12 October




  • Well-written script by Bruce Norris– compelling story that never felt too spoon-fed, and all very real characters who reminded Liz and I of actual people in our lives.
  • Appreciated the balance of the slightly absurd theatrical elements with grounded, true-to-life depictions.
  • The show moves swiftly with excellent pacing– all scene and set changes happened while the action continued, and characters would move from one scene to the next without missing a beat. This was used to great comedic effect in a scene where the wife (fabulously played by Laurie Metcalf) tells her lawyer there’s no way they’re going to become the kind of people who talk to a therapist, and literally a second later they’re sitting down talking to a therapist. I believe Bruce Norris/Anna Shapiro (the director) have mastered the theatrical smash-cut.
  • ‘Theater in the round’ style of the Mitzi E. Newhouse Theatre felt intimate, and the blocking was such that you never had more than one character facing away from you.
  • Ian Malcolm– the later years! Jeff Goldblum was an excellent choice for a philandering, unfaithful, selfish prick who could still entertain and hold your interest.
  • Loved the Cambodian daughter never speaking to her family, but continually giving a school presentation throughout the show that progressed into further and further humiliation for various male species of animal.


  • There’s definitely a better title for this show than ‘Domesticated.’ Maybe they were playing off the whole domesticated animal thing in addition to the family dynamic, but when I hear a show is called ‘Domesticated’, I imagine a somewhat inane, low-stakes family drama. This wanted to be called something grander, perhaps ‘The Descent of Man’ or ‘Humiliated Male Species 101.’
  • As much as I like the idea of it, I don’t really buy that Bill (Jeff Goldblum) would stay quiet through the almost the entire first act of the show. He clearly loves the sound of his own voice, and as we learned later, wasn’t really ashamed of his actions, so the notion that he would allow a constant barrage of verbal abuse without speaking up rang untrue.
  • While the ensemble casting was certainly efficient (7 performers covered about 20 characters), it definitely caused confusion. A couple of the more bothersome double-takes: the actress who played the wife’s lawyer also played her best friend, and the actress who played the defending lawyer of an injured prostitute and her mother also played an Oprah-esque talk-show host who interviewed them. Costumes/hair-styles/demeanor– not sure what or how, but more certainly could have been done to distinguish some of these parts.
  • One of the actresses took me out of the moment a number of times: she spoke far louder than the other performers, and never really disappeared into any of the five roles she was playing.
  • Jeff Goldblum has a strange physicality when he plays heightened emotions. He bangs on things over-dramatically, makes big gestures, and swings his whole body– it struck me as unnatural, but maybe I just haven’t seen enough tall, lanky people get angry.


Fun Facts:

Jeff Golblum plays a guy who can’t stand to be monogamous with his wife, and keeps going after younger people. In real life, Jeff Goldblum was married and divorced twice, then has dated on and off with numerous people for the past 23 years. His current girlfriend is half his age.


Laurie Metcalf plays Jeff Goldblum’s wife and the mother of their two children. She is sickened by her husband’s actions and can’t stand the sight of him anymore. In real life, she recently filed for divorce after a nearly 20 year marriage, also with two children.



4 October

SPOILERS! (obviously)


This show has meant a lot to me since I started watching in June of 2010. I was in a terribly-depressing, sweat-shop-like job working for a starchitect, and Breaking Bad carried me through that experience. Like Jesse imagining himself in a woodshop, this was the mental escape that kept me sane. I will always be grateful for that. Sometime in the future, probably after going back and rewatching the series in it’s entirety, I will likely write a full  retrospective. But for now, since a few days have passed, I feel comfortable giving my ruminations on the end of my favorite show:

I think the true genius of the conclusion of Breaking Bad is that we weren’t given just one ending– we were given three. And not in a Lord of the Rings, too-many-endings kinda way, but in a ‘thematic variations’ kinda way, conveniently tied to each of the last 3 episodes.


