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  • Film & TV Moderators: ghostfreak

Television Breaking Bad

Gotcha. Well, sorry if it reads like I'm railing on you. I'm trying to make a more general point involving my own growing frustrations with Bluelight (e.g here, and here ). I'm going to bed. Have a good night, er, day.
 
Oh, no big deal...I like to argue and so do most of the other posters on BL. I don't just flame people all the time, I actually try to help people too. I think arguing points on message boards is actually a good tool to hone your writing skills in some ways.:!

I actually don't know how I ended up posting so much on here, I must be getting something out of it!
 
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re-watching season 3....Hank actually ends up being the biggest bad-ass in the whole series, if you take everything into account. Makes me kind of think of the Mexican drug cartels...You'd have to be crazy to actually want to be tasked with investigating them, especially on the Mexican side of the border. They have no qualms executing police, politicians, basically anyone standing in their path. A lot of criminal groups throughout history have cultivated a "Robin Hood" image, even the Mexican drug-cartels of the past to some extent, but these days it's just cold-blooded killers out to make as much profit as possible. There's absolutely nothing romantic about it.

Breaking Bad was such a popular show, there must have been a lot people watching the show who were viewing Hank as the protagonist, which if you really think about it, was the only main character throughout the series with anything approaching "noble motives" for his actions.
 
The mexican patron saint of narcotraficking, jesus malverde who all the cartels pray to to protect their loads and their safety was supposed to have been some kind of romanticized robin hoood type before he was hung...only problem, a lot of ppl say he never really existed and is basically popularized fiction. Who knows, but you see his pic a few times in breaking bad. Like when hank is in el paso the agent that eventually gets his leg blown off by the severed head of danny trejo on the back of a tortise, shows hank a little bust of malverde and goes on to quote sun tsu know your enemy shit.
 
ColtDan said:
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Carl Landrover said:
^
I always thought the video that just had season 1-4 was better. That one was cool but it seemed like the extra scenes were tacked on a bit. I love those videos though. I watched the first one with seasons 1-4 at least a dozen times.

I hope the dude makes another video now that season 5 is complete. The editing and the way it was put together were done spectacularly well.
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In case anyone is interested the final tribute video was put up on youtube last week. Just watched it. Was definitely cool, but I am still partial to the original because of the way the scenes were edited together and matched up with the song. The second video (season 1-5a) is the same first few minutes with added on material and the final version is the same opening minutes as the first 2 videos, but with even more added footage.

Definitely worth checking out.
 
that letter is fucking awesome. seriously, fuck winning an emmy if you get such an amazing letter from sir anthony hopkins (find it funny to see it signed tony hopkins, but thats his name)

thanks for posting that silverleaf, really awesome read.
 
CoffeeDrinker said:
psoodonym, what do you make of the first scene of the finale?
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In my view the scene illustrates that Walt has finally evolved as a person and been granted a limited chance at deliverance – a chance for some kind of redemption for a man who has demonstrated no faith.

In the first few opening seconds Walter is shown clearing a view through the driver’s window of a car covered in snow that’s just large enough to see a potential sign that it’s unlocked (by a very trusting person, ironically). I believe this is an indication that he’s already searched a number of cars this way, since he knows if he simply pulls door handles to see if the vehicles are open he could trip an alarm, and only certain cars have such a style of lock (he's still calculating). He needs to leave as minimal a trace of himself as he can. He’s already left so many tracks to himself, including, presumably, literal tracks through newly fallen snow from the bar where he must presume the DEA has traced his last phone call. The snowfall means Walt must “run blind” while, potentially, leaving a visible trace of his footsteps.

Once inside, he searches for any tools he can use to “force” the car to start, at first ignoring the most obvious location as he fumbles at the ignition switch in panicked desperation. The first thing he finds is a cassette case of “Marty Robbins Biggest Hits”. He throws it aside assuming it’s useless, though it will soon prove meaningful. Next he finds the screwdriver, a crude tool that his freezing hands can hardly use, but he manages to use it to pry off the car’s ignition column encasement, hurting his hand in the process.

That’s when Walt notices the police sirens and flashing lights. For a moment, he closes his eyes, as if abandoning his desperate hope of escape. However, in the next shot he’s opened his eyes, and then he whispers something highly uncharacteristic: “Just get me home and I’ll do the rest.” This seems to be a faithful plea and a promise to something greater than himself, something a megalomaniac like Heisenberg would never do. Only after he’s humbled himself and his would-be captors pass -- the snow on the car's windows now blinding them -- does it occur to Walt to check above the passenger sun visor (interestingly, where vanity mirrors are often located, which is perhaps symbolic of what has blinded him throughout the series). There he finds the ignition key, the literal object of his deliverance.

