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‘Breaking Bad’ – The Fine Art of Walter White’s Fall

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finale 2 This article contains possible spoilers.

We have all had time to process the series finale, “Felina,” of AMC’s Breaking Bad. There were those who loved the finale, those who despised it, and many people didn’t watch it, mostly because they had never watched the show before. But now as the dust and gunpowder have settled, as we think about the whole series that culminated in that finale, we need to take a few steps back and think deeply about what was one of the greatest TV dramas ever.

Taking those steps back, it is almost as if I am in a museum studying a piece of art. When you can look at something so overwhelmingly powerful and almost perfectly conceived, let’s use Pablo Picasso’s Guernica as