1) Ozymandias. The episode Vince Gilligan said was the best Breaking Bad episode they ever made, brings the karmic force of Walter White’s misdeeds full circle. Hank dies, Walt sends Jesse to his death, Walt Jr. and Skyler see him as a monster, call the cops on him, and force him to change his identity and leave town. It’s emotionally exhausting, full of twists and turns, wholly dark, and forces the kind of mad-improvisation out of Walt we’ve come to expect from Breaking Bad. It’s full of callbacks to the pilot. It’s where the glorious, all-powerful Heisenberg truly dies, and Walt can no longer pretend that those close to him are better off thanks to his influence. Now, can you imagine if the final shot of the entire series was him driving off in that red van? It would have been powerful, harrowing, divisive, and debated for ages. It gave us what I’m calling the ‘emotional’ ending to the show; where things became irrevocably awful and at long last, Walt didn’t have the lying power to convince himself otherwise.


2) Granite State. Here’s where we see the ending that so many people felt Walt deserved: a kind of purgatory or prison, stuck living without any power (literal and figurative), knowing no one loves him, slowly dying and left with nothing but the weight of the enormity of his sins. It was slow, quiet, depressing, contemplative. To end the series after the Charlie Rose talk, whiskey glass half-empty (or half-full?), can you imagine? As the Breaking Bad theme swells for the first time ever during the show proper, we would have been left to put the pieces together ourselves for what Walt does with the machine gun and and ricin, though as became evident later, many of us were spot on. Without the spoon-feeding that came in the next episode, this was the ‘intellectual’ ending to the show.


3) Felina. Personally, I’m glad we were given this ending, as despite the checkbox quality to it all and the nice little bows that were put on everything, it was sweet, and it was satisfying. Surprises were few and far between, but like eating chocolate cake from a bakery you’ve heard nothing but good things about, sometimes it’s okay to have your expectations met. Ozymandias and Granite State were entrees– this was dessert. This was for people who didn’t have the stomach for the open-endedness of the show concluding on either of the other two episodes. For the first time ever, almost nothing went wrong for Walt– no being abducted on his way to assassinate Gale, no Spidey-sense Gus avoiding his car in the parking garage. Walt got what he wanted, and was able to gesture toward the idea of being a good person before dying with contentment on his face. Jesse was ‘freed’ and all the people we hated died. This was the ‘Hollywood’ ending.


Within those parameters, there’s still a lot of room for theories and speculation. For example, I like the interpretation proposed by Emily Nussbaum, that Felina is just the fantasy of a powerless, dying man stuck in New Hampshire– that the moment those keys fell out of the visor and the snow fell away with a Fonzy-bop, we were living inside Walt’s head, where everything goes just the way he wants with little-to-no hitches. Cool, I say. By questioning the ‘realism’ of any of the final episodes, you are given the tools to shape the ending as you wish. I don’t think that’s ever happened with a season finale before.


I love the fact that these final episodes allow you, the viewer, to read whatever you want into them. So I choose to read that I wasn’t just given the ending I wanted, I was given three of them.


What do you think? Which of the three episodes did you enjoy the most?


10 September


One of the ways I measure the merit of a play is by how much discussion it generates afterward; my gut reaction after the show ended was B-, but because of how much mileage my wife and I got out of talking about it, I’ve bumped it up!



  • Great acting on all fronts. Maretz as Wool pulled off the ‘highly-literate sports star’ swagger extremely well, and Gabriel Wright as his best friend Jason made a huge impression with his short time on stage.
  • I liked the simplicity of the ‘moment of crisis’ that set the play going– simple and compelling.
  • Liz liked the writing… so I’ll put that here.
  • Set design was thoroughly serviceable, which I far prefer over flashy, takes-forever-to-do-a-set-change stuff
  • Loved the radio broadcasts charting Henry Wool’s career that played during set changes. What a cool counterpoint to have the rise of his career play off the fall of it.


