Tue Sep 04, 2012 11:03 am
The Good Wife (Season 3)
Breaking Bad (Season 4)
Yes, it's that time of year again, though I'm not the kind to keep the box sets on hold until the long dark evenings after Samhain commence. And American television drama continues to form the tip of the spear of a narrative revolution that, I'm convinced, will one day bear the same relationship to the early 21st century as Charles Dickens does to the Victorians.
It's not always all good. The first half of Series 3 of Breaking Bad tested both patience and loyalty as the writers negotiated the teething troubles of a narrative drive that, if it does nothing else, breaks new ground in undermining the bland certainties of characterization in The Old Television Drama, but the gamble has paid off in Season 4, the producers guessing, correctly, that in the New Wave of TV era, viewers are considerably less likely to switch channels during a slow episode or abandon a show completely on the strength or otherwise of that episode. David Simon and HBO and the rest have educated us to invest ourselves in the drama as Dickens' readers did, whether reading him in monthly instalments or bingeing on the whole epic at once. In a world where, we are forever being told, our attention deficit disorder levels are through the roof, this is something akin to the human spirit re-setting itself to a more agreeable pace. The result is great for television and even better for those who love television, or just good art in general.
What's been most intriguing about Breaking Bad - the story of a Joe Schmo chemistry teacher (Bryan Cranston - he was the Dad in Malcolm In The Middle, a fact that seems entirely irrelevant to his multiple Emmy Winning performance as Walter White) with terminal cancer who takes to designing and marketing a top of the range Crystal Meth so that he will have some financial legacy to leave to his family when he dies - is how the moral centre keeps shifting ground in this series. The Observer last Sunday, in a piece noting how Breaking Bad has become a hit in the UK/Ireland without ever once making an impact on UK television itself: seasons 3 and 4 have not even aired and 1 and 2 were buried in the graveyard shift on obscure channels, pointed out that currently the moral compass is set at Jessie (tremendous work from Aaron Paul) , the scumbag small time drug dealer and junkie; a former student of Walter's who, endearingly, he still addresses as "Mister White" four seasons in. Unquestionably, Breaking Bad took its strength, initially at least, from the paradox that asked us to cheer for the "bad guy" - crystal meth king Walter - because we understood his underlying motives to be pure and selfless - but by now, the forces of good and bad have become so complex, interconnected and even relative - that it may well be said that Jessie is currently the one holding the Morality stone in these Drug Cartel Wars. Shot in iconic New Mexico on 35mm film - and boy does that ever show in a culture wherein format and media are almost forgotten arts - Breaking Bad is right up there with The Wire and Rescue Me.
The Good Wife adheres somewhat more to Old Television values, not least in that it is, at heart, a good old fashioned court procedural show. But within that, it too has made itself essential viewing, in part because of uniformly superb performances but mainly because it too is unafraid to lay slow-burning dynamite as it goes along. In addition, it incorporates real life news into its storytelling in a way that makes it feel at once fresh and classic. Even more than Breaking Bad, it has a sense of Truth in it. I see it like this for the curious of the future: if you want to know how America actually was in 2012, how it felt beyond all that partisan archive cable news coverage of the post-9/11 Second American Civil War, with Maddow and Hannity and O'Reilly and Ezra Klein, it's all there, in microcosm, in The Good Wife.
Next: oh bliss, Season Five of The Big Bang Theory.