respect the Emmy voters' opinions anymore.

     The 62nd Primetime Emmy Awards will air live Sunday, August 29th at 8pm on NBC.

Breaking Bad ends season three

     Tonight is Sunday.  I have become quite accustomed to watching AMC's Breaking Bad on Sundays, but unfortunately, season three ended last week with "Full Measure", so it won't be back tonight.  Two and a half months is not long enough.  The drama that started pretty good, and was something different, has become must-see.  The wait for season four will be a long one, especially because the cliffhanger was much more suspenseful than the show had done before.

     This season saw a couple of new regulars as Walter (Bryan Cranston) and Jesse's (Aaron Paul) meth business expanded.  Saul Goodman (Bob Odenkirk) helped them launder their money, provided wonderful comic relief, and actually seemed to come through in a pinch.  Giancarlo Esposito delivered a much more nuanced performance as chilling new boss Gus, and both became essential to the series.

     I feel really bad for Walt and Jesse.  They keep getting themselves into the mess deeper and deeper.  Now that they work for a man who eliminated his competition south of the border, and controls a huge chunk of land, including several states, how much deeper can they get?  For the series to continue to up the stakes, the writers are going to have to get even more creative than they have been, and they've already been outstanding.  At this point, it seems doubtful a happy ending can be had by the two main characters, but they have to try, and audiences will continue to root for them.

     The cliffhanger, where Walt was being held at gunpoint, waiting for Jesse to kill Walt's replacement, so that Gus could eliminate Walt, was nail biting.  We heard a gun shot as the screen faded to black, but did Jesse do the deed?  He had to have, didn't he?  Yet, something tells me perhaps he didn't.  Can the brilliant people behind Breaking Bad write themselves out of this narrow of a corner?

     Walt's family drama has also gotten deeper.  Skyler (Anna Gunn) now knows Walt's secret, and after a whole season of knowing, is finally showing signs of not hating him.  While they still have a long road ahead before any type of reconciliation may be possible, it's added a new level of intrigue and pathos.  Also, if Dean Norris doesn't at least get nominated, if not win, an Emmy for portrayed brother-in-law Hank this year, justice will not be served.  What started as a two dimensional a**hole has become probably my favorite character, and after Hank barely escaping his own assassination, I look forward to every moment of screen time he gets.

     Breaking Bad will surely return to AMC next year.