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"The thing is, if you just do stuff, and nothing happens, what's it all mean?"

Monday, September 30, 2013

Deranged Yet Not Demented Denouement: Breaking Bad's Final Shot

Tonally, the ending of Monty Python's Life of Brian really reminds be of the final scene in Breaking Bad...seriously

I don’t know if we’ll remember Walt’s fate with as much resonance as we remember the last shot of Vic Mackey in The Shield, still the gold standard for an antihero's dramatic catharsis. And “Felina” won’t be controversial the way the ambiguous last moments of Tony Soprano were. But Jesse survives. More than that—he’s alive, screaming with shock and joy as he drives away, the kind of alive Walt used to feel when he pulled off a victory. Those other shows didn’t have room for that kind of win, and so the best they could give us was vengeance or our own imagined possibilities. I’ll take the very tiny nods Walt and Jesse share as an erasure of the awful, cold nods with which Walt, months ago, sent Jesse to his fate. It’s too late to ask for anything more.
-Donna Bowman, Review of "Felina," AV Club

People always asked me, did you know how Breaking Bad was going to end from the get-go, and I'd always say 'No, I didn't," and that's the truth. 
But I kind of always did know that Walter White should not survive this series. 
How that was to was gonna come to pass was very much up in the air until we broke this final episode. 
The cancer was not what got Walter White at the end. 
He went out, pretty much on his own terms. 
And he is killed, trying to save Jesse. 
It just feels right to me. 
It feels poetic. 
There's almost a perverse feeling of victory to it, for me
 -Vince Gilligan, "Inside Episode 516," AMCtv.com

First, a spoiler-laden assortment of snippets from previous finales of series in the genre "incredibly-well-respected-dramas-with-anti-heroes-that-ended-with-an-intentional-series-capstone-episodes." I can only speak feigned authority on The Shield and The Wire, since I've religiously watched ever episode. I've watched the first few seasons of The Sopranos, so really I'm just getting spoiled rotten myself, as well.

  • The Shield...
  • The Wire...
  • The Sopranos...
Breaking Bad does something brave and risky, in comparison to these other finales...it provides Walter White redemption. Not just redemption, but the final sequence--when taken into relation with the symbolic-order of the series as a whole--pretty much suggests that even Walter White could be forgiven for his sins (his earlier admittance to Skyler in the finale was the most undiluted confession he ever articulated)...or that perhaps the yin-yang struggle of good and evil impulses eventually achieves a glimpse of nirvana. 

The final sequence taps into both Western and Eastern ideas of forgiveness; coding the death of Walter White as a moment that suggests he is moving toward heavenly grace. Gilligan doesn't get too heavy-handed with a specific theological reading; since the scene can also be read as a type of Buddhist moment of profound enlightenment. This final shot of enlightenment doesn't change how twisted Walt had become; but it forgives him in that very moment.

Cynics may see this as contrived, or some implicit affirmation of male escapist fantasies; but I see it as soul-achingly beautiful. Vince Gilligan orchestrated a coda that literally sang to the heavens. Gilligan showed for Walt the kind of mercy, compassion, and forgiveness that Heisenberg completely lacked. However, since Walt was on a perverse Blues-Brothers-esque "mission from God" (as the cold open painted), and in rapid-fire swoops atoned for his sins the best he could (I think Step 5...Badger and Skinny Pete would know), he was granted transcendence and complete inner-peace in his final moments.

The whole episode had a sense of evil eradication, the colors draining completely; as if the karmic balance of the universe was to start again...even-stevens. 

