Breaking Bad: Shotgun

 "Since when do vegans eat fried chicken?"

This is a bloody clever, subtle, psychological episode, from the opening char chase with it's fittingly panicked-looking directrion to the final scene with Hank discovering the Los Hermanos Pollos connection.

At a surface level, much of thus episode is on the everyday mundanity of the work required in the meth trade, from cooking to money drops. There are multiple speeded up montages to the same soundtrack. Yet behind it all is tension; what is Gus, the unseen puppetmaster, forever in control with his all-seeing cameras, going to do to Jesse and then to Walt? This season seems to be shaping up to be a contest between the two of them but, at this stage, it's hardly an equal one.

Gus is controlled and controlling, his lack of presence being a sign of strength. He decides, and then stays in the background while his decisions are implemented. Doing, and having to be seen, is for underlings. Not having to be seen is power.

And Gus wins here. The manipulation of Jesse through clever psychology, driving the beginnings of a wedge between him and Walt through divide and rule tactics, works like clockwork. Walt may be having sex with Skyler again (crime is sexy, as in the first season), and be back in the family home,]the proud co-owner of a car wash-cum-money laundromat.

Yet Skyler is still naive, having no idea of the dangers Walt is in. Not least of which is his own tongue, as a tipsy Walt ends up perhaps saying things to Hank that he shouldn't have. 

It's going to be fascinating seeing how all this plays out. I'm loving this season.

Breaking Bad: Open House

 "What? I'm Nixon now?"

This entire episode is about a failure to communicate. Mostly. But it's also, of course, about Skyler mirroring the Walt of earlier seasons as she slips slowly into criminality... and not without success. 

Walt lies to Skyler about his black eye, a failure to communicate. There's a camera in the lab, a bluntly one way mode of communication to which Walt has an entirely mature and adult response. Walt and Jesse are barely communicating and, in Jesse's disgusting cesspit of a house which is an endless round of soulless parties mongst the squalour, Jesse just sits and gets high, interacting with no one.

Hank and Marie are, of course, mot communicating in a healthy way, and Hank's understandable depression does not in any ay justify his behaviour towards Marie. However, Marie seeks refuge in absurd lies and fantasies ultimately leading to disaster, humilation and criminality of a very white, middle class lady kind.

But Skyler is triumphant here, cleverly getting Bogdan's business of him for very little, and doing it through awesome skill and excellent communication. Yet the only skilful piece of communication in this episode is about swindling a poor bloke out of his business, not meaningful human connection.

Communication aside, this is a transitional episode that subtly advances the arc and moves pieces around rather than a big "event". Such episodes have to exist, and are rarely done with such skill.