Lost in the Movies

Breaking Bad - "Cat's in the Bag..." (season 1, episode 2)


Welcome to my viewing diary for Breaking Bad. Each day (except Saturday) I am offering a short review of another episode until concluding the first season. Later seasons will be covered at another time. I have never seen this series before so there will be NO spoilers.

Story (aired on January 27, 2008/written by Vince Gilligan; directed by Adam Bernstein): As with the pilot, a large part of this episode's "cinematic" quality is narrative. This is not an ensemble TV series with a sprawling cast of characters, each with their own storyline...at least not yet. "Cat's in the Bag..." has one fundamental purpose: demonstrating how Walter's entire life rotates around the consequences of the previous climax, in which he "killed" two drug dealers in self-defense, pretending to show them how to cook meth before poisoning them with phosphane. Krazy-8 (Maximino Arciniega) survived the gassing in the RV, and now Walter and Jesse have two tasks at hand. One of them has to dissolve the body of Emilio (John Koyama) in acid, a messy, ghoulish piece of work especially since it might involve chopping him up and placing different halves in different plastic containers. Shrinking from that possibility, Jesse decides to do the "easy" thing, dragging Emilio upstairs in his own house, and dousing him in the bathtub. Unfortunately, acid won't dissolve plastic - but it will certainly dissolve a porcelain bathub: near the end of the episode, the ceiling of Jesse's first floor collapses, with gruesome chunks of flesh and bone landing below. And yet, somehow, Jesse does have the easy job. After flipping a coin, Walter is assigned the far more stressful task: killing the very much alive, groaning Krazy-8, imprisoned in the basement with a bike lock around his neck. I suppose there's a bit of a subplot in the episode: after Jesse calls the house pretending to be a salesman, Skyler tracks him down and questions Walter about his identity; he cleverly finds the perfect alibi, claiming that Jesse sells him pot. Skyler is savvy enough to find Jesse but - fortunately for both him and Walter - not savvy enough to notice that he's dragging a dead body through his driveway when she shows up to accost him. Something I neglected to mention (along with many other details) in my previous write-up: Skyler is pregnant. She gets an ultrasound with Walter present, and the two parents-to-be find out that the child will be a girl. Skyler makes a joke about what it will be like when she's older, and Walter's face falls. Despite barely coming up in the episode - aside from his frequent coughing fits - Walter is, of course, dying. He will never get to see this daughter grow up, and that mortality hangs over the central hook of episode two: a man faced with his own death must find the nerve to kill someone else.

My Response:

Breaking Bad - "Pilot" (season 1, episode 1)


Welcome to my viewing diary for Breaking Bad. Each day (except Saturday) I am offering a short review of another episode until concluding the first season. Later seasons will be covered at another time. I have never seen this series before so there will be NO spoilers.

Story (aired on January 20, 2008/written & directed by Vince Gilligan): Any number of small things could have gone differently and Walter White (Bryan Cranston) wouldn't be standing here, on the side of a desert highway in his tighty whiteys and ridiculously incongrous green shirt, weeping and holding a gun aloft, ready to fire on the armada of police cars he hears in the distance as they approach his meth lab RV with two dead bodies in the back. What if Jesse Pinkman (Aaron Paul) hadn't run into his suspicious ex-partner when trying to unload his new product? What if Walter hadn't recognized Jesse, his former student, fleeing a raid, or what if Jesse hadn't been screwing the next-door neighbor when the DEA came knocking, or what if Walter hadn't chosen that particular morning to ride along with his cocky brother-in-law Hank Schrader (Dean Norris)...and what if he didn't happen to be out of the car when when Jesse made that fatal eye contact with Mr. White, the chemistry teacher who flunked him years ago but now wants in on his business? Despite this string of coincidences, these events, and this outcome, don't feel accidental. Instead they seem to emerge from the nexus of fate and decisive action. At every absurd, outlandish opportunity, Walter chooses to step in a particular direction. More importantly, everything unfolds against the stark backdrop of Walter's cancer diagnosis, exacerbating and inflaming what might otherwise be a run-of-the-mill midlife crisis or even a steadily repressed, grinding misery that might never find expression at all. Three weeks earlier, Walter was a nebbishy teacher, quietly nibbling on his wife Skylar's (Anna Gunn's) vegetarian bacon and taking his son Walter Jr.'s (RJ Mitte's) good-natured ribbing in stride. ("How does it feel to be old?" the boy asks Walter on his fiftieth birthday.) Now, as the gun misfires and the sirens reveal themselves to belong to firetrucks and ambulances, Walter discovers that the same fate that condemned him has also spared him. Walter is a drug dealer, a killer (albeit, so far anyway, in self-defense), a criminal who seems to feel liberated by "breaking bad." And so it begins.