The engine turns over and the cassette player resumes in the middle of a Marty Robbins song titled “El Paso” (I downloaded the ep. afterwards so I could search for the lyrics):

I saddled up and away I did go, riding alone in the dark.
Maybe tomorrow a bullet may find me.
Tonight nothing’s worse than this pain in my heart.
And at last here I am on the hill overlooking …

I read the lyrics for the entire song assuming they might reveal something more. No doubt this is common knowledge by now (someone probably figured it out before the air date), but here is my interpretation for completeness’ sake:

The last episode’s title is the anagram of finale, “Felina,” which appears in the Robbins lyrics later on in the same song:

But my love for

Felina is strong and I rise where I've fallen,
Though I am weary I can't stop to rest.
I see the white puff of smoke from the rifle.
I feel the bullet go deep in my chest.

http://www.cowboylyrics.com/lyrics/robbins-marty/el-paso-11889.html

Knowing he will die (“finale”), Walt is driven forward restlessly by a sincere hope for a final act of redemption. There could be more to the song but after seeing the name "Felina" I was too excited about the find to think about more. In any case, I think of the opener as critical to the resolution of Walt’s character.

EDIT: Ok, since it hasn't been discussed here, here's the first thing that came up in my search regarding the song's connection to Breaking Bad.
 
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'medicine cabinet' said:
Yea she did a great job syncing the av with the orig scene dropped in. Very cool indeed.
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I didn't actually watch the link the night I gave it because I was worried if I did it would keep me up all night (I was pretty tired and sort of figured if that was the first thing that popped up in a search and it was reported by a major publication like Slate it would be relevant enough). I thought it was a great synch to back up the connection between the song and BB's plot as well, though in response to the question the article poses at the end:
Not only does the “El Paso” hero’s deadly affair with his girlfriend match up with Walt’s deadly affair with his beloved blue meth—just as Vince Gilligan suggested on the Colbert Report—but the similarities go as deep as where on their bodies each of the heroes are shot. Did Gilligan intend all of these parallels? It’s hard to say, but it’s definitely fun to think so.
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... I don't think it goes that far. The song describes a familiar Wild West tale of romantic betrayal by a hero's love interest with a formidable challenger, and the subsequent suicidal pursuit by the hero to reclaim (if only in principle) the all-consuming love he felt for "her" (in BB Walt's dream to be the best at something, anything -- an acknowledged national obsession of Americans) that was never truly requited (Gretchen and Elliot from Grey Matter could arguably be included as parallels to the song alongside meth and Hank). I think the parallel with the location of the bullet wound (in the side) may very well be intentional, though. After all, it was revealed that the title of the final episode would be an anagram of "finale" beforehand, a strong indication that whatever "Felina" figured into in relation with the plot would be important. Almost every shot of the opening scene was highly intentional, especially the camera's sudden focus on the cassette case, a seemingly trivial detail. Still, I don't see all that much more beyond that that is unquestionably significant, but I'd be interested to read about how others might have concluded differently.
 
BlueHues said:
re-watching season 3....Hank actually ends up being the biggest bad-ass in the whole series, if you take everything into account. Makes me kind of think of the Mexican drug cartels...You'd have to be crazy to actually want to be tasked with investigating them, especially on the Mexican side of the border. They have no qualms executing police, politicians, basically anyone standing in their path. A lot of criminal groups throughout history have cultivated a "Robin Hood" image, even the Mexican drug-cartels of the past to some extent, but these days it's just cold-blooded killers out to make as much profit as possible. There's absolutely nothing romantic about it.

Breaking Bad was such a popular show, there must have been a lot people watching the show who were viewing Hank as the protagonist, which if you really think about it, was the only main character throughout the series with anything approaching "noble motives" for his actions.
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He still was a producer of a mind intoxicant, but his just happened to be legal. I find it funny nobody ever mentions this parrallel situation.
 
shreddedlettuce said:
Breaking Bad is officially the No1 TV show of all time on IMDB.
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In the past few months The Wire has gone down quite a bit in rating. It noticeably went down during the last few weeks of Breaking Bad. Almost like it was purposely getting voted low to make Breaking Bad number one.

I have a feeling a lot of people voted on The Wire that have never seen it before.
 
^ I just started watching the wire.. just got to season 2. BB has a LOT more going on, especially the final season. The Wire is pretty fucking slow, feels like I'm in class for a lecture half the time :\



I'm hoping it gets a lot better though, the first season was pretty great.
 
The Wire is slow paced and brooding, like a novel. It is excellent. I spent about 3 weeks just watching episodes nearly all day. Just as addicting as Breaking Bad, but exchanges high-octane melodrama for intricate, deep and realistic story-telling.
 
The Wire is a great show but it has been built up way too much over the years. You could pick out a single season and compare it to a single season of BB and it might be better...but as a show in its entirety...its not even close to me. The Wire season 2 is a low point, and it drops off a cliff in the fifth season... where BB is nearly perfect throughout. Consistency is worth a lot.
 
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