We are nothing like God, not only are our powers limited, but sometimes we are driven to become the Devil himself.
-Nicholas D. WolfWood, "Hang Fire," Trigun


Breaking Bad Coda

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
-W.B. Yeats, "The Second Coming"

Maybe I should’ve done something different. 
The thing is, if you just do stuff, and nothing happens, 
what’s it all mean? 
What’s the point? 
Oh, right, this whole thing is about self-acceptance
So I should stop judging, and accept?...So no matter what I do, hooray for me because I’m a great guy? 
It’s all good?
 No matter how many dogs I kill, 
I just what, do an inventory, and accept?
-Jesse, 4x07, "Problem Dog"


What I want, what I need, is a choice.
...Sometimes, I feel like I never actually make any of my own.
Choices, I mean.
My entire life, it just seems I never you know, had a real say about any of it.
Now this last one, cancer all I have left is how I choose to approach this.
...These doctors talking about surviving.
One year, two years, like it's the only thing that matters.
But what good is it, to just survive if I am too sick to work, to enjoy a meal, to make love? For what time I have left, I want to live in my own house.
I want to sleep in my own bed.
I don't wanna choke down 30 or 40 pills every single day, lose my hair, and lie around, too tired to get up and so nauseated that I can't even move my head.
And you cleaning up after me? Me, with some dead man, some artificially alive, just marking time? 
...And that's how you would remember me.
That's the worst part.
So that is my thought process, Skyler.
I'm sorry.
...I choose not to do it. 
-Walt, 1x05, "Gray Matters"

Later on in the episode the above epigraph is from, Walt makes a choice, one that fully cements his fate, and intertwines he and his son/student/friend/enemy/destroyer/savior into a "downward spiral" (planting the seed for one "loopy" deconstruction, get ready to plunge down a rabbit hole...)
video
Wait, it it just me, or is Jesse's long-forgotten and shot up (by less bullets than Uncle Jack's compound took on, though) CAPNCOOK mobile very similar to the vehicle he used to make his escape at the end of "Felina"?




This song, played after Walt and Jesse witness Tuco brutally beat-to-death one of his cronies (despite how abusive Walt got to his underlings; he never got that physically brutal), at the end of the 1st Season. The answer for Walt...begins immediately to the left.

Here's the sequence that I consider to be the finishing touches to the series; the final moments that encapsulates the narrative/thematic crucible-cruxes of the series (beginning right after his phone conversation with Lydia, and ending at the finishing note of Badfinger's song and Vince Gilligan's executive-producer inter-title credit). Clearly, the whole sequence at the Nazi Compound builds up to this (the sequence-in-large is dissected-via-words in the episode "unravelment").

Gilligan did damn good here; in ways more profound than detractors may give due, while also in ways less overt than supporters cheer for...

I'll start with this provocative primary-tao for the sequence, and work backward in a sloppy proof-path.
  • Despite his narcissism being full-bore (though, it has now transformed into an honest narcissism...100% purity; a type of existential-perfection that was impossible within the samsara of the methamphetamine industry), Walter White's last moments are darkly heroic and other-directed.
Even if he wasn't always conscious of it, Walter White loved Jesse Pinkman in a far more authentic and earnest than any of his other family members; and in some way--even after being completely demolished by the monstrous machinations of Heisenberg--Jesse still cared for and respected Mr. White.
Here are the final shots...

video
Please Don't Sue: Fair Use, Since I'm Clearly Using this for (Mis)Educational Purposes
  • Walter White is, by fate and paternal instinct, able to achieve what he bemoaned in "Fly"...the perfect moment to die.

"Breaking" down the scene:

  • -
  • The sputtering sounds of the machine guy are heard in the background, echoing...to my ears at least...sounds often heard in the soundscapes of the BrBa-verse...particularly the click-clacking of the close-up bicycle tire shots during the cold-open of "Mandala" (2x11). 
    • Oddly, the rider of this bike (the killer of Combo, a moment that sent Jesse into a drug "spiral" that contributed to a downward spiral toward grander cataclysm), eventually reverberates into the third season.
  • Continued "cycles" of the series, the 11th episode of Season 3 "Abiquiu", where Jesse finds out who killed Combo, and comes up with a plan (the finale has this intense tracking shot of Jesse walking to the camera, with Dave Porter providing a very distinct atonal score...keep this in mind)...a plan that leads to Walt taking drastic measures (his instinctual protection of Jesse occurs in the 12th episode of the season...as far cry from what he did in 2x12 
    • an episode that opens with an extended flashback, featuring Jane's discussion of Georgia O'Keeffe's repetitive method of approaching a perfect moment (this sort of renewal and rebirth of a single concept reminds me of  phoenix symbolism..."Phoenix" was the episode (that 12th second season one I just referenced) when Jane died, overdosing on a drug she and Jesse relapsed on in a key scene in "Mandala"...episode 11)
      • Andrea, another crucial character that cycles back, is introduced in 3x11
    • ...and also features Gus telling Walt, "Never repeat the same mistake twice"...oh yeah, Gus was first introduced to the series in "Mandala," where he also gave a pithy life lesson, "Never trust a drug addict." For being so good at seeing "things in people," couldn't Gus gander that Walt himself was already addicted to the drug of control?
        • 11 is a palindrome...palindromes are structural and conceptual motifs on the series...I promise things will be revealed in time.
  • Skip season 4 for now. The 11th episode of season 5 is "Confessions"...the episode where Jesse finally figures out that Walt poisoned Brock (the atonal score that has been used in "Abiquiu," and "Half Measures" comes up during his revelation). 
    • Brock was introduced in 3X11
    • Walter White was finally driven the a rock-bottom point of desperation in the 11th episode of the fourth season, "Crawl Space"...a rupture that lead to his decision to utilize the Lily of the Valley.
  • The zoom up tracking shot from literally dead Mr. White resembles the symbolic death scene of Walter White in 4x11 "Crawl Space." One represent the demise of Walter White's decency and transformation into full-bore Heisenberg preservation instinct; the final spoke to a prelapsarian glimpse at a man reclaiming peace of mind and the tattered remnants of his soul.
  • The encroaching Police officers and spiral orientation of the upward tracking motion echoes the long take of the shoot-out aftermath in the climax of Taxi Driver (stay tuned, there's a post in the works comparing Breaking Bad and Taxi Driver, beat-by-twisted-beat).
Believe it or not, near their respective climaxes, Walter White is far more put together and sane than Travis Bickle; both utilize their alienation to be unintentional redeemers in a fallen world






More intriguingly, the final shot of Walter echoes a sequence from far back in the show's chronology....

Hint: Jesse Pinkman is Baby Blue
  • Jesse's heroin-induced ascension wasn't as clearly metaphysical or spiritual as the final track up from Walt (the differences in movement may speak to a body-mind duality difference), but both scenes represent a sense of overwhelming peace and interconnected well-being (heroin...albeit...a false sense of womb-like salvation).
    • The episode in which Jesse first does heroin (this moment, as much as Walt's decision to let Jane asphyxiate, was the main origin point for most of the operatic retribution and deistic-disaster that occurred from the end of the second season on).
      • By the way, this sequence is the centerpiece of..."Mandala."
What does Wikipedia have to say about what a "Mandala" means...in fragmentary terms of Westernized Easternism....

According to art therapist and mental health counselor Susanne F. Fincher, we owe the re-introduction of mandalas into modern Western thought to C. G. Jung, the Swiss psychoanalyst. In his pioneering exploration of the unconscious through his own art making, Jung observed the motif of the circle spontaneously appearing. The circle drawings reflected his inner state at that moment. Familiarity with the philosophical writings of India prompted Jung to adopt the word "mandala" to describe these circle drawings he and his patients made. In his autobiography "Memories, Dreams, Reflections," Jung wrote:


"I sketched every morning in a notebook a small circular drawing,...which seemed to correspond to my inner situation at the time....Only gradually did I discover what the mandala really is:...the Self, the wholeness of the personality, which if all goes well is harmonious." pp 195 - 196.


Jung recognized that the urge to make mandalas emerges during moments of intense personal growth. Their appearance indicates a profound re-balancing process is underway in the psyche. The result of the process is a more complex and better integrated personality. As Jungian analyst Marie Louise von Franz explains:

"The mandala serves a conservative purpose—namely, to restore a previously existing order. But it also serves the creative purpose of giving expression and form to something that does not yet exist, something new and unique….The process is that of the ascending spiral, which grows upward while simultaneously returning again and again to the same point. [26]


Creating mandalas helps stabilize, integrate, and re-order inner life. [27]


According to the psychologist David Fontana, its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises."

...

While I'm getting into the zone of being recklessly close to blowing my own mind, why not just randomly toss this out there...
Embrace the random...and it will all make sense

So, let's say I want to make this claim:
  • Breaking Bad, as a series of episodes (i.e. epistemological-odes) seems structured like a sort of high-concept spiral...hence all the motifs of mirrors and shadows and repeated images/framing composition/leit-motifs within the score/themes/...reverberations in a zany intertext echo-chamber/hall-of-mirrors. 
    • Hence the fifth seasons focus on an overwhelming sense of "eternal return" and "infernal regress"
      • Parallelisms abound, and the finale provides a paradoxical resolution...full-circle closure that draws attention to the drastic changes from 1x01 to 5x16.
If such a theory is to be taken serious, the episode(s) that occur in the direct middle should be pivotal...grand symbolic moments in which the intertwined destinies of Walt and Jesse come to a head...where they get closest to achieving a relationship built on complete trust and honesty...before it recedes into a downward spiral of increasingly intense manipulation, betrayal, and confrontation...

I wonder what the middle episodes are (I'm being a rhetorical asshole, right now)? They'd need to also have a lot of symmetry, and contain symbols and images that had and will reverberate through the shows interwoven stylistic and narrative threads.

I stink at math....wait a sec...62 episodes...damn, even split...let's just select the middle three (an unholy trinity...enough separate coordinates to form the foundation of a Fibonacci-esque sequenced spiral...). 

Here are clips and quotes from each of the three core epistemological-odes (i.e. episode)...

video
 I told him that I had a daughter and he told me he had one, too. And he said, "Never give up on family." And I didn't. I took his advice. My God, the universe is random, it's not inevitable, it's simple chaos. It's subatomic particles in endless, aimless collision. That's what science teaches us, but what does this say? What is it telling us that the very night that this man's daughter dies, it's me who is having a drink with him? I mean, how could that be random?
  • and
Yes, I already used this...I'm "doing things more than once"
You are a wealthy man now. And one must learn to be rich. To be poor, anyone can manage.

What advice do you have for me?

Never make the same mistake twice.

and
video
Hmph. Of course. Just trying to do the right thing. But two weeks later he killed her. Of course. Caved her head in with the base of Waring blender. We got there and there was so much blood you can taste the metal. The moral of the story is I chose a half measure when I should have gone all the way. I'll never make that mistake again. No more half measures, Walter.

Since "Fly" was like a cross-breed between Beckett and Shakespeare, lets drop some preexisting knowledge...

There's also this song that mentions "living is a dream"...


Hmmm, "deja vu...huh"

Appendix (...Madeline!)

Guess I got what I deserved
Kept you waiting there too long, my love
All that time without a word
Didn't know you'd think that I'd forget or I'd regret
The special love I had for you, my baby blue

All the days became so long
Did you really think, I'd do you wrong?
Dixie, when I let you go
Thought you'd realize that I would know
I would show the special love I have for you, my baby blue

What can I do, what can I say
Except I want you by my side
How can I show you, show me the way
Don't you know the times I've tried?

Guess that's all I have to say
Except the feeling just grows stronger every day
Just one thing before I go
Take good care, baby, let me know, let it grow
The special love you have for me, my Dixie, dear.
     -Badfinger, "Baby Blue"

You must leave now, take what you need, you think will last
But whatever you wish to keep, you better grab it fast
Yonder stands your orphan with his gun
Crying like a fire in the sun
Look out the saints are comin’ through
And it’s all over now, Baby Blue

The highway is for gamblers, better use your sense
Take what you have gathered from coincidence
The empty-handed painter from your streets
Is drawing crazy patterns on your sheets
This sky, too, is folding under you
And it’s all over now, Baby Blue

All your seasick sailors, they are rowing home
All your reindeer armies, are all going home
The lover who just walked out your door
Has taken all his blankets from the floor
The carpet, too, is moving under you
And it’s all over now, Baby Blue

Leave your stepping stones behind, something calls for you
Forget the dead you’ve left, they will not follow you
The vagabond who’s rapping at your door
Is standing in the clothes that you once wore
Strike another match, go start anew
And it’s all over now, Baby Blue
-Bob Dylan, "It's All Over Now, Baby Blue"

Hold up, check out the above Dylan Lyrics for a second...

"Yonder stands your orphan with his gun
Crying like a fire in the sun"

"The vagabond who's rapping at your door..."

"Is standing in the clothes that you once wore..."


video

Unraveling 5x16 "Felina" (i.e. "It's All Over Now, Baby Blue")

While I did get a kick out of the use of Badfinger's "Baby Blue" in the last scene, I think this would of just really hit the metaphorical nail on the head

Home is where one starts from. As we grow older
the world becomes stranger, the pattern more complicated
Of dead and living. Not the intense moment
Isolated, with no before and after,
But a lifetime burning in every moment
And not the lifetime of one man only
But of old stones that cannot be deciphered.
There is a time for the evening under starlight,
A time for the evening under lamplight
(The evening with the photograph album).
Love is most nearly itself
When here and now cease to matter.
Old men ought to be explorers
Here or there does not matter
We must be still and still moving
Into another intensity
For a further union, a deeper communion
Through the dark cold and the empty desolation,
The wave cry, the wind cry, the vast waters
Of the petrel and the porpoise. In my end is my beginning.
     T.S. Eliot, "Four Quartets"


Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep. Sir, I am vex'd;
Bear with my weakness; my, brain is troubled:
Be not disturb'd with my infirmity
            Prospero (i.e. Shakespeare); The Tempest; Act IV, scene i


Taos

  • In which Walter White becomes Dr. Heisen-White, performing skillful and delicate surgery; with the grace of a ballerino and the brutality of a prize-fighter. He eradicates all tendrils of his cancerous influence, including the etymological source... himself.
  • With his progeny either slaughtered or set free, there is no turning back time. No erasing the scars, literal and emotional. No manipulation of his reputation through charlatanry and verbal gymnastics.
    • No, all that is left is the damaged world he left behind...and freedom. Freedom to at last be honest about the person he became. To once again capitalize on the "nothing-left-to-lose" mentality that inspired him back when his intentions were better (but still paving toward damnation).
      • Freedom to accept what he has lost, and to use his outlaw criminal-mastermind to no longer avoid responsibility for his actions.
  • Walter White learned too much from his limbo in New Hamsphire...by escaping the shackles of self-deceit and avoidance, he then lived free and died (it was never an either/or thing with the choices made or inaction taken).
  • The spectral presence of Walter Hartwell White destroys the ghosts of Heisenberg.

COLD OPEN FIERY FINALE

I think many people won't fully get what the finale was going for.

Initially, I was impressed but not blown away like I was after first seeing the finale of The Shield...but after some earnest thinking and rewatching a few scenes, I think that Gilligan's denouement is far more complex and twisted.

These are some bullet points that I'll content with (courtesy of Strawman and co.)
  • Things seems to wrap up with a tidy, unambiguous bow.
  • Walt gets a redemption that may come across as inauthentic.
  • The final sequence is too rushed and "unrealistic".
  • Too much closure; not enough resolution.
  • The show is sexist, since male secondary-characters Skinny Pete and Badger get one more chance to strut the stage; but fan favorite female secondary-characters Wendy and Skank are nowhere to be seen (...okay, I don't quite think this complaint can be found on the interwebs...though, maybe...)
This is an episode beautiful in tone but intentionally ugly in appearance. A part of me was initially disappointed with the lack of sun soaked and sublime desert vistas in the concluding moments...since that iconography was a pivotal part of the show.

But once I thought a little bit about why Gilligan would made that choice, I realized the beautiful meaning behind the method.

In hindsight, there are many upended expectations and "easy-outs" within "Felina" that seem to be done with a clear artistic purpose. Even the predictability of the plot likely let-down many that were expecting some unexpected mind-fuck...but the show is respecting it's own chemistry, and Gilligan helmed an episode that stayed true to the series' notion of dynamic change, while still bringing full-circle many elements of the shows iconic atmosphere. 

Keep in mind that Gilligan pulled this same trick with the more overtly operatic season 4 conclusion "Face-Off," since Gus's demise was foreshadowed with a tongue-in-cheek level of explicitness; yet audiences were still blown away when Gus was actually...well, y'all get the point.

Even the final shot (I'll get to it...) seemed more claustrophobic than I expected. The series began with a frenetic chase through the desert, capitalizing on the open vistas of the New Mexico setting. The final location featured in he last episode is an enclosed bunker...

Why?

Well, to answer that one-word question, let me start with a sporadic analysis of the entire episode, before taking a bit of effort at unraveling the subtly masterful final sequence at Uncle Jack's lair.


Episode Bullet Point Fusillade (mostly chrono-logical)

---
{WORKING ON THIS NOW...POST WILL GET BIGGER WITHIN THE HOURS]






  • On the less-abyssmal-than-usual "Talking Bad" that followed the episode, Aaron Paul repeatedly cheered about the retribution Jesse got through strangling Todd...as if it was an act of colloquial and biblical righteousness. I don't think that moment plays that way, at all. Cathartic and inevitable, yes; but it is a very pitiful and unredemptive moment. No beauty or cosmic justice; just pure animalistic bloodlust. Crawling on the floor, beseeching both his Uncle and then Mr. White, as he 



  • Phone call to Lydia....



Still don't realize how profound Gilligan's use of sun-lighting-as-literal-and-symbolic-signifier as thematic day/night duality is?

Time to jog the memory banks, with a retroactive jaunt through the series' symbolic motifs and metaphoric iconography (this project will begin to get chock-full of these kinds of things).


Profound Photography Title: 
     Here Comes the Sun...go gently into that Good Night.




















Funny, the "sun" seems to be like a "son". Light of the sun, and the mercy of his surrogate son, relates to a glimpse of redemption for the now colorless Mr. White. Sun/Son as figures of mercy also brings up an association of....gasp, Jesus Christ the redeemer (no worries, as I'll get at in my separate analysis of the final shot, there's some Buddhist stuff going on here, too).

What, Jesse...associated with martyrdom...oh yeah!






  • Passing of a paternal figure, and it's relation to an uneasy relationship with dusk as a metaphysical concept of dusk...



Alright, I'm speechless now...

Sun, shine on me today
Sun, dry my tears away
How I need your warm embrace
To shine upon my crying face
…Sun, give me a little light
Take me, out of this darkened night
You know what a little light can do
You change the sky from black to blue

Saturday, September 28, 2013

The Lighter Side of Darkness #2: Not Better Curtain Call

The true succeeders of each royal house, 
By God's fair ordinance conjoin together! 
And let their heirs, God, if thy will be so. 
Enrich the time to come with smooth-faced peace, 
With smiling plenty and fair prosperous days! 
Abate the edge of traitors, gracious Lord, 
That would reduce these bloody days again, 
And make poor England weep in streams of blood! 
Let them not live to taste this land's increase 
That would with treason wound this fair land's peace! 

Now civil wounds are stopp'd, peace lives again: 
That she may long live here, God say amen!

Shout out to Edwin Lew, a fellow disciple in the school of "holy moley Breaking Bad is fucking awesome" (it's a big school), for inspiring this revelry into regressive madness. 

With all the predictions about the final scenes of the finale being tossed about, I thought I'd get zany...but what if... 

Here goes...

....Final sequence of tomorrow's Breaking Bad finale (today's the eve, get it?)....

Uncle Jack's Compound of Hate has been blown up ("Vaymanos!"). Just like the stage in the music video below, it's a post-apocalyptic wasteland (maybe Walt's glasses are on display somewhere, acting like the eyes of T.J. Eckleburg...eh?). 

Over-arching symbols from the series are strewn throughout the devastation, level sands stretching far away (maybe we find out that Todd had an exact replica of the pink teddy bear, and it gets burned...whoa!). A million flies cover the corpses (there is then a montage of a million separate fly p.o.v. shots). Maybe we find out that Uncle Jack, like Oogie-Boogie from Nightmare B4 Christmas, is actually a human shell full of millions of flies. They gotta do something nuts to up the ante after Gus's Face-Off.

Then, out from the rubble (like a cockroach...eh?), comes Saul Goodman. He sings the song below (like, recreates McGuire's performance exactly). At the end, he stares directly into the camera, and plugs the upcoming "Better Call Saul" spin-off (in heroic couplet form). He shrugs, as Dave Porter's score emulates some vaudevillian rag.

Fade to black

*Executive Producer Vince Gilligan*


Hey, it could happen...

Friday, September 27, 2013

End Game Theory: Final Shots, and Why They Matter

PRE-SCRIPT: See my previous attempt to predict the end here; I was wrong, though a scene along those lines did occur in "Ozymandias"

Breaking Bad is, after all, a post-modern Western

As referenced in the very first thing I wrote for this site, I was--in part--finally inspired to get off my ass and codify-via-blog my "head full of ideas, that are driving me insane" by an AV Club article Why the Ending of Breaking Bad Doesn't (and does) Matter. Based on the torrent of finale predictions raining down through many digital avenues of the interwebs, it's clear how much the end matters and means to people. The ending also matters artistically, and the final shots will make clear exactly what the show "meant" all along.

Recently, my BraBa-bro Brad Ferraina and I got into a debate about where the last episode will go. He's on team "We will see more of Gretchen and Elliot." I'm on team "Well...maybe; but that doesn't feel necessary." Our intense yet silly discussion lead to a synthesis theory. I won't bother spelling it out, since nothing is really guaranteed.

Not to count chickens, but the landing will definitely stick strong (to use the metaphor that about half a dozen reviewers have referenced this week alone). If I could pen one final scene, I'd have it so that Jesse actually saves Walt from his bumbling attempt at bad-ass-ery, and helps take out Jack and Todd's crew via the same chemical reaction that Walt used to take out Crazy 8 and Emilio back in the pilot; then, Jesse walks over to the shocked Walt and says something like "We've got work to do" (echoing the end of the Fring empire)...leading to them blowing up the Nazi compound and then doing something (while a confrontation seems more authentic, I'd get a huge kick if they did something like steal another RV from Combo's mom and ride off into the sunset). But I don't think that fan-boy dream is authentic, so thankfully its in better hands.

I'll agree with the AV Club's Zach Handlen...Breaking Bad's legacy is already secure, regardless of the final episode. However, even if the specific narrative points are pretty irrelevant (I find that I would be satisfied with at least four of the theories kicking around out here, here and here...though I know deep down that the only conclusion that will fit the most is the exact one that has already been written down and filmed), there are clear philosophical undercurrents that must be resolved.  

Hell, one of the most intriguing theories I've read this week claims that the show will end as a comical farce (the show is structured as, and inspired by, Shakespearean tragedy...which always teetered on resolving like one of his "comedies"). I don't even think the bard himself could create a satisfying conclusion to the story of Walter White and the denizens of the rotten state of ABQ. Personally, I would really dig if the final sequence veered toward absurdist humor. 

Gilligan, and the rest of the crew, know best. Maybe they even knew all along...though the beautiful thing about the series is how much fate and improv played in making things seem like they always mattered (check out Matt Zoller Seitz's stellar analysis of this feat here). 

Hell, at this point...since I've already gone really mystical and nonsensical...I'd say that the show itself became an organic entity by around the end of the second season, and that it's been maintaining and bolstering it's own quality through the network of themes and technique that had been coded into his aesthetic "genotype." But, since even I don't think I know what the last sentence really means, I write it with a grain of salt.

All I really know is...once the last episode has aired, the story is far from over. Breaking Bad isn't just a show that burrows into the psyches and souls of its viewers and creative team...it's a series that in and of itself has a vibrant and complex soul.  Just like when Walt and Gretchen discussed the missing elements that constitute a human being, there may always be left over accounting (though, we could all feel really accomplished--and obsessed--if we even skirt 99 percent understanding, at the "end of the day").

The most auspicious source of predicting seems to be the title, "Felina." Gilligan playfully let out that it's an anagram of Finale, but many fans already beat him to the punch, realizing that the "Felina" character is from Marty Robbins' song "El Paso" (...see here for a detailed analysis about Marty Robbins Song "El Paso"...which completely jibes with my own predictions). As I've started to solidify in a separate page about the pre-existing songs used in the show are more explicit about the narrative and themes than many realize. 

Read about the "El Paso" stuff in the above link. However, Marty also did a follow up song "Felenna." Though, unless y'all are hoping to get insight into a potential Skyler spin-off series, I'm not sure if the lyrics of this one are worth dissecting. Check it out...

#RespectTheChemistry


I have one idiosyncratic source of prediction I'm going to throw out there, since I haven't seen it discussed yet (my apologies if someone out there has already dissected this... obsessive and compulsive endeavors like this tend to veer toward disorder...) 

That Which I Find Meaningful...The song used in the finale promo, "Line of Fire," by Junip.

The promo, as well as all the connotations of the title ("Felina"...see here for a detailed analysis about Marty Robbins Song "El Paso"...which completely jibes with my own predictions http://previously.tv/breaking-bad/breaking-bads-upcoming-felina-finale-explained/) seem to paint a pretty unavoidably picture of what's going to happen. However, I've learned enough about the trickster editing of previous "Next time, on Breaking Bad..." promos to be suspicious. But, as I've started to solidify in a separate page about the pre-existing songs used in the show


Here's the promo....



Here are the song's lyrics...


What would you do
If it all came back to you
Each crest of each wave
Bright as lightning
What would you say
If you had to leave today
Leave everything behind
Even though for once you're shining

Standing on higher ground

But when you hear the sounds
You realize it's just a whim
And you notice it matters
Who and what you let under your skin

If put to the test

Would you step back from the line of fire
Hold everything back
All emotions and desires

Convince yourself to be someone else

And hold back from the world
Your lack of confidence
What you choose to believe in
Dictates your rise or your fall
Dictates your rise or your fall

With no one else around you

No one to understand you
No one to hear your calls
Look through all your dark corners
When you're backed up against the wall
Step back from the line of fire

What would you do

If it all came back to you
Each crest of each wave
Bright as lightning

I'd do the same as you would

do the same as you
do the same as you
do the same as you
I'd do the same as you would
do the same as you would
do the same as you
What you choose to believe in
Dictates your rise or your fall

With no one else around you

No one to understand you
No one to hear your calls
Look through all your dark corners
When you're backed up against the wall
Step back from the line of fire
Step back from the line of fire
Step back from the line of fire
Step back from the line of fire
Step back from the line of fire
Step back from the line of fire
Step back from the line of fire
Step back from the line of fire
Oh

Step back


Step back


Step back


To me, the promo and song make it obvious what's going to happen...which, as I got at at the beginning of this post, makes me suspect that it could be an elaborate Red Herring. I mean, it does seem like a pretty redemptive arch for Walt to have; which likely means that it could be robbed from him. Or...there may be some codas planned which are entirely unpredictable; that the recent advertising is attempting to occlude through including the more spectacular elements of the series....I'm really up for anything at this point. Let the images wash over us, and make each predictor humbled through showing them something better and more fitting than what our wildest imaginations could conjure up.


Here's the music video of the song. Check it out; it has artistic merit separate from the way it weaves into the BraBa universe. The story and tone seem like it would be straight of American Beauty and Happiness, as directed by David Lynch. 



Aside from the lyrics and atmosphere, this video also contains images and motifs straight out of Breaking Bad (even from episodes that aired after this video was produced). Why? Let's presume the creators of Junip's music video had never seen the show. Why are there so many stark parallels, especially in relation to the surreal imprisonment of the domestic sphere? I got some things to say...but I think I've said enough for now...