  • Simple rule of playwriting that I am yet to feel exception for: NEVER make your second act longer than your first. The first act was well-paced and wrapped up a little under an hour. The second act, however, was nearly an hour and a half. This meant I organically felt the show was constantly about to end for the last three or four scenes.
  • The play did feel simply too long. Not that there are scenes I would have cut out or anything– I just think there was too much story to be told for one play. Divide it up into two plays, and make them companion pieces like reasons to be pretty and reasons to be happy! One of the plays could have focused on the reporter trying to get a story then ultimately deciding not to run it for fear of ruining Wool’s life. The second play could focus much more on Wool and all of his interpersonal conflicts between his dad and girlfriend and agent and ‘new rising star kid’, which basically felt like Friday Night Lights-lite.
  • The characters and their means of conflict resolution felt too similar across the board: sarcasm and yelling a lot. I initially blamed this on the writing, but Liz thinks it was a fault of the directing– a lot of the ‘loud’ moments could have been played much quieter with even greater impact.
  • Didn’t like the ending. To start, I think talking ghosts are rarely if ever well done, and it seemed to be a strange choice to have the play devote so much energy at the last minute to the father son relationship, which until that point felt like a B or C plot.



4 August

This is a very special week of Breaking Bad events for me. I’m riding on the air of my first viral video, which just so happens to be Breaking Bad-related, and the entire cast is in NYC promoting the upcoming final season of the show. The week’s not even over, but I’m already surprised by how much I’ve been ruminating on the various frustrations of the super-hyped events I’ve attended. I’ve been to two so far, but I’m sure the third and fourth will suffer from similar problems, so I may as well talk about it now.


So let’s talk about it. The first event was at the Museum of the Moving Image on Sunday evening, where Charlie Rose “moderated a discussion” (read: interviewed) the creator of Breaking Bad, Vince Gilligan. In the past, I’ve always enjoyed Charlie Rose. He’s an enthusiastic and curious guy, interested in a wide swath of topics from academia to pop culture.


But he was absolutely the wrong person to be interviewing the Vince Gilligan in front of an overflowing audience of superfans. How do I know we were all superfans? Because we all had to buy our tickets online within the first 10 seconds they went on sale, and anyone who managed to acquire standby tickets waited in line for hours. People were so excited by the prospect of being near Vince Gilligan, that the Museum of the Moving Image sold out tickets for their second theater, which merely presented a livestream of what was going on in the first. And remember, Vince isn’t known as some star actor or even director. First and foremost, he’s a writer.


Charlie Rose is not a superfan. How could he be? He doesn’t have time. Though he professed to love the show, my guess is he’s seen a couple episodes, and has supplemented that by reading press clippings from the various television critics who shower it with praise. But this is the first problem: that disconnect. When he calls himself an “avid fan,” the audience immediately thinks ‘oh great, he’s like me!’ So when he calls the main character “Walter Washington” or asks why Walt didn’t rise to the top of his chosen profession and is stuck teaching at a “community college,” he can’t be surprised to hear audible groans from the audience he’s now alienating.

This is what happens when the audience is filled with people who are more passionate about the guest and their work than the interviewer is. All this on top of no audience Q&A, and cringe-worthy moments like when Charlie merely states “The Boston Bomber was a fan of Breaking Bad”… and then veers the interview in a completely different direction.


Flash forward to the next night, with David Edelstein interviewing Bryan Cranston, Aaron Paul, and Vince Gilligan at the jam-packed SoHo Apple Store. Now, Edelstein is a guy who I’m fairly certain has seen the entire series, but he still overestimates his worth as an interviewer. So much so in fact, that he took up more than half of the scheduled audience Q&A portion with his own questions and ruminations. Worse, he seemed to be under the impression he was leading us all down deep, uncharted territory. But what David and Charlie were both blissfully unaware of is that most of the people in their audiences already knew the answer to every question they asked. Any half-hooked Breaking Bad fan has already heard a thousand times the story of why Vince Gilligan championed Bryan Cranston for the role of Walter White, or the story of the networks that rejected Breaking Bad including the-one-with-people-that-said-they’d-love-to-buy-it-but-they’ll-get-fired-if-they-do. We’ve all heard how Vince was grateful for the network notes that Jane shouldn’t be killed by direct action by Walt in Season 2, and the fact that Vince and the writers are happy with the ending to the series.