My Response:

Viewing diary: first season of Breaking Bad begins tomorrow


Although binging has become the premiere way to view old shows - after all, why delay the gratification when you don't have to? - I've recently been taking a starkly different approach (in some cases, the slow process has unfolded over years, with extensive interruptions).

I try to spend an hour each week either watching or reviewing a TV episode in order to create viewing diaries for eight notable series. While I'll be waiting until I've finished an entire show before releasing many of these (building up a backlog, eventually, of hundreds of individual entries), I'm making a few exceptions as explained yesterday. In these cases, I'll be releasing just first-season viewing diaries...and Breaking Bad is the first up since it's the only season I've finished so far.

Keep in mind, in case you're expecting obsessive exploration, that these are viewing diaries, not extensive episode guides. That means a few things. They are short; I've settled on a format for viewing diaries which allows me to keep up a reasonable pace while still offering room to ruminate. Each entry is two long paragraphs: one to synopsize the story and re-orient the reader (especially those who haven't watched the show in a while), the other to relay my own first impression  - which is the main point here. Most of the shows I'm watching for the first time. There won't be spoilers because I myself don't know what's going to happen.

If there's value for you here, it will likely come from enjoying my perspective and wanting to find out how I personally react to various episodes, or, more generally, from the pleasure of re-experiencing a show through a first-time viewer's eyes. In Breaking Bad's case, I had made a couple previous forays into the series without getting very far, and of course I was familiar with a few of its touchstones through cultural osmosis. Part of the fun for me has been discovering how the series does or doesn't meet those expectations. Hopefully you find this interesting too. See you tomorrow.

New entries every day (until the 10th anniversary in July)


I had big plans for this winter and spring, but one by one various projects have been postponed. Nonetheless, I want to start posting more frequently - every day through mid-summer to be exact - for several reasons. For one, there are topics I've been wanting to cover for a while and this will provide some encouragement. And to be a bit anal about it, I'd also like to have exactly 1,380 posts the day before Lost in the Movies' tenth anniversary, so that my ten-archive-tweets-a-day can continue right up to that moment (as was the original plan before abandoning an even more ambitious schedule that would have begun in April). This means today is my last chance to start posting daily in order to hit that benchmark.

Most importantly, I need to keep up with public content; since starting my Patreon in January, I have found myself with little opportunity to publish anything other than patron-only podcasts. This ends up making my account a rather self-enclosed enterprise, since more people will probably become patrons as a response to free material than through the enticement of rewards.

That's the rationale - what will be the result?

Patreon update #10: Rogue One, Brawl in Cell Block 99 & Marie Antoinette (+ Mark Twain on the French Revolution, right-wing hypocrisy, Eisenstein vs. Griffith, Cooper's Diane tapes audiobook & more) and preview of the TWIN PEAKS Character Series Top 30 Runners-Up from The Return


There's not so much Twin Peaks in the podcast this week (there will be more, and especially more Lynch, on Patreon in a few days) but before highlighting this episode I'd point you to the third tier reward which is super-Peaksian, a two-page preview of the "Top 30 runners-up from Twin Peaks: The Return" entry which will help kick off my character series. This provides the full list of these runners-up - characters who appeared for less than ten minutes in season three, and thus won't be included as individual entries in the series, but still left an impression. The preview also includes statistics for each one (rough screentime, number of scenes, primary location, top episode, even sometimes their ranking within an episode), as well as a paragraph-long write-up for the first character. If you've been considering becoming a patron at the $10 level, this will be a perk you're sure to enjoy. (As always, of course, the podcast and other features are available to all patrons, from $1 on up.)



