Music For Air Hostesses

Music For Air Hostesses

Just a little something in celebration of my completing Detective Fiction. It’s currently in the hands of a small army of very capable proofreaders / critics / curmudgeons, and if all goes well I’ll be soliciting agents before very long.

Download Music For Air Hostesses.

It’s as good as reading the book. Or maybe better.

…but hopefully not too much better.

Anyway, grab it now. It might be gone when you wish you had it.

DISC ONE:
1) I’ll Come Running — Brian Eno
2) I Can Help — Billy Swan
3) Reminiscing — Little River Band
4) Hold On, I’m Comin’ — Sam & Dave
5) Tighter, Tighter — Alive ‘N Kickin’
6) Lemon Tree — Herb Alpert’s Tijuana Brass
7) I Second That Emotion — Smokey Robinson & The Miracles
8) The Same Love That Made Me Laugh — Bill Withers
9) Expressway to Your Heart — Soul Survivors
10) Tusk — Fleetwood Mac
11) Save It For Later — The Beat
12) Rubberband Man — The Spinners
13) Fire — The Pointer Sisters
14) Time Passes Slowly — Bob Dylan
15) Just My Imagination (Running Away With Me) — The Temptations

DISC TWO:
16) San Franciscan Nights — Eric Burden & The Animals
17) Tempted — Squeeze
18) Drive-In Saturday — David Bowie
19) A Million Miles Away — David Byrne
20) Bring It On Home to Me — Billy Preston
21) Sloop John B — The Beach Boys
22) No No Song — Ringo Starr
23) The Moonbeam Song — Harry Nilsson
24) It Just Might Be a One-Shot Deal — Frank Zappa
25) When the Night — Paul McCartney & Wings
26) Moonlight Mile — The Rolling Stones
27) Someday We’ll Be Together — Diana Ross & The Supremes
28) Someday Never Comes — Creedence Clearwater Revival
29) Everything Merges With the Night — Brian Eno
30) The Only Living Boy in New York — Simon and Garfunkel

Review: “Confessions,” Breaking Bad season 5, episode 11

Confessions, Breaking Bad
A man speeds through a red light in order to save somebody’s life. Another stops at a red light on his way to ruin someone else’s.

One is doing the right thing. The other is doing a just thing.

The distinction between “right” and “just” isn’t all that hazy; it’s the distinction of intention that matters. Or, at least, it should.

But I’m speaking from a very unique perspective here: my own. In my world. With my experiences. My expectations. My hopes for everyone around me.

In the world of Breaking Bad, the simple distinction between “right” and “just” seems to be driving the course of these final episodes. We know which is which; that’s not the issue. In a just outcome, Walter would go to prison. In a right outcome, his family would be spared from harm. They’re not even mutually exclusive. It sounds easy. But I’m glad it’s not, because it’s making for stellar television.

On the side of the just we have Hank, obviously. He’s not worried about how Walt’s children will respond to their father being locked away, and he’s not content to know either that his crimes are behind him or that he will be dead shortly anyway. In Hank’s eyes, Walt needs to be punished. And he needs to be punished in a very specific way: by this country’s legal system.

On the side of the right, we have Walt. Don’t we? …not really, no. So let’s shelve him for a moment.

No, on the side of the right we have both Skylar and Marie. They’re working at odds, but they’re working at odds for the same reason. Neither Marie’s intended abductions of the White children nor Skyler’s perjury and her ongoing complicity are just, but they are — if you were to ask those characters to explain their motives — right. Marie is willing to break the law to protect the children. Skyler is also willing to break it, and tarnish the name of an innocent man, in order to protect the children. They’re each doing despicable things*, but their intentions are the same.

So where does that leave Walt?

I want to say “in the middle,” but I’m not sure I can. Off to the side, maybe. Without a doubt what he’s done is illegal, and our criminal justice system wouldn’t be (and shouldn’t be) satisfied by the fact that, hey dude, he’s like totally done cooking meth forever and he’s super sorry. On top of that, it’s hard to argue that he’s trying to do the “right” thing after a full episode of his selfish manipulations.

And that’s Walt’s situation right now. In my hypothetical example that opened this review, you could defend the actions of either motorist: one is selflessly putting himself in danger in order to help somebody else (right), but the other is following the traffic laws that have been put in place to protect us (just). Conversely, you could condemn either of them: one is endangering the lives of others by not obeying the rules (unjust), and the other is on his way to deliberately do harm to another human being (wrong).

