Screenshot aus einem Premieren-Interview mit Bryan „Heisenberg“ Cranston, das Video dazu finde ich nicht, muss man aber auch nicht wirklich sehen, denke ich, jedenfalls: Heisenberg hat sich das Breaking Bad-Logo zwischen die Finger tätowieren lassen (via Boing Boing). Classy!
"It's the 'Br Ba' logo. And someone said, 'If you put it there no one can see it,' and no one can see it," Cranston told E! News' Will Marfuggi at Breaking Bad's premiere party on Wednesday night while showing off his new ink. "And I said, 'I can see it.' So every once in a while I catch a glimpse of it and I see that logo from Breaking Bad and it makes me smile."
Und wo wir grade beim Thema sind: Ich plane zusammen mit Sascha von PewPewPew und ich planen grade einen wöchentlichen Breaking Bad-Podcast, zu jeder der finalen acht Folgen einer und zwar in Depth und garantiert voller Spoiler. Ich könnte mir da noch weitere Gäste im Podcast vorstellen, falls sich also noch jemand wirklich gut mit BrBa auskennt, bitte in den Comments melden, vielleicht geht da was.
Hier noch zwei Must-Reads für Breaking Bad-Nerds: Die Poetry Foundation hat einen Essay über die Walt Whitman-Bezüge in der kompletten Serie: Leaves of Glass – Breaking Bad’s Walt Whitman fixation.
Like Whitman…, White assumes a second identity (that of meth cook) during wartime (both the war on drugs and the wars between dealers), and his character revolves around the performance of his multiple identities and especially how those identities affect his status as parent; not only is he a biological father (the economic pressures of his son’s physical disability plus an unexpected pregnancy drive him out of the classroom and into the drug trade) portrayed as an artist (also like Whitman) creating new material all the time, but he is also a surrogate parent for his assistant Jesse Pinkman…. Walter White is also busy trying to make a future he won’t be part of—laboring under a cancer diagnosis to provide financial security for his biological family in the event of his death.
But since “laboring” toward this future, Walter has lost all sense of his humanity. The name of the fifth season’s cliffhanger of an episode is “Gliding Over All,” which is clearly a reference to a short work from the 1881 edition of Leaves of Grass:
Gliding o’er all, through all,
Through Nature, Time, and Space,
As a ship on the waters advancing,
The voyage of the soul—not life alone,
Death, many deaths I’ll sing.
Und Linda Holmes schreibt auf WNYC einen tollen Aufsatz über die narrative Funktion des Todes in Breaking Bad und wie jeder einzelne Akt des Tötens in der Serie einen eigenen Sinn verfolgt: Death And Walter White.
Gilligan and Bryan Cranston have both talked about the fact that one of the things that makes Breaking Bad different is that it shatters the general understanding that people don't really change — probably the fundamental organizing principle of The Sopranos, for instance. Everything Walt will become is certainly there in some form from the beginning, but it is activated and provoked and spills over whatever levees of morality there are in him. In the pilot, he wouldn't even get his good clothes dirty.
The ubiquity of creatively disgusting murder in television drama can make your eyes glaze over. Bodies cut in half, flayed, burned, eaten. But one of the many reasons Breaking Bad will be remembered the way it will, eulogized the way it will, and missed the way it will is that its killings always mean something. This is a universe in which killing a person changes you. It matters, always.
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