Lost in Twin Peaks #9 - Pay Dirt!: discussing my Patreon podcast w/ Twin Peaks Unwrapped


A few months since my last appearance on Twin Peaks Unwrapped, Ben and Bryon invited me on to discuss my own recent work. Ben became a patron of Lost in the Movies in February, and wanted to share the podcast he's been enjoying (thanks Ben!). So we discuss my work (including the upcoming character series) in addition to tugging at the edges of season three. Is everyone talking too much about Judy now? Is the nature of the Lynch/Frost collaboration challenging to unravel? Is Laura Palmer just a pawn in the bigger game? Answers, or maybe just more questions, ahead...



Patreon update #9: High and Low & Elephant (+ podcast recommendations & more)


update: this page now includes a link to the podcast

This week's podcast features a couple intense movies with very different approaches to violence. The first film in focus is an Akira Kurosawa masterpiece, enveloping the viewer in the ever-shifting world of a businessman who must decide if he'll pay the ransom for a servant's son, the cops who try to find the kidnapper, and the sociopathic kidnapper himself. The second film in focus stages a series of shootings, with no context or dialogue provided as we follow characters in long takes until either they deliver death or death is delivered to them. I also recommend a whole host of recent podcast episodes and continue my survey of Twin Peaks books with a discussion of Agent Cooper's "autobiography."




Line-up for Episode 9

INTRO
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WEEKLY UPDATE/recent posts: tweeting 10 archive pieces a day until the 10th anniversary
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FILM IN FOCUS: High and Low
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FILM IN FOCUS: Elephant
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TWIN PEAKS REFLECTIONS: My Life, My Tapes: The Autobiography of FBI Agent Dale Cooper
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OTHER TOPICS: Podcast recommendations
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OPENING THE ARCHIVE: "Four's Company" (February - May 2010), this week's highlight (The Hurt Locker)

BECOME A PATRON

#10YearsOfLostInTheMovies starts now


Last night, continuing today and for ninety-eight more days after that, I'm celebrating the upcoming tenth anniversary of Lost in the Movies as follows:


Patreon update #8: Carnival of Souls, Upstream Color & The Shanghai Gesture (+ Christopher Nolan & more) and preview of Come On Over, Veronique (Kieslowski Montage)


The podcast's second triple feature covers three disparate films - a low-budget cult classic from the sixties, a recent sci-fi art film, and a decadent piece of Hollywood exotica. All three tell stories of young women in over their heads, seemingly contending with much larger forces beyond their control although possibly the struggles they face are primarily in their own heads. Additionally, I take a look at the quirky Twin Peaks Access Guide, revisit Christopher Nolan (covering most of the films I didn't talk about in my recent double header), and explore an era in my own blogging history when I began to indulge in image-posts, including a survey of all the films I saw in the movie theater between the late eighties to the late nineties, Twins as a 4-year-old to Affliction as a 15-year-old.

And I preview my second montage in a month this week, a clip from my fusion of Amy Winehouse and Krzysztof Kieslowski, which you can see by becoming a third-tier patron for $10/month. For the rest, a mere dollar can be your key. See you on the other side...





Line-up for Episode 8

INTRO
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WEEKLY UPDATE/Patreon: 3rd Tier Biweekly Preview - Come On Over, Veronique (Kieslowski Montage)
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WEEKLY UPDATE/recent posts: updated Twin Peaks picture gallery
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WEEKLY UPDATE/works in progress: finished minor characters
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FILM IN FOCUS: Carnival of Souls
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FILM IN FOCUS: Upstream Color
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FILM IN FOCUS: The Shanghai Gesture
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TWIN PEAKS REFLECTIONS: The Access Guide
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OTHER TOPICS: Christopher Nolan's other films (outtake from Interstellar/Prestige episode)
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OPENING THE ARCHIVE "The Image Emerges" (January - February 2010), this week's highlight (They Once Were Coming Attractions: memories of my movie past, 1988 - 1998)

Patreon update #7: Blade Runner 2049 w/ Max Clark (+ music of Journey Through Twin Peaks & more)


update: this was originally published without the link to the podcast, which has now been added!

Every now and then, I will have a friend on the show as a guest. Max Clark, one of my oldest friends and a fellow commentator on film, is also a patron who chose this week's topic as his Film in Focus. Because it's an extended discussion, this episode will feature only one movie although from now on, double/triple/quadruple features will be the norm.

Blade Runner 2049 is one of the few films I saw in theaters in 2017 (coincidentally or not, while visiting Max in Boston). I enjoyed it and thought it would provide a rich subject for conversation, and it did. We focused on questions around the character Joi (does she have any humanity, and if not what's the point?), the ubiquity of Replicants in the world of this sequel, the political allegory of 2049, and of course its relationship to the original film among many other aspects.

