--- In FairfieldLife@yahoogroups.com, turquoiseb <no_reply@...> wrote:
>
> --- In FairfieldLife@yahoogroups.com, azgrey <no_reply@> wrote:
> >
> > Spoiler alert!!!! Events of season 5.2 revealed here.
>
> No problemo. Thanks for the spoiler notice, but I've
> seen it twice now. Fellow addict here. Others, BE
> WARNED.
>
> > The way Walt made baby Holly "wave goodbye" to Hank.
> > The little high pitched sweet voice. Chilling. Made
> > my skin crawl. Completely innocent of evil.
>
> The look on Walt's next-door-neighbor Carol's
> face as he says, "Hi Carol."
>
> Lydia, showing up at the car wash. I can tell
> already that Lydia is going to be Big Trouble,
> possibly the reason Walt needs that M-60.
Most definitely.
And I believe this will lead us to a resolution
of who Gus Fring really was. It is too big of a loose
end to ignore. --not his real name....the cartel
wouldn't kill him because of who he was...having Mike
look into seeing whether his background could be found
by the DEA... I could go on and on. Why were there toys scattered in
one corner of his immaculately neat home when Walt
came for dinner? There were much larger forces at play
behind Gus and Lydia is a link in that chain. BTW, there
is a great recent interview with the Scottish actress who
plays Lydia. I would provide a link but I'm too lazy to
look.
I think it is worth going back and re-watching, one more time,
the scene in season one where pre-cancer Walt addresses his
class on chiral compounds. Lefthand and righthand isomers
inhabiting the same body. Good and evil. Couple this with
Werner Heisenberg's uncertainty principle which states that
the exact position and momentum of a particle cannot be
simultaneously known, and you have the basis of my theory
that Hank is gonna break bad in an unexpected way. Yeah,
I know, I've been drinking too much coffee.
I must admit that I do enjoy chatting over coffee with an
observant fellow addict. I never noticed how Walt picks up the
qualities of those he has killed until it was explicitly pointed out
to me. It started with cutting off the crusts of bread of the
sandwiches he makes for Crazy-Eight. He then adopts the practice
for himself. It continues on with every person he whacks. When he
folded the towel to kneel on, as Gus did as he ralphed in the toilet,
like Gus, even though he had never seen Gus do it! I had a kensho
right then. Good stuff! It was hidden from me in plain sight.
<Lawson, please ignore the kensho as I know you get very confused
when facing experiences of no-self due to your conditioning.>
>
> > Even though it is chronologically prior to Walt finding
> > "Leaves of Grass" missing and the GPS on his car along
> > with the subsequent epiphany regarding Hank, this was
> > another of a score of "Checkov's guns" that arose in
> > this episode. "Tread lightly" harkening back to to the
> > close-up of the motto of the license plate of the car
> > Walt drove to Denny's in the cold opening scene of
> > season 5.
>
> Good catch. I didn't notice that. I was wondering
> where that line came from when I watched it the
> second time.
>
> > Barry2 expressed last year that he felt the import
> > of the inscription written by G.B. that Hank read
> > inside "Leaves of Grass" would go over the head of
> > most viewers. I feel otherwise. The type of viewer
> > attracted to this show learns, or has the natural
> > ability, to constantly scan for this type of clue
> > which is inherent in the very DNA of BB. This
> > particular scene is unique in that it produces in
> > the viewer a mental equivalent of the use of a
> > visual intensely quick zoom-lens shot as the viewer
> > sees the character gain a realization that the
> > viewer gained long before.
>
> A famous story from Alfred Hitchcock:
>
> There is a distinct difference between "suspense"
> and "surprise," and yet many pictures continually
> confuse the two. I'll explain what I mean.
>
> We are now having a very innocent little chat.
> Let's suppose that there is a bomb underneath this
> table between us. Nothing happens, and then all of
> a sudden, "Boom!" There is an explosion. The public
> is surprised, but prior to this surprise, it has
> seen an absolutely ordinary scene, of no special
> consequence. Now, let us take a suspense situation.
> The bomb is underneath the table and the public
> knows it, probably because they have seen the
> anarchist place it there. The public is aware the
> bomb is going to explode at one o'clock and there
> is a clock in the decor. The public can see that
> it is a quarter to one. In these conditions, the
> same innocuous conversation becomes fascinating
> because the public is participating in the scene.
> The audience is longing to warn the characters on
> the screen: "You shouldn't be talking about such
> trivial matters. There is a bomb beneath you and
> it is about to explode!"
>
> In the first case we have given the public fifteen
> seconds of surprise at the moment of the explosion.
> In the second we have provided them with fifteen
> minutes of suspense. The conclusion is that whenever
> possible the public must be informed. Except when
> the surprise is a twist, that is, when the unexpected
> ending is, in itself, the highlight of the story.
>
> > This is tremendous work by the screen writers as it
> > instantaneously drives the dramatic tension of
> > anticipation to a new level while at the same time
> > equalizes the knowledge/understanding level of viewer
> > and character. This show is masterful at communicatioing
> > epiphanies without using dialogue. Sounds. Lighting.
> > Unique angles and lens. Taking something as cliched as
> > Walt looking at himself in a broken mirror, eyes blurred,
> > is done in such a way that it feels fresh in a Breakingly
> > Bad way.
> >
> > Damn! I loves me this show.
>
> I understand. Only seven more episodes of this greatness
> to enjoy, as a first-time experience. What a delight to
> look forward to...
>
Like a kid waiting for X-mas in August.
