Open Up the BLACK BOX

Article first written for Seat42F.

ABC’s new drama, BLACK BOX, is an interesting concept. A successful professional with bi-polar disorder and a tendency to go off her meds deals with life, love, and work, all while trying to hide and control her secrets. There is a recent trend on television to build a series around an eccentric genius, but at least in the “Pilot” of this one, more time is given to examining the lead’s personality than in others in the vein. That makes it feel fresh.

Kelly Reilly (Sherlock Holmes) plays Dr. Catherine Black, the main character. Black isn’t necessarily likeable, but she is a complex, fleshed out character. She’s a bit like FOX’s House in her abrasiveness and unreliability, though in her case, the problem is staying on the drugs, not off them. She also hallucinates, like the lead in TNT’s Perception, but BLACK BOX is what Perception should be, making the story more about Catherine than some case. Too bad the play on her name in the title is lower brow than the rest of the package.

Much of the first hour is spent raising the question of if Catherine should be medicated. Catherine points to the work of brilliant minds in history who accomplished great things when allowed to be who they are, wondering if taking the pills is holding her back in her own work. But her head doc, Dr. Hartramph (Vanessa Redgrave, Lee Daniels’ The Butler), points out that those heroes of Catherine’s all died young and Catherine could accomplish more, if a little more slowly, if she takes measures to stay alive.

BLACK BOX has a point of view. The writers are clearly in favor of treating this disorder. But they do a good job of making the audience understand Catherine’s reasoning, and for a bit, maybe even believe it. Yes, Catherine au naturel is destructive, but if she can hang on for a little longer, she might accomplish something great. It’s a revealing view of mental disease.

The “Pilot” provides a convenient door into this world in Will (David Ajala, The Dark Knight). Boyfriend to Catherine for the past year, Will only finds out about her struggle in this first episode, after proposing. At first, he’s mad that she kept this from him and understandably freaked out. But then he finds a side of this that he likes, which is a little creepy, but also something sympathetic.

When one begins to think Catherine can handle herself, one need only look at the relationship between her and Will to see how broken she is. Catherine doesn’t want to get married. She doesn’t think she deserves love or that Will should have to put up with her. She doesn’t want kids because of the risk of passing on her condition. But she also doesn’t want to run Will off, and she’s attracted to the dangerous part of him that encourages her to be wild. It’s not a healthy situation.

In addition to Will, we meet Catherine’s supportive brother, Joshua (David Chisum, One Life to Live), his uptight wife, Regan (Laura Fraser, Breaking Bad), and their sweet daughter, Esme (Siobhan Williams, Hell on Wheels), with whom Catherine is close. They are a link to normalcy and people she can rely on when she needs help. Thank goodness Catherine has Will and Esme, especially, giving her a connection to pull her back when she blasts off into space. Plus, there’s a great twist involving the family late in the hour.

Catherine’s co-workers are a less helpful bunch, though that could be because they don’t know what’s wrong with Catherine. Her boss, Dr. Morely (Terry Kinney, Oz), trusts her unconventional methods, meaning he doesn’t try to reign her in. New surgeon Dr. Bickman (Ditch Davey, Spartacus: War of the Damned) is practically a sexual predator, not a good person to be around when one of Catherine’s symptoms is hypersexuality and she’s in a steady relationship. Dr. Lark (Ali Wong, Are You There, Chelsea?) might be her friend, though.

BLACK BOX does have a procedural element. Even in the “Pilot,” there’s a patient that Catherine helps, amid all of the chaos in her own life. But the fact that her own life is so messy, and that we get to see so much of it, will fool many viewers into thinking this is more character study than case-of-the-week. I hope that balance is maintained in future installments, and not just used in the set up.

As a whole, I like BLACK BOX. It’s interesting with a sort-of unique character, certainly smarter than most broadcast network dramas. It has some cool visuals, mainly when Catherine is tripping. It also raises some interesting questions that should make viewers think. Check it out.

BLACK BOX premieres Thursday at 10 p.m. ET on ABC.

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 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.