Walt is both unjust and wrong. We’re beyond the point that we can defend him at all. It’s not a matter of finding a place on the just / right continuum; it’s a matter of acknowledging that his data point is on a different chart altogether.

Hank rightly calls Walt on this during a (brilliantly) tense dinner at a Mexican restaurant. Who is Walt to talk about right and wrong? The cosmic editors who structured the world of “Confessions” must be on Hank’s side, because every time we see Walt turning on the charm in this episode, it’s in order to bend somebody else to his own ends.

Whether it’s using his own son’s devastation against him, delivering a heartfelt “confession” to the camera that frames Hank as the criminal mastermind, or finally returning Jesse’s affection in the desert so that he can get the boy out of his life, Walt is neither doing the just thing nor the right thing. He’s doing the selfish thing. This is his world now, and you’re going to do what he says. We’ve seen him use anger and brute force to further his ends in the past…now we’re seeing him work the emotional angles as well.

“Confessions” is a great episode. A great. Great. Great episode, and while it pivots in some unexpected directions, it always does so on sturdy ground.

For starters, the episode’s centerpiece — Walt’s “confession” video — was an absolutely brilliant way to reinforce the Walt / Hank stalemate. Earlier in the episode Marie was upset because Hank waited and didn’t rat Walt out to his DEA colleagues. She then intimates that it may already be too late…and she’s right.

First Hank tried to get Skyler to fill in the blanks that would connect Walt to Heisenberg. Then he tried to get Jesse to fill in those blanks. Neither would, so good ol’ Walter steps up to fill them in himself.

And, yes, it certainly would be ridiculous for anyone to believe that Hank was the drug lord…but no more ridiculous than it would be for them to believe that it was a dying chemistry teacher with no criminal history. In fact, Walt’s story would have the edge over Hank’s, simply because he knows more of what actually happened. He’d be able to connect dots that Hank didn’t even know existed. That’s leverage, and it’s significant.

But the truly crowning moment took place in the desert, in what’s probably the single most emotional scene the show has ever done. After allowing Walter yet another long manipulation, Jesse calls him on it. “Would you just, for once, stop working me?” Jesse asks, short of breath and overcome with conflicting emotions. “For like ten seconds straight?”

Jesse’s not on the verge of a breakdown…he’s at the lowest point of an ongoing one. We’ve seen Walter manipulate him in the past (many, many times), but this is the only time we’ve seen Jesse seriously stand up to him. It was a well-earned moment, one five seasons in the making, and Aaron Paul’s hesitating, breathy delivery gives us a Jesse dizzy with internal conflict. He knows he should tell Walter to go fuck himself…and yet he doesn’t want to. He wants to be wrong about all of this.

But he’s not. As much as we’ve seen Jesse look up to Walter as a surrogate father in the past, we never got anywhere near an equal balance of Walter seeing Jesse as a surrogate son. Flashes, yes…glimpses…but he was always quick to tear his partner down rather than support him. Walter was only a father to him in the sense that he was able to emotionally manipulate and strongarm him as a son.

And Jesse calls him out on it. Jesse, heartbroken, does tell him to go fuck himself.

At which point Walter, seeing exactly what the audience sees, hugs him. Now is the time, he knows, to finally support the boy.

And it works. Because the one time Walter supports him, it’s so that Walter can get what he wants.

Of course it doesn’t end there. (Though the hug would have made for a perfect EXECUTIVE PRODUCER VINCE GILLIGAN moment.) Nope. Because Jesse is being manipulated even as he rails against being manipulated, and once he realizes** that, the betrayal is felt a thousand times more sharply.

We end with Jesse attempting to burn down the White residence, and Walter rushing after him with a loaded gun. And yet that’s still probably the least thrilling moment of the episode; I was held much more rapt by Bryan Cranston speaking slowly and carefully to the people whose lives he’s destroyed.

Such is the power of Walt’s manipulations.

—–
* Honest question: can the case be made that what Marie did (or wanted to do) was just as bad as what Skyler did? To me, Marie is pretty clearly ahead of her sister, morally-speaking, despite the fact that they both have criminal solutions to the problem. Is that just me? I’d love to hear somebody equate the two…either by tearing down Marie’s or building up Skyler’s.

** Jesse also “realizes” that Walt poisoned Brock. That felt to me like a bit of a jump, as finding out that Huell lifted the ricin cigarette is still three or four logical leaps, at best, from concluding that Walter poisoned his girlfriend’s son. I’m not complaining, but I think it was jarring because one scene ends with Jesse looking at a packet of cigarettes, and the next begins with him instantly aware of what happened. I’m willing to believe that’s down to the quickness of the edit, though…it works a lot better if we believe that Jesse had a long walk back to Saul’s office, during which he angrily worked his way through every detail. Personally…I think I would have preferred to see that.

