Article (and book) that I figured you wouldn't want to miss: http://www.uproxx.com/tv/2013/08/breaking-bad-writers-room-photos/ <http://www.uproxx.com/tv/2013/08/breaking-bad-writers-room-photos/>
--- In FairfieldLife@yahoogroups.com, azgrey <no_reply@...> wrote: > > --- 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. >
