Posts Tagged ‘Breaking Bad’
September 8, 2016 | by Deni Ellis Béchard
How expats fashion online identities while living in a war zone.
All wars have their aesthetic: the grainy newness of the World Wars, the photographer up close, in mud or water, his speed and fear palpable in the washed-out, often blurred images of men; the Cold War a stark espionage mystery, less action than mood, its clues hidden in the diplomatic formality of competing decadent powers; Vietnam a single black-and-white photo so horrifyingly violent it punctured the jingoism of American imperialism and showed its nihilistic core; and Afghanistan, its online presence as garish as the Las Vegas skyline—street shots and selfies transmuted by the virtual gears of social-media editing, their contrast, sharpness, and saturation jacked up until followers feel as if their neurons are feasting on the very opiates that keep the Taliban in business.
And each war has its signature story. Afghanistan’s coincides with the rise of social media. In the online world where banal weekend jaunts resemble the Odyssey and afflict followers with post-feed depression—the feeling after seeing glistening legs on a beach or a sunset clipped by an airplane’s wing (not, notably, the cramped economy seat or credit-card bill)—establishing a social-media presence in a war zone is more than self-fashioning; it’s reincarnation, maybe even creation ex-nihilo. Expats’ Facebook and Instagram avatars often emerge as if by divine birth, leaving followers unable to fathom how that bookish college friend wound up motorcycling around Kabul or hiking the Hindu Kush with a few smiling local dudes in pajamas who, to the untrained eye, are obviously Taliban. Read More »
April 23, 2015 | by Matt Siegel
Vince Gilligan borrows from the Baroque.
The eldest character in Better Call Saul isn’t Mike Ehrmantraut, Tuco’s unsuspecting abuelita, or any of the nursing-home residents shakily spooning gelatin from attorney-branded dessert cups. It’s the show’s sixteenth-century lighting scheme, which has better lines than even Bob Odenkirk himself—they’re just in the form of shadows rather than wry legalese.
In fact, while Saul’s setting derives from the blue crystal “artwork” of Walter White and Jesse Pinkman, much of its symbolism draws from the black brushstrokes of Michelangelo Merisi da Caravaggio.
Saul’s creators, Vince Gilligan and Peter Gould, have already confessed a soft spot for symbolism; they used a hot-and-cold color palette to divide the wardrobes of criminals and law-abiding citizens, with Jimmy bridging both worlds as he fights the temptation to break bad. These biblical undertones extend far past the fiery brimstone of Tuco’s shirt and the heavenly hues of “Hamlin Blue”—they go all the way back to the Baroque era of painting. Read More »
September 18, 2013 | by Sadie Stein
“Walter White is a bigger monster than anyone in Westeros.” —George R. R. Martin
August 2, 2013 | by Sadie Stein
As a child, I had a morbid fear of the Shelley sonnet “Ozymandias.” (In the pantheon of night terrors, it ranked only behind the cover of the Sweeney Todd LP, which lived in our living room, and the ghost of Ty Cobb, who lived in my closet.) I guess it was in the children’s poetry anthology my mother would sometimes read from. I interpreted the poem extremely literally: any messages about the way of all flesh and the death of empires was lost on me, and I envisioned, instead, merely a series of monstrous limbs, and a sneering head, coming to life Bedknobs-and-Broomsticks-style, and chasing me around. (Later, in high school, I took to secretly calling this one really arrogant nerd with excellent posture Ozymandias, because I was cool like that, but really that’s a story for another day.)
I would have been absolutely terrified of this Breaking Bad promo, in which Bryan Cranston reads the poem to the accompaniment of an ominous drumbeat. In fact, I still sort of am.
September 27, 2012 | by Elisabeth Donnelly
The documentary Gregory Crewdson: Brief Encounters is a beautiful and contemplative look at Crewdson’s process, focusing on when he was working on Beneath the Roses, a multiyear project that brought film crews of sixty or so people to small towns in the Berkshires of Massachusetts to help produce his large-format photos. The film, a ten-years-in-the-making work directed by Ben Shapiro, is an intimate look inside Crewdson’s artistic process. Since that’s covered in the documentary, I wanted to talk to Crewdson about one of his big inspirations, the cinema. Crewdson invited me to his studio and home in the Berkshires, a former church hidden behind a fence, where we (along with another writer, Stu Sherman) had a free-ranging conversation starting with the movies and edging over into his work. We started, of course, with Mad Men, which Crewdson calls “the greatest work of sustained art in the past ten years, and I’d include any movie or book or art work, so that shows you what I think of it.”
When it comes to Mad Men, do you like the set design and period detail?
I think it’s perfect in so many different ways, but it’s so beautiful to look at, so exquisitely detailed and rendered. The light’s so beautiful and the decor all fits together like a complete, perfect set piece.
It’s funny that you love Mad Men so much. I have to admit that when I watch Breaking Bad—or even just seeing stills of characters, like of the wife, Skylar, on the bed—they’re very reminiscent to me of your work.
My pictures are very much influenced by movies, but it’s weird because now it seems like the opposite happens, and now it’s like the movies use my pictures as reference. It’s a dialogue or something. I guess it just happens.
July 16, 2012 | by Andi Teran
There’s a moment when thunderclouds smother the sunset and the chile ristras begin to sway, when bits of smoldering earth intertwine with invisible rain, and you’re tangled in tumbleweed magic. Everything is burnt orange and cactus green, clay-tinged and warm. There’s mystery disguised as menace, comfort in spite of storm, and the sky gives off a phantom light that makes the concrete seem cinematic. This is the desert Southwest, my homeland, also known as Breaking Bad country.
If you’ve made the television journey with Walter White—from tightey-whitey chemistry teacher to hairless drug kingpin—you’re already familiar with the show’s desert setting of Albuquerque, New Mexico. It acts as a silent character that, to me, is also its most important.Read More »