C
chaingunsofdoom
Lurker
Very intense S1 finale. You knew something odd would happen...
Man, I thought the Killing was going for cheap closure...let's be honest, the fact that she happened to be in his apartment when he was getting an email to a super secret account(and he had the notification noise turned up loud enough for her to hear it a couple rooms away) was pretty far fetched. But the last five minutes was brilliant. I guess the plan is for the case to continue into season 2...tricky. Hopefully they can keep it relevent enough so that it does not turn into Twin Peaks(which everyone has compared this show favorably to...so far).
"The Killing" wrapped up its first season tonight. I interviewed showrunner Veena Sud about the season, and highly recommend you read that before we get to my review of the finale, as I'll be discussing what she said a lot. My review - with plentiful spoilers for the episode, of course - coming up just as soon as me doing math is like a dog wearing a hat...
When AMC announced the renewal of "The Killing," and that Veena Sud would remain in charge, I tried to be optimistic. The people who run AMC aren't dumb, I thought, and they know their brand and how the audience feels about it. If they were willing to make this move before airing the finale and seeing the reaction, it was because they had seen the final cut and thought it would quell a lot of the doubts people have had about the show, and/or because Sud had made a season 2 pitch for that acknowledged many of this season's missteps and talked smartly about how they would be eliminated going forward.
Having seen the finale, and now talked to Sud, not so much on either account. "Orpheus Descending" itself is a mess, and an insult to the audience who have stuck around for the last three months. And based on my conversation with Sud, it sounds like we're getting more of the same next year.
So this will be the last review I write of "The Killing," because this will be the last time I watch "The Killing." Because I have no interest in going forward with a show that treats its audience this way.
Although it is not entirely out of the realm of possibility that there's still another twist in the road next week.
Darabont used the interview to clarify rumors that he canned all of his season one writers. "Let me just begin by stating the obvious: that it was all pretty overblown. It left the impression that I walked in one day and murdered 12 people. Would you like to know how many writers we were talking about? Two. My thought had been that they?d under-delivered, and a change was necessary. I had to do too much of it by myself last year, and that was only six episodes. This season, it?s 13 and we?ve hired a fantastic writing staff. We hired Glen Mazzara as our Number Two in the room. We consider him our head writer and he?s just a fantastic asset. We?ve also got three other staff writers in Scott Gimple, Evan Reilly from RESCUE ME, and Angela Kang. Plus Executive Producer Robert Kirkman, who wrote the original comic book, is also writing for us."
He also offered a taste of the mounting drama we'll see in the forthcoming season.
"It?s fair to say that the first six episodes were teeing up a lot of conflicts that will be more fully explored in our second season. We find a growing conflict with our two main guys, Rick [Andrew Lincoln] and Shane [Jon Bernthal]. We?re really excited about putting all of the characters on a chessboard and seeing how wonderfully and effectively we can toss conflict into the game."
?There?s no such thing as too big an axe. That?s the philosophy of the show, I?ve realized. There?s no such thing as too big an axe!?
This is how Academy Award-winner Frank Darabont describes his Saturn Award winning cable series, The Walking Dead, which will enter its? sophomore season this fall on AMC.
Darabont and producer Gale Anne Hurd were on hand at the 37th annual Saturn Awards Thursday night and after accepting their award for Best Television Presentation, the duo gave us a few minutes of their time to discuss the show?s second season, including details on Michonne, which Darabont says is coming in the third season. We also discuss films from the whole of Darabont?s career, debunk Nikki Finki?s rumor mill, get an peek into how killing a seven-year old became a mission statement for the show and more
AMC president and general manager Charlie Collier broke his silence on last week?s finale of The Killing, saying the network didn?t anticipate such a strong backlash among some viewers and critics.
?We underestimated the passion of viewers have for closure within this season,? Collier says. ?It was never our intention to misguide the viewer. The audience has an important voice, we heard them and don?t take them for granted.?
The critically acclaimed first season of The Killing teased viewers with the tagline for its central mystery ?Who Killed Rosie Larsen?? then declined to solve the case in the finale, instead rolling the story into next season in a last-minute twist. The show plans to introduce a new mystery at the start of season 2 and then solve the Larsen case.
Collier spearheaded the network?s rise to become a top outlet for quality drama series, ordering shows like Mad Men, Breaking Bad, and The Walking Dead. He says if the network could have done anything differently, it would have been to do more to prevent viewers from expecting the murder to be solved in the season closer. ?I stand by [showrunner] Veena Sud, and risk-taking is what we do; cliffhangers are a staple of TV and a huge part of mysteries,? Collier says. ?If I could do anything differently, it would be to manage expectations.?
“I would like to see Breaking Bad go—it kinda changes if you ask me last season or the season before versus this one, but right now I would say season five should probably be our last season. But you know, check with me a year from now, we’ll see if I change my tune.”
There are times when the season premiere feels like an hour-long version of that agonizing sequence in season three's "One Minute" where Hank is told the Cousins are coming for him sometime in the next 60 seconds. It's an hour dominated by silence and waiting, and is so patient in pursuing its goals that I actually started giggling at one point when I realized just how committed the creative team was to making the audience hold its breath.
And then there are times in the later episodes where Walt almost feels like a supporting character on his own show, or at least just another member of a great ensemble - when we spend extra time with Skyler, or Hank's troubled wife Marie (Betsy Brandt), or Gus's right-hand man Mike (Jonathan Banks) - and it doesn't feel like we're getting cheated out of our rightful allotment of Cranston.
"Breaking Bad" is about the rot that takes place in Walt's soul as he goes deeper into the criminal world, but it's also about the corrosive effect he has on those around him. He wrecked his marriage, turned Jesse from a casual dealer into a hardcore criminal and is responsible for Hank getting shot and paralyzed and so many deaths that I've lost count. Magnificent as Cranston is, as riveting a character was Walt is, it's important to truly understand the people he's hurting, to feel the weight of his actions.
Perhaps the best glimpse into the effect Walter has on others comes in a look on the face of Mike in one of the early episodes. Since Banks joined the cast - one of three brilliant mid-series additions, along with Esposito as the implacably cool Gus and Bob Odenkirk as Walt and Jesse's shameless lawyer Saul Goodman - Mike has been presented as a tough customer who's seen it all and is fazed by exactly none of it. But there's a moment where he has a look on his face that screams, "What the hell just happened, and how did we get involved with this lunatic Walter White?" He is startled, and shaken, and for a brief moment not at all the ultimate professional who has an answer for every situation.
And in that moment of shock and horror, Mike has an expression that I imagine has been on the face of every "Breaking Bad" fan at some point or other - that feeling of "Did I really just see what I think I saw?" - only without the joy that we take in seeing this series performing at a high level that few dramas in the history of the medium have achieved.