30-something white radical nerd lady
transplanted to the East Coast US
happily living in sin with my co-conspirator Mr. Xrantings and ravings, Music, video games, graffiti, punk, postpunk, comics,art, general silliness and GPOB (gratuitous pictures of Bowie).
my Dragon Age sideblog
Other tags of interest - I hate everyone, Places I Wish I Was Right Now, GPOY, owls, you are cordially invited to my pants, OH MY GOD, Favorite of all the things, Maru is the best cat in the whole world
Merrill painting Isabela’s fingernails
Isabela pinning flowers to Merrill’s hair
Merrill curiously pulling on Isabela’s corset
if I ever get married I don’t want an expensive ring like I really don’t if I got a ring worth $15,000 I’d be mad do you know...
christmas is so much worse as you get older it’s like “what do you want this year?” “a...
Because mine is “Destroy Everything You Touch” by Ladytron.
They are kind of pointless and terrible but I can’t stop watching them.
It started with Never Mind the Buzzcocks and has spread to QI and now Mock the Week.
I especially play them while I’m working, because I can kind of half-ignore them and still be soothed by Stephen Fry being witty or whatever.
Except I can’t seem to abide Mock the Week, which makes no sense - a news panel show seems like a no-brainer, and I’m already addicted to Wait, Wait, Don’t Tell Me, so why is this show so aggressively, obnoxiously unfunny? And why do I keep watching it anyway?
Anyway, are there more of these shows I should sample? I’ve gotta get some work done this week…
And I just think -
Aw, they still think their programs “happen” when they air on the network at a scheduled time, how cute.
Breaking Bad is not a situation in which the characters’ morality is static or contradictory or colored by the time frame; instead, it suggests that morality is continually a personal choice. When the show began, that didn’t seem to be the case: It seemed like this was going to be the story of a man (Walter White, portrayed by Bryan Cranston) forced to become a criminal because he was dying of cancer. That’s the elevator pitch. But that’s completely unrelated to what the show has become. The central question on Breaking Bad is this: What makes a man “bad” — his actions, his motives, or his conscious decision to be a bad person? Judging from the trajectory of its first three seasons, Breaking Bad creator Vince Gilligan believes the answer is option No. 3. So what we see in Breaking Bad is a person who started as one type of human and decides to become something different. And because this is television — because we were introduced to this man in a way that made him impossible to dislike, and because we experience TV through whichever character we understand the most — the audience is placed in the curious position of continuing to root for an individual who’s no longer good…
[Some writers suggest] Walter White’s on-going metamorphosis is what makes Breaking Bad great. But that doesn’t go far enough. It’s not just that watching White’s transformation is interesting; what’s interesting is that this transformation involves the fundamental core of who he supposedly is, and that this (wholly constructed) core is an extension of his own free will. The difference between White in the middle of Season 1 and White in the debut of Season 4 is not the product of his era or his upbringing or his social environment. It’s a product of his own consciousness. He changed himself. At some point, he decided to become bad, and that’s what matters.
There’s a scene in Breaking Bad’s first season in which Walter White’s hoodrat lab assistant Jesse Pinkman (Aaron Paul) tells Walter he just can’t “break bad,” and — when you first hear this snippet of dialogue — you assume what Jesse means is that you can’t go from being a law-abiding chemistry teacher to an underground meth cooker. It seems like he’s telling White that he can’t start breaking the law after living a life in which laws were always obeyed, and that a criminal lifestyle is not something you can join like a club. His advice seems pragmatic, and it almost feels like an artless way to shoehorn the show’s title into the script. But this, it turns out, was not Jesse’s point at all. What he was arguing was that someone can’t “decide” to morph from a good person into a bad person, because there’s a firewall within our personalities that makes this impossible. He was arguing that Walter’s nature would stop him from being bad, and that Walter would fail if tried to complete this conversion. But Jesse was wrong. He was wrong, because goodness and badness are simply complicated choices, no different than anything else.
Chuck Klosterman, on why Breaking Bad is the best television program of the last decade, and better than Mad Men, The Sopranos, and The Wire. Which is a perilous position to take. Your preference will greatly depend on why you watch television and what aspects you enjoy the most.
But this is unquestionably what makes Breaking Bad so fascinating. And I think Jesse’s story arc sort of makes the same point in reverse.