Additionally, I highlight the musical bookends and markers of my Journey Through Twin Peaks series, muse on why I prefer Winter to Summer Olympics, and dig a bit into my fascination with Aldous Huxley.

UPDATE December 2018: The Blade Runner 2049 discussion was published for free on YouTube.



INTRO
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WEEKLY UPDATE/recent posts: updated links for 32 Days of Movies clips
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WEEKLY UPDATE/Patreon: Films in Focus
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WEEKLY UPDATE/works in progress: re-scheduling Twin Peaks Character Series, Buster Keaton for Voyage into the Movies, Baudelaire for Cinepoems, Mad Men viewing diary
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FILM IN FOCUS: Blade Runner 2049 w/ guest Max Clark
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TWIN PEAKS REFLECTIONS: Making Journey Through Twin Peaks, pt. 2 - the music of Journey Through Twin Peaks
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OTHER TOPICS: The Winter Olympics & North Korea
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LISTENER FEEDBACK: High-Rise, Aldous Huxley, A Field in England
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OPENING THE ARCHIVE: "Open Season for Blogging" (November - December 2009), this week's highlight: For the Love of Movies interview

BECOME A PATRON

Patreon update #6: Inherent Vice, Monkey Business & High-Rise (+ history of video essays, Donkeyskin/Fire Walk With Me & more) and preview of the TWIN PEAKS Character Series "Rules"


Rounding up the last of the January Film in Focus topics, I didn't think this triple feature would have a thematic or aesthetic throughline. In fact, however, all three movies are characterized by a narrative descent into chaos, disintegrating social norms until we are just as bewildered as the figures onscreen. I liked one of these films quite a lot, had a mixed but generally positive reaction to another, and didn't care at all for the third, but I had a good time digging into each first-time viewing.

Paul Thomas Anderson's Inherent Vice adapts Thomas Pynchon's Big Lebowski/Long Goodbye-esque tribute to the slacker-as-sleuth genre. Surprisingly, this is the first Anderson film I've reviewed on this site (the only other acknowledgement of his work was a #WatchlistScreenCaps image for The Master several years ago). Howard Hawks' Monkey Business is a madcap (or maybe not so madcap as you'd expect, initially) screwball comedy with some interesting subtexts about Hollywood, aging, and the generation that came to prominence in the thirties Golden Age. Ben Wheatley's High-Rise is another notable adaptation, this time of J.G. Ballard's iconic text of the seventies; the acidic satire opens with a calmly dystopian interior landscape and closes with a peculiar Margaret Thatcher quote and song from The Fall.

Additionally, I dig into the history of the video essay form over the past ten years, and how the desire to experiment with that form led to Journey Through Twin Peaks; I find some more Mark Frost-written Hill Street Blues episodes, and I receive some great feedback exploring Fire Walk With Me's fairy tale links, especially to the disturbing fable Donkeyskin by Charles Perrault. This is the longest episode yet - hopefully you find it enjoyable.

Finally, if you're thinking of becoming a 3rd-tier patron ($10 a month), I've just published a couple pages of the introduction to my revised Twin Peaks character series explaining (among other things) how I will cover the complicated characters of Cooper and Laura, and offering links to the timeline I'm using as a frame of reference for The Return.


Line-up for Episode 6

INTRO
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WEEKLY UPDATE/recent posts: creating Journey Through Twin Peaks
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WEEKLY UPDATE/Patreon: 3rd tier Biweekly Preview - intro to character series, February films in focus - suggest several titles
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WEEKLY UPDATE/works in progress: minor characters, Fire Walk With Me history
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FILM IN FOCUS: Inherent Vice
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FILM IN FOCUS: Monkey Business
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FILM IN FOCUS: High-Rise
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TWIN PEAKS REFLECTIONS: Making Journey Through Twin Peaks, pt. 1 - the history of video essays, form in the Journey videos
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OTHER TOPICS: 2 more Mark Frost-written Hill Street Blues episodes, Dario Argento on the Joe Franklin Show
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LISTENER FEEDBACK: Marie Antoinette, watching the Twin Peaks killer's reveal at 13, Fire Walk With Me as a fairy tale (comparison w/ Donkeyskin) and Christian martyrs' tales
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OPENING THE ARCHIVE: "Examining the Options" (June - October 2009), this week's highlight: Lawrence of Arabia