These are softball questions that allow the guest to basically turn off their brain and recite stories from rote memorization. Would it kill them to ask a question Vince and the others haven’t already answered a thousand times? Vince and the cast are all intelligent people; I’m sure they can handle a few sparks in their brain. For example, here’s some of the questions I’d like to ask Vince that I don’t believe he’s encountered:

  • Why haven’t we met Walt’s mother? Since family is such a central element to the show, and other anti-heroes (i.e. Don Draper, Tony Soprano, et al) have all been strongly-defined by their maternal relationships, was there a conscious effort to keep his mother from playing a larger element in the series, or was there a time when she was going to be part of the action?

  • Was there ever any consideration to have a flashback to Walt and Jesse back when Jesse was in Walt’s class? (kind of don’t want to ask this, because I’m really hoping there’s a scene in this final season… just thinking about the contrast between where those two are now and where they must have been then gives me goosebumps).

  • Are we ever going to learn why Don Eladio was so afraid of killing Gus? Is Walt in any danger of this retaliation?

  • How does Vince imagine Season 5 would have looked if all 16 episodes had to be written in one season? Would they have hit a lot of the same checkpoints but through different means, or could Walt have gone in a completely different direction? Were there some ‘thinkers’ that the extra time allowed the writers (like the pest-control meth lab setup), that probably wouldn’t have made their way into the show because the writers would have had to be writing too fast? How similar would the ending have been?

  • In September of last year, before the final season of writing really got underway, Vince stated several times that he and the writers knew what the ending was, but they were open to let a better idea come along. Did a better idea come along? Or rather, how close is the final ending of the show to what they thought it would be at that time?

Yeah. I mean, maybe it’s extreme to expect moderators to keep track of all the questions that have already been answered (though a simple google search before their interview wouldn’t kill them). But I think the real problem is a lot of them are stuck in the mindset of an interviewer before the internet, when it was nearly impossible for the audience as a whole to know a great deal about anything. Back then, if someone gave an interview, maybe it ended up in the newspaper, maybe it ended up on the nightly news, but then it is done. Over. Kaput. No reruns, and no way to search for that interview without the effort of visiting a library or visiting some kind of archive center. Today, it’s all on youtube, wikipedia, reddit, and facebook, and will be forever. And guess what? A lot of fans spend countless hours reading up on these interviews, then taking to forums to debate the meanings behind certain answers. A good example is Vince claiming the end of the series represents a ‘victory for Walt.’ What does that mean? Is he the only one left standing? Does he want to die, and thus when he is killed he’s happy? Was his only goal to be recognized as Heisenberg, and he finally gets the recognition he wished for?


Still, in the age of the superfan, I think a good interview is more than just asking questions that haven’t already been answered. After all, you also don’t want the interviewee sitting there the whole time going ‘Gee, that’s a great question, but I’ve never thought about it so I’ve got nothing to say.’ Probably the most interesting question David asked was about where Jesse’s head is at at the beginning of this coming season. Questions about what a character is thinking/feeling can be insightful with a good actor, and can help us get inside a character to help us speculate where they’re going. And I’d much rather hear Aaron Paul talk about that then tell us for the fiftieth time that Jesse was originally supposed to be killed off in the first season and aren’t-we-all-glad-he-wasn’t??


The most interesting moment of the Charlie Rose interview came from a complete faux paux: Charlie asking, “why did you choose to include me in the second to last episode of the series?” And frankly, there’s a part of me that’s upset by this slip, because despite Charlie laughing it off with “my check’s still in the mail, right?”, it was a spoiler. Because now we know things go national. We know there’s going to be a very special episode of Charlie Rose talking about Heisenberg’s meth empire, probably speaking to Skyler about being married to this guy, or maybe even Hank about what it was like having him Walt under his nose all these years. So boo, Charlie. If you were a genuine fan of the show, you’d never have made that mistake.


