Subtle call-back: the music in the split screen cold open of this week's episode was an instrumental version of "Somethin' Stupid," the song used during the cold open of the episode titled "Something Stupid" from last season, which also showed Jimmy and Kim in split screen.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
Any bets on Kim’s mortality?!
Well, she doesn't make it into the regular series so it's either death or running for her life. She's certainly not there at the honey bun shop when he's on the run.
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A gentleman is defined as someone who knows how to play the accordion, and doesn't.
Some talk Kim may end up disappearing like Jesse and Jimmy.
A Happy Ending could see her and Jimmy reunited, but with very little money working Pro Bono cases in some foreign country.
A funnier ending has Jimmy running from the honey bun shop, now that someone knows who he is, and moving to a small town in the Ozarks and practicing law again for an infamous family who owns a casino there.
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A gentleman is defined as someone who knows how to play the accordion, and doesn't.
^^ That show reminds me a lot of the Breaking Bad Universe. It's an exposition of the "Law of Unintended Consequences".
I've only watched a few episodes of Ozark but yeah it very clearly seems to be a knockoff of BB
I feel like Kim is going to survive. Given the lengths they've gone through to make everything sync up it would be strange to imagine the fact that Saul's wife got murdered by a rival cartel just go completely unremarked upon in Breaking Bad, especially since we know how revenge-oriented he is.
Also I believe there was some talk about how S6 would feature events during and after BB? I can't imagine what they'd want to show during the Breaking Bad timeline if not "what happened to Kim"
Critter Jams "album of the week" blog: http://critterjams.wordpress.com
Going back through all seasons of this great show. What I don't understand is what turns Mike into a murderer? He suddenly goes from not wanting to snipe Hector Salamanca to shooting a lovelorn Werner in the back of the head for trying to see his wife. It's also a little thin how he goes from being his own man to being Gus's enforcer. At first, it seems he's working at Madrigal to justify the token job he's given to launder his stolen Salamanca money. Then, after Gus confronts him for not being told about Nacho's plans to kill Hector, Mike becomes an acolyte willing to murder. I don't get it. It doesn't seem reason enough to abandon his conscience.
He does it to make sure his granddaughter is set up for life. He does it out of regret.Originally Posted by Guitarplyrjvb
Loving it as always, but my complaint all along is that they pad the episodes with looooong shots of nothing happening.
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
*** Join me in the Garden of Delights for 3 hours of tune-spinning... every Saturday at 5pm EST on Deep Nuggets radio! www.deepnuggets.com ***
This is the stuff that I love. The out-of-focus shot slowly resolving into focus. The extreme closeup of an apparently innocuous item. Just watching the minute facial expressions, especially of Jonathan Banks as Mike. To me it's masterful stuff.
From a filmmaking/cinematography perspective, I agree, but as a viewer I grew tired of it a while back.
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
*** Join me in the Garden of Delights for 3 hours of tune-spinning... every Saturday at 5pm EST on Deep Nuggets radio! www.deepnuggets.com ***
Still don't understand his turn to murder. He had a moral code that he seemingly abandoned for no reason.
I'm here as well. Its such a visually appealing show, and these long cinematographic moments are just cherries on the cake for me.
Please don't ask questions, just use google.
Never let good music get in the way of making a profit.
I'm only here to reglaze my bathtub.
I agree it was sudden. I've always read the Werner situation has Mike views him as his responsibility and when he fucks up Mike takes it upon himself to fix the mess (as that is his code). And the only way to fix that mess is to kill him...and then I guess once you cross that line, its not really a problem to cross it again and again.
Please don't ask questions, just use google.
Never let good music get in the way of making a profit.
I'm only here to reglaze my bathtub.
Sure, Mike has/had a code, but I guess I'm not super clear on his background. I figured he had quite a history otherwise he wouldn't be such a badass. The code could have developed later on (he's not young) as a way for him to live with himself and his past. The killing of Werner wasn't "murder" it was duty and part of the mission of secrecy that Mike had signed on to do. Werner was already dead, Mike would've either had to do it himself or deliver him to be killed. There was no way Werner was going to be allowed to survive. Mike's conscience was never going to be totally clear.
<sig out of order>
The focus on apparently innocuous detail is riveting because you know that the significance will soon be revealed.
Having said that, the boxing sequence between Howard and Jimmy seemed just… awkward.
I noticed that they have different writers for most shows yet, obviously, there is a continuity that would require collaboration - in that they have to foreshadow, hint, and provide momentum. I wonder how they manage that.
I would guess that the guest writers would need to work along a story outline from the Gilligan and Gould team to permit that continuity.
From commentaries on various shows, it seems a team comes up with the main ideas then one or two go off and write the episode. On Homicide, they all gathered way before even thinking up story lines, they needed ideas of murder that they hadn't used, so that's how James Yoshimura came up with the idea of a guy trapped between the platform and a subway train.
He got the idea from Taxicab Confessions where a cop was asked what was the worst thing he'd ever seen and he told this story and used a bag of change he had to show how twisted up a body would be if that happened and the idea that they weren't dead until you pull him out from the situation then his upper body falls into his lower and it's lights out. One of the best episodes of that shows run, Vincent Donofrio was awesome in it.
You are talking to a murdered person before they die. Such a great concept and totally based upon fact.
Sorry, a little long there but the doc on that episode is fascinating if you can find it. Really detailed about the relationship with NBC and censors, what language they could and could not use and how a script is written in the situation they have created.
Other shows might be different but from what I've gleaned, this seems to be the way most people do it.
IOW, you get an outline of the season by the writers and showrunners, etc. then they make an outline of the season, episode by episode, then people go off a then write the episodes, but as I said with Homicide, they were tinkering with the script up until it got shot. Things like how many damn's they could use in the episode. Like I said, the censors and blah blah blah so they had to do it that way.
A lot of back and forth between the writer/producer James Yoshimura with the network.
Carry On My Blood-Ejaculating Son - JKL2000
can't believe this wasn't bumped for the final 6 episodes. holy shit, what an ending. I did not think they would be able to recreate the intensity and drama of the last few Breaking Bad episodes.
Critter Jams "album of the week" blog: http://critterjams.wordpress.com
Agree, the whole series was fantastic.
Good to hear that. I have just finished Season 4 and it was pretty boring. I assumed it was setting things up for Seasons 5 and 6 so sat patiently through it all. On to Series 5 now (Jimmy has become Saul) and already it is looking better.
Last edited by Munster; 10-21-2022 at 04:47 AM.
We walked arm in arm with madness, and every little breeze whispered of the secret love we had for our disease
It picks up the more it gets into the Breaking Bad universe IMO. That being said, there still are some slow episodes in the later seasons.
IMO BCS is intentionally slow and "writerly", largely eschewing the white-knuckle, snowballing plot approach of Breaking Bad for character development and slow plot unravelling. I wasn't a huge fan of the flash backs and flash forwards and I thought there were some gaps and unexplained points in the narrative. Overall, BB is my favorite. My kid who is majoring in Literature prefers BCS, so there you go. Both are excellent, of course.
Next, we need a spin-off to see what happens to Jesse Pinkman!
Did you watch "El Camino"? It pretty much covered Jesse's story after Breaking Bad. I guess they could take it further though. I would like to see a prequel of the Salamaca family. They would have to do different actors, but it could be cool.
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