BECOME A PATRON

Creating Journey Through Twin Peaks (pt. 2 of 4)


In Part 1 of this look back at my video series, I focused on the build-up to its creation as well as the fast-paced, relatively brief process of putting together the first part. This entry examines the much longer period spent on the subsequent three parts, concluding with the presentation of the complete Journey Through Twin Peaks at this time three years ago on February 4. Part 3 will eventually chronicle the creation of new Journey chapters focused on The Return, which have yet to be produced but will hopefully be available this summer. (That process took much longer, and I eventually added a Part 4 of this essay as well.)

On the morning of October 3, 2014 less than twenty-four hours after I'd put the finishing touches on the first part of Journey Through Twin Peaks, the entire context of Twin Peaks - and with it, my little video project - was forever altered. David Lynch's and Mark Frost's simultaneous Twitter teases would be revealed within days as what many suspected: Twin Peaks' return to television as a limited series on Showtime in 2016. This was a cosmic coincidence for my purposes; not only had I just launched what would become my most ambitious online work just as it became newly relevant, but this same week I'd announced that I'd be devoting the following six weeks exclusively to Twin Peaks, including perhaps the longest interviews ever conducted with John Thorne, publisher of the legendary fanzine Wrapped in Plastic. We'd spoken during the summer, and at one point we mused about the future of this world we were both falling back in to. (John, whose involvement with the work had obviously been far more extensive than my own, hadn't written or engaged with Peaks much at all in the previous decade; the magazine's last issue had been 2005 and its co-founder, Craig Miller, had passed away a few years later.) As exciting as The Missing Pieces was for Peaks fans that had been starved for new content since the early nineties, John noted that this was all a bit of tempest in a teacup - or, perhaps, a coffee cup.

John's friend had attended the red-carpet premiere for The Missing Pieces in Los Angeles and observed (in John's paraphrase) "it was the same types of people who are at every Lynch event, it was a fairly small venue. From the outside, it has this glamour to it like it was a big event, and Twin Peaks was in the air. But in fact it was a small event magnified by social media and the internet." John himself added, "I’m glad it’s still there and I’m glad it’s getting press coverage but there’s a small core devoted." We both reflected that the old Lynch - the one who savvily played the "Czar of Bizarre" for mainstream media in the early nineties - would have capitalized on this momentum rather than calmly letting it pass. I remembered the odd buzz of the spring, when (twenty-fourth!) anniversary pieces were popping up left and right, Twin Peaks would randomly trend on Twitter, and the first announcement of the deleted scenes was made; I noted that if Lynch and Frost wanted to seize the moment with some sort of revival, this would have been the opportunity. But a couple months had passed since the blu-ray, Brad Dukes had already made the rounds to promote his oral history (the first of a tsunami of Peaks literature though at the time it seemed an unprecedented one-off), and if there was any chance of Twin Peaks re-emerging in the broader public consciousness, it was rapidly fading. And then, of course, the news.

By the time that particular interview went up, I'd already conducted another with John to wrestle with this unexpected windfall. Those Wrapped in Plastic interviews were published three weeks in a row after the first part of Journey Through Twin Peaks; also in October I interviewed Martha Nochimson, author of The Passion of David Lynch and David Lynch Swerves, and continued a deep dive into the archives of the Twin Peaks Usenet forms (alt.tv.twin-peaks) where early internet adopters discussed the series in the early nineties. After all, the Journey videos were only supposed to be one part of my now expanded "Twelve Weeks of Twin Peaks," a central feature perhaps but not the only show in town. And while the blog content was exclusively Peaksian, I still found room for non-Peaks endeavors elsewhere - for example, tweeting my "alternate Oscar" picks, a new year every day, throughout the fall. By early December, however, the video series had taken over the weekly Peaks posts altogether; by the end of the month, when a much-delayed Part 3 finally premiered, I had dropped the "Twelve Weeks" limitation entirely and was dedicated to publishing about Twin Peaks as long as it took to finish this project, and as the new year dawned my Twin Peaks immersion became exclusive and all-encompassing, not just yielding by far my most popular work but changing me in the process.

This is the story of how I created parts 2 - 4 of Journey Through Twin Peaks, and what that experience meant to me.


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