I’ve never been to Comic-Con, but I’ve read the blogs of some who have, so I know I’m not alone. In the age of superfans, where people wait for hours to breathe the same air as cultural icons, moderators need to be more than someone whose seen a couple episodes. They either need to be just as much a superfan as the audience and keep up with them, or back down, let the audience Q&A take over, and limit their role to serving as a pure electrical conductor between the auidence brains and the brain of the guest.


Every time someone gets to share a room with their idol, for some people it will be the best moment of their lives. Is it too much to ask that they at least get to learn something new?




Wow. Just got back from my final two panels, and it’s good to know I wasn’t crazy. There is such a thing as a good moderator, even in today’s world. Emily Nussbaum, the TV critic for the New Yorker, is perfect. She absolutely embodied everything above that I said I wanted to see, and more.


First off, I got to see her talk to Dean Norris (Hank) and Betsy Brandt (Marie). Five minutes in I was already far more engaged than with the other interviews, and I realized why: she was letting them talk. Her questions were carefully considered, to the point, and helped draw some fantastic stories/food for thought out of these actors. Nothing about her stage presence felt like she was celebrating herself (very much a problem with Charlie and David)– she positioned herself as subservient to the guests, clearly knew a ton about the show, and made a genuine effort to get these two talking about things they haven’t talked about before. Betsy Brandy was crying through most of it! Emily asked questions about their final day at work, developing their relationship together, how they built their backstory, and even piggy-backed off questions they’ve been asked before (the whole ‘purple’ thing had some new shades added).


Even better, she moved on to the audience quickly. I also appreciate that she took responsibility for calling on us (David just said ‘Oh… I don’t know.’), and I was fortunate to be picked. There were some more serious questions I wanted to ask, but after Emily keeping everything so profound and deep, I decided to lighten things up a little by asking: “will we see the return of Hank’s rock collection?” setting Dean Norris up for a perfect “dammit, they’re MINERALS!” though unfortunately no answer on whether or not the collection would return… so I’m going to assume no.


Next panel up, Vince, I was still a little worried about question-ask-again-itis, but I needn’t have been. This one was even better. Even Vince noticed, many times commenting “wow, what a great question. No one’s ever asked me that before,” then several times launching into some delightful, never-before-heard story. Only a couple times did this run afoul, but I don’t fault Emily at all. One of my favorite questions she asked expounded upon how many an interviewer have commented on how Walt seems similar in many ways to Vince. Emily is the first interviewer to take that observation further, commenting how it’s clear that fame and fortune have changed Walt a great deal over the course of the show, so how have fame and fortune changed Vince? Unfortunately, it seemed to be a little too inward-looking a question, so Vince didn’t have a great answer, but still… what a great question.


She also made the most of her short time with him. At one point, she asked if the writers have ever had a huge debate about driving the story in any particular direction, and Vince immediately started to tell the Jane story, again. Thank God Emily had the gall to interrupt him and say “thank you, but a lot of us are familiar with that, and I’d like to hear something new.” Of course I heard a few grumblings in the audience like ‘what’s the story?’ to which I simply wanted to shout ‘Google it!’


Soon it was to the audience for some more great Q&A. A sad end to the story: I was the person Emily called on to ask the last question, but someone else took the mic mistakenly thinking she called on them. Oh well, at least his question was similar to one of mine up above: he asked about all the threads the show seems to carry, and if we would ever learn more about Gus Fring’s past in Chile. Vince tried to be coy and leave some hope, but basically made it clear that we’re past that point in the story and anything the audience could speculate about Gus is now more interesting than any story they could go back and tell. Ah well, at least that’s one less thing to focus on as we approach these final 8 episodes.


31 May


A quick word: I’ve never liked Neil LaBute. I fell asleep during The Mercy Seat, found Fat Pig funny but lacking in substance, and The Break of Noon was one of the most worthless experiences I’ve ever had at the theatre. I was ready to give up, but I’m glad I didn’t.



