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It just takes a different form, buried underneath all of the other layers the show has developed this season. The bleakness these commentors praise is still present in the series. While I would argue the dark comedy of the show has always been present, I don’t think the show is betraying itself by abandoning unrelenting bleakness in favor of a storyline about building a brand-new criminal empire either.
#BREAKING BAD SEASON 1 EPISODE 4 HOW TO#
I suspect that “4 Days Out” will do nothing to assuage those commentors’ fears, as it did provide a few bleak moments when Walt realized what he was doing but ultimately buried those with a rare triumphant moment for the guy (when he figures out how to build a homemade battery to charge the dead RV battery) and a lot of very sly, deadpan humor (Jesse saying “A robot?” was one of the funnier moments in the series’s run). In recent weeks, there’s been a rather vocal contingent growing in the comments here that insists the show has grown too far away from its bleak beginning and ran too quickly towards the darkly comic tone it employs sparingly. He needs Jesse, and he needs his family, or he’ll be adrift in a world he’s not quite improvisatory to understand. Walt needs to maintain his relationships with other human beings in some way. At the same time, it can’t allow him to utterly give in to his resentments or it will fundamentally turn into a different show.
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The series can’t make the guilt he feels too strong or it will run the risk of unbalancing the show by making Walt’s actions unbelievable or his predicament too sympathetic (something many feared it would do from the pilot, which leaned a little too hard on the “He’s dying!” motivation for what Walt was doing).
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We have to believe both in the seething resentments that drive him to continue doing what he’s doing, even as it never quite pays off as much as he hopes it will, AND in the idea that he knows, at some level, that what he’s doing is wrong and feels just a twinge of guilt about that. When he looks at himself in the reflection of a soap dispenser at episode’s end, he can do only one thing: batter it until he is no longer recognizable.īreaking Bad relies on a very delicate balance with the Walt character. Now, no matter how quickly he puts the rock down again, he’s not going to stop those bugs from coming after him. He’s lifted up a rock with his criminal activities, and all of the bugs underneath have come crawling out towards him. There’s a very good chance that he’s going to live, and as his family erupts in happiness around him, his face suddenly gets very, very pale and very, very frightened. After an entire episode that began with Walt noticing a huge mass in his lungs on the scan designed to figure out the state of his cancer and led into a scene of him coughing up blood, we discover that the experimental treatment Walt used most of his drug money to pay for actually WORKED. “4 Days Out,” in particular, packs a hell of a punch in its closing moments. The two episodes mostly diverge from there. Walter chose his life of crime much later, and he’s just beginning to realize all of the ways it could destroy him and his partner Jesse (Aaron Paul). The difference, though, was that Paulie and Christopher often did not have the faculty to understand just how deeply enmeshed in the world they lived in they were. In addition, both episodes feature a healthy dose of dark, dark humor, and both episodes provide ample opportunity for the characters to muse on the turns their lives have taken to get them to this point. Like “Pine Barrens,” “4 Days Out” featured two of our characters trapped in a barren landscape by problems of their own making. Many have already pointed out the similarities between “4 Days Out” and The Sopranos episode “Pine Barrens,” the third season hour that featured Paulie and Christopher stranded in the bitterly cold wilderness in pursuit of a Russian mobster they could never quite track down. It’s also staggeringly beautiful, drinking in the desert landscape that dominates its running time with a wide-eyed sense for the beauty of the wilderness.
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It was another exemplary episode in a season full of them, and if nothing else, it sets us up nicely for what is to come.
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“4 Days Out,” written by Sam Catlin and directed by Michelle MacLaren, hits a bunch of Breaking Bad’s favorite devices, from the idea of characters trapped in a confined space and forced to deal with each other to a sudden, bitter reversal of fortune that should leave everyone happy but has the effect of making our central character, Walter White (Bryan Cranston) even more miserable than he should be in the first place. If Breaking Bad began heading downhill rapidly last week (in a narrative sense, not a quality sense), this week, it lets off the brake, heading into what appears to be the second season’s final act.