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Feb. 9th, 2015 12:41 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
proximoceptionSo 2.2 is now famous as Breaking Bad's breakout episode, its entry into the big leagues, but 2.3 strikes me as its first subtle one. I mean, the first season wasn't stupid but it was pretty overt - closest to suggestive it gets is Walt's wardrobe evolution. Which presumably makes sense from a financial standpoint, as no one wants to cold fund the filming of an entire season of experimental drama - unless you're coming off Blue Velvet or howver thst happened. It's when you start to feel more secure after renewal, and to realize that what's keeping you afloat is critical goodwill, that script depth can look like a worthy risk. The first season had script height, though, and some elements get some shading retconned into them, like the Krazy 8 decision.
2.3's repeated mechanism metaphors get picked up in the finale awesomely, but I'm now wondering if I've overlooked them elsewhere. I've been looking for the start of the car business, which is prominent in 3 and recurs afterward, but so far nothing. The Aztec predates his break so the green means nothing, except insofar as it's an extension of home out into the wild - a camping vehicle. Its exit is a great scene.
Through to 2.2 the show's more about how much can plausibly go wrong when you do crime, and how since you don't have any institutional or community support your only way out of such tangles is further tangling. Which isn't absent from the rest of the series, but 2.3's where it gets clear that each untangling leaves some piece of you behind.
It's interesting how invested it is in unmissable anti-drug war argument and in dwelling on gross images near the beginning, too. I guess it has to be - the underlined asterisked bolded "don't try this at home" reassures that it's not actually advocating any of this. But it also lets it give the obvious non-trial reasons first, and then when we know that the writers know these they can start in on the other ones. The ones that maybe take some setup, some more extensive introductions into story of reality-over-time. We see reality but we don't see much of the full version. Just enough to know that change exists without believing it.
2.3's repeated mechanism metaphors get picked up in the finale awesomely, but I'm now wondering if I've overlooked them elsewhere. I've been looking for the start of the car business, which is prominent in 3 and recurs afterward, but so far nothing. The Aztec predates his break so the green means nothing, except insofar as it's an extension of home out into the wild - a camping vehicle. Its exit is a great scene.
Through to 2.2 the show's more about how much can plausibly go wrong when you do crime, and how since you don't have any institutional or community support your only way out of such tangles is further tangling. Which isn't absent from the rest of the series, but 2.3's where it gets clear that each untangling leaves some piece of you behind.
It's interesting how invested it is in unmissable anti-drug war argument and in dwelling on gross images near the beginning, too. I guess it has to be - the underlined asterisked bolded "don't try this at home" reassures that it's not actually advocating any of this. But it also lets it give the obvious non-trial reasons first, and then when we know that the writers know these they can start in on the other ones. The ones that maybe take some setup, some more extensive introductions into story of reality-over-time. We see reality but we don't see much of the full version. Just enough to know that change exists without believing it.
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Date: 2015-02-09 03:45 pm (UTC)no subject
Date: 2015-02-09 04:13 pm (UTC)