  • A well-crafted play with a sense of dialogue and pacing that’s been worked over, refined, and reworked to the point where it achieves a remarkable level of honesty.
  • Perfect set design: one very detailed sliding set (the break room of a factory), and simple benches and props to evoke the additional scenes.
  • The four characters were previously seen in ‘reasons to be pretty’, taking place a few years earlier, but this truly is a standalone companion piece. I would love to see the older show, but I didn’t feel like I was missing anything important. Ultimately I think LaBute benefited from building on characters he already had a strong grasp on.
  • It was revealed in the talkback (see below), that the first play focused on Greg’s journey, whereas this play brought a gratifying arc to each of the four characters. Greg was my least favorite character, so I’m glad we were given this 2 hours with each character going on an organic journey with lovely moments of reversal and discovery.
  • Back to the crafting of the play: excellent choices of what scenes to show and not show. The play feels sequential, but actually covers a fair span of time with a number of important events happening offstage (Steph confronting Carly about the baby, for example). The fact that you remain in the moment is a testament to the precision of the scenes we are seeing.
  • Lovely acting by the entire cast. It was fun to see Jenna Fischer (Pam from The Office) play a borderline insane clingy irrational woman. Leslie Bibb (that reporter from Iron Man 1&2) as Carly reminded me a lot of a friend I lived with in Richmond, VT who works the graveyard TSA shift at Burlington Airport. She brought a much needed sense of common sense and practicality to the show. Josh Hamilton was appropriately charming (though infuriating in his indecisiveness) as Greg, and Fred Weller brought a surprisingly nuanced performance to the role of the most super-ego-lacking character, Kent. Without trying to convince us Kent and Greg are best friends (a common contrivance I find hard to believe in plays of this nature), they share enough circumstances in common that it makes sense for them to have the few conversations they do, and they work as an excellent counterpoint to each other; Greg reluctant and reserved about every choice, while Kent dives in head first, usually bruising himself in the process but feeling much more alive.
  • Love Kent’s line, something like “So I walked up to the guy in the bar, and I tapped him on the shoulder, probably less hard even than I just tapped you, and he turned around, and I punched him. And I was willing to leave it at that and let it go, but he had to take it further.” De-lightful.


  • Music was strangely chosen and far too loud in between scenes. This seems to be a stylistic choice of LaBute across all of his plays, and I’m yet to see it work as effectively as he seems to think it does.
  • Nitpicky but something I was still very aware of: the various contrivances brought about to stop a character from leaving the scene. Some conversations that certainly would take place across multiple locations in real life were compressed into one (a Trader Joe’s Parking Lot, a school bench, a restaurant waiting area), and in at least one occasion I knew what was supposed to be a big conversation later at, say, an IHOP almost certainly wouldn’t take place there, and everything important was about to be told to us now.
  • Except for Carly who needed to be in uniform, very poor costume choices. Nothing any of the characters wore gave me a better sense of who they were, and in a few cases (particularly with Steph), it just confused me.
  • Nothing brought me to tears. This is important to me. Let me be clear again– this was an incredible ‘slice of life’ play, but none of the characters tugged on my heartstrings enough to pull me close on their emotional journey. This isn’t a flaw of the writing or the characters (who were very true to life), but simply who they were and my lack of empathy for them.
  • Ultimately I found Greg to be too indecisive, to the point where he just kept hitting the same ‘nothing’ beats and I was frustrated to not see the show move things along. Out of the cast of characters, I would only want to be friends with Carly and maybe Kent.


Tales from After the Show…


Leslie Bibb led a fantastic talkback along with one of the MCC’s artistic directors (Will Cantler) and the associate general manager (Jessica Chase), providing great insight into the development of the show and LaBute’s writing/directing process. LaBute’s relationship with the MCC was covered in detail, and Leslie spoke at length about what draws her to pursue theatre when she’s clearly doing fine at film and television. I also got to ask her about how the play evolved from when Neil first gave it to them, to the point where it was now in previews and she had a ton of fun with the audience taking us through that experience. She showed us her script and it was full of slashes and chunks of dialogue moved to other pages and subtext and just, wow. Looked like the writings of an insane person, but in the best possible way.


Download the full 30-minute talkback here.


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