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Your experience may have differed, but I found the heist was built up to be so involving that I had forgotten all about the baffling (at the time) cold open, where we saw the ill-fated pre-pubescent playing with a hairy, menacing looking spider in the desert. It was suspenseful, exciting, and shot and edited as wonderfully as ever, but the sequence and episode as a whole was lifted to another level by the shocking ending, which pulled off that brilliant trick of seeming to both come from nowhere and be the only possible logical conclusion.
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Thank god for their gung-ho attitudes, though, because it resulted in one of the best action sequences the show’s ever done.
#Breaking bad season 1 episode 5 series
One of the funniest aspects of later series of Breaking Bad is how quickly and eagerly the jaded Walt and Jesse throw themselves into the most incredible situations: no sooner had someone muttered the words “meth train” before Jesse was all: ‘*points at Walt* Elaborate heist? *points at Mike* Elaborate heist?’ Cue a lot of ears perking up and eyebrows being raised.
#Breaking bad season 1 episode 5 full
It’s through this that the boys find out that Lydia didn’t plant the trackers on the meth barrels after all, which grants her yet another stay of execution and, in turn, leading to the discovery of a train full of methylamine with a couple of security issues. After Walt, who has now developed some seriously impressive acting chops (he can cry on cue!), blindsides Hank with one of his most impressive portrayals of a pathetic loser to date (you can’t help but feel Hank draws the office blinds more out of his own embarrassment than Walt’s), he takes the opportunity to bug the hell out of his brother-in-law’s office, with even the family desk photo getting a thorough bugging. There was a train robbery in this episode. Only in Walt’s hands, and only in this relationship could a cold statement of fact be turned into such a withering put-down. It did however allow for a beautiful exchange where Sklyar sarcastically suggested that the dirt on Walt’s trousers were from burying bodies, only for him to respond with a wonderfully ‘happy-now?’ reading of “robbing a train”. Her dialogue this week was a little more on-the-nose and expositionary than is normally the case with Breaking Bad, and was essentially there to remind everyone that Walt has a problem at home that is just as big potentially as the ones at ‘work’. Skylar is right to hide Holly and Walt Jr away, even if her character is in danger of sounding like a broken record. You’d have to think Walt’s heading for an almighty chastening, and the only things that can be used as leverage against him are his kids – it’s not like he particularly cares about his own life, and he’s demonstrated a willingness to use every one else in his family as a pawn in his game. Walt is now indirectly responsible for the death of two children (Spider Dirt-Bike and Andrea’s cousin, probably killed by Gus as an example in series 3), and was cavalier at best with the life of poor Brock at the end of last season. The amount of violence directed at kids during the course of Breaking Bad by this point is pretty staggering, and I’m pretty convinced now that this is some foreshadowing we should be paying attention to. Another doe-eyed pre-teen bit the dust this week, put down in his dirt-biking prime just for having the insanely bad luck to turn up at exactly the time and place that – let’s face it – the only meth-train siphon-robbery in history was taking place.
#Breaking bad season 1 episode 5 tv
With Hitchcock it was rules like “Don’t kill off your lead 30 minutes in” with Breaking Bad it’s basic TV rules like “Don’t kill kids all the time”. But ultimately, both the best of Breaking Bad and the best of Hitchcock live for the visceral reaction– it’s drama made by master manipulators sick, talented pranksters who aren’t afraid to break the rules if it gets a rise out of you. Like Hitch’s films, there’s the scope for psychologically rich and powerful character work here too, to say nothing of a remarkably sophisticated use of visual symbolism. ‘Calculated’ isn’t usually a word you heard thrown around as a compliment, but the calculation of Breaking Bad really is something to behold – so good, in fact, that it mostly deserves the comparison with Alfred Hitchcock that is so often lazily afforded to anything that’s a bit tense. You have to give it up to the puppet-masters behind the scenes for coming up with such increasingly nasty methods for putting us through the ringer.