Go Read: Full House Reviewed

Full House Reviewed
So lest anyone fears this is turning into a Breaking Bad fan blog…I’ll write about another show.

LOL JK. But I’ll write about someone else who is writing about another show: the guy over at Full House Reviewed.

Go check it out. Because it’s incredibly funny.

I used to love Full House when I was a kid. Looking back I have no idea why…even then there was far better stuff on television. But, whatever, I liked it. I thought Jesse was cool, I thought Joey was funny, and I even thought Kimmie Gibbler was attractive. (Was I really the only one??) I guess I was all kindsa fucked up as a kid.

But rewatching this show now? Jesus.

Some shows and films and songs age a bit poorly, and you might feel a bit silly for having enjoyed them unironically at some point, but man oh man was Full House just total and utter garbage. A lot of these ongoing review blogs end up reaching for jokes to make and downplaying something’s effectiveness, because they kind of have to. The stopped clock ends up being right at a certain time of day but the blog must go on.

Not so here; Full House never gets anything right. It’s an absolute perfect target, and I end up feeling ludicrously proud when he points out some of the same issues I’ve had when I happen to catch a re-run as an adult. (And seriously…why is that show re-run at all?)

Anyway, yeah. Go enjoy that, while things are relatively quiet here.

I’m working pretty hard on Detective Fiction right now, and I couldn’t be happier to report that. For those of you who don’t stalk me, that’s my novel, and it’s around three or four years in the writing now. I’ve got a good draft complete…and now I’m at the point in the process that sees me getting it into some kind of shape that I wouldn’t be ashamed to send to an agent or a publisher.

Needless to say, it’ll take another four years.

But I’m excited. I’m very happy with how it came out…so while it still needs a lot of work, I can’t wait to get it out there and see how folks react to it. That’s going to be the really fun part.

I’ll talk more about it some other time, for sure, but I have a little story about Full House.

I stopped watching it in fifth grade or so…whatever year that would have been for me. And in sixth grade, my friend Lucas Monaco (which is a name I wish I invented) mentioned some new episode over the weekend or something. I said, “You still watch Full House?”

I was a huge bully back then, as I am today. I always beat people up and make fun of them for the things they enjoy, and then I give them a purple nurple. So he was terrified!

…no. It wasn’t meant to be confrontational at all. I was just surprised. But he sort of hesitated and said, “Yeah. But it’s not as good now that Jesse owns the Smash Club.”

I don’t know what happened to Lucas Monaco.

He’s probably a successful television critic.

Review: “Buried,” Breaking Bad season 5, episode 10

Breaking Bad, Buried
I can review this episode using only five words: “Now that’s more like it.”

Or, wait. Maybe I’ll go with “I fucking love you, Marie.”

Either of those I think would say it all…but, for old time’s sake, let’s pretend I have more to say BECAUSE OF COURSE I DO.

My issue with “Blood Money” was mainly down to pacing…but really the problem was that I didn’t put enough trust in Vince Gilligan and his writing staff. I’m sure I can count on one hand how many times a perceived flaw in a television episode was actually down to me watching it completely and totally wrong but…I confess…that’s exactly what happened here.

It’s not entirely my fault…Gilligan set the trap. I was just dumb enough to walk into it.

The first half of season five ended with Hank finding Walt’s incriminating copy of Leaves of Grass, which seemed like it would set the mad scramble toward the finish line into motion. I expected, more or less, that the first episode of the back half would be the metaphorical starter’s pistol. Then it didn’t come. As I felt unfulfilled.

My bad, y’all.

Because it came. I was just listening for the wrong sound.

When “Blood Money” ended with Walt’s “tread lightly” admonition to Hank, I felt almost cheated. It seemed like such an artificial move by the writers…a desperate attempt to give us one memorable late-game play in the style of “I am the one who knocks,” or even “I’m in the empire business.” It was a hollow gesture, and I sensed that.

…but I sensed that it was hollow on the part of the writing staff. No no…it was hollow on the part of Walter White.

It was indeed a desperate attempt to mimic more powerful times. It was Walter’s desperate attempt. He remembers his glory days as well as we do. He emptily tried to stir up some of that old mojo…but it didn’t quite get there. Yes, as I mentioned in my review of that episode, it felt like a lot of work to shift us back into neutral. But it wasn’t the writing staff shifting back. It was the character.

And that’s, pardon my French, effing brilliant.

“Buried” sees Walter leaving the garage right after that clumsy attempt at bad-assery…and he falls apart instantly. He peels out in his car only to pull over still in sight of Hank’s house, and place a panicked — and unsuccessful — call to his wife. Walter’s made his power play, and already the wheels have come off. He’s a deeply idiotic man.

This episode works a lot better in isolation, I feel, than its predecessor…right down to its breaking point, which won’t rely on a post-episode tonal shift the way “Blood Money” did. Nope. Hank has Jesse. And Jesse…well, Jesse’s broken. Things can go either way. Skyler might have chosen not to turn on Walt — more on that to come, of course — but Jesse just might.

Which is something that…well, I can’t put it into words very easily, so I’ll just have to say that it’s showing me something I’ve been appreciating about Breaking Bad without even realizing it: it’s made me, gradually, want Walter dead.

When the show started, it was easy to be on his side. Yes, of course, he was doing something very stupid. But was there anybody out there who didn’t want him to triumph in some way? Even if that triumph was something as small as realizing the idiocy of his plan and getting out alive?

There was an initial humanity to Walter White, which we could see even as he did terrible things. But, slowly, the balance shifted, and it was the terribleness we were seeing primarily, with the humanity only rarely glimpsed. I don’t know exactly when it “turned” completely for me, but I’ve gone from rooting for the man to rooting for his death. And that’s the fruit of fantastic storytelling.

Getting back to the episode, Hank’s case — as many have suspected — still hinges on conjecture. He knows it was Walt…and that’s great. But he still can’t prove it. Skyler, Hank correctly supposes, can fill in the blanks he needs, and that scene between the two of them in the diner is a fucking masterpiece of selfish tension. Each of them has so much invested in the outcome of this case, and each of them even has the same end goal in mind (that the rest of the family is kept safe). Yet they are each driven by their pride to not help the other. Skyler won’t fill in the blanks…Hank won’t let her get a lawyer. Two people want the same thing for the same reason…but are each madly protective about it in conflicting ways. It’s moments like that that I’m going to miss most of all, because I can’t think of any other shows on the air that could pull that off believably.

I also loved the mirrored moment of Marie slapping Skyler, because hot damn Marie!

Sorry, I’ll try that again.

I also loved the mirrored moment of Marie slapping Skyler, which dovetails nicely with her husband slugging Skyler’s husband in the previous episode. The difference, I think, is that in “Blood Money” I was all but screaming for Hank to hit him…which he then did. Here, the slap was totally unexpected…but not at all unearned. Poor Marie having to recount the events of the past year in reverse to figure out how long Skyler’s known…getting as far as Hank getting shot…it was heartbreaking, and while I wouldn’t have said it before that scene I’m absolutely able to say it now: Skyler deserved that crack every bit as much as Walt did.

Oh, and I just thought of a joke:
Breaking Bad, Buried
Looks like Walt’s got a case of Schrader-Brow.

Wocka wocka.

Anyway, I like that moment, mainly because Marie’s obliviousness has always been played for comedy, whereas Hank’s has largely been played for drama and suspense. This isn’t a problem…this is A Good Thing. Because it gives the audience a moment like this…when the rug is pulled out, and you realize that all of this so-called comedy was really, through the clever switching-out of a lens, the slow-motion dismantling of this woman’s life. Marie had and has every bit as much invested in this tragedy as anybody else. She might have come off as a TV ditz…but beneath it she was a real person, with a real husband, and came really close to losing the man she loved most.

Retroactive character-work ahoy.

Elsewhere Lydia and Todd and Todd’s Nazi uncle go apeshit. I’m not quite sure what to make of this scene yet — though I have my suspicions — but I would absolutely hold it up as evidence of just how richly composed this world is. Even when we don’t quite know what’s going on, we have the sense that we’re in capable hands. And I can’t say enough good about what Laura Fraser does with this late-coming character.

Seriously, rewatch that scene. Every little gesture and detail and line reading suggests more about Lydia than we’ve actually yet seen. The way she fixes her hair in the rear view mirror after her blindfold is removed. The way she arrives over-dressed to a bloodbath. The way her heels sink into the sand but she doesn’t take off her shoes. This is great stuff.

I don’t know. Details like that are probably what I’m going to remember when all’s said and done. For good reason most will think back on Gus’s demise, on Mike’s “half-measures” speech, on Skyler in the pool.

But I’m going to remember things like Lydia’s heels sinking in the sand.

Because any show can do the big moments.

Not every show can make you look for the little ones.