From cinematography to editing, each episode of Breaking Bad feels meticulously crafted, the director's authorial hand ever present to lead the viewer through the story. Every shot is as precise and deliberate a storytelling tool as the scriptwriting or the actors" performances.
With the greatest villain of all time finally defeated, Jesse, Mike, and the rest of the White's all come to the same realization: in a post-Fring world, the man who killed him has become the true terror.
Breaking Bad's Fourth Season may also be considered by some to be the slowest, but that's largely because after an explosive opening, things slowly burn and simmer until the stunning reveal of "Crawl Space" and the terror that follows it.
Gus Fring. The Cousins. Poor, poor Gale. As the stakes increase, so do the perils (and number of flies), and Walt soon realizes that he's under the command one of the most terrifying villains in television history.
Breaking Bad, The Walking Dead, Six Feet Under, The Killing, and now Showtime's Ray Donovan. What do they all have in common? All bear the creative mark of Thomas Golubic, the music supervisor who has been quietly and powerfully shaping the storytelling world of cable television for the past decade.
After a first season compromised by a Writers Guild strike, Breaking Bad's first "full" season goes deeper, darker, and through a burned pink teddy bear, indicates that something truly horrific is on the horizon.
Our two-week-long Breaking Bad special section begins today. The show is a singular entity in the most-millennial television landscape, one that is heart-wrenching as it is funny, quirky as it is visceral. Let PopMatters show you every conceivable way that one can go out in the world and truly break bad.
People ask Bryan Cranston where the "rise" of sinister alter-ego Heisenberg comes from. He says from the first episode, when he tried to be someone else. Yet the dark truths of his journey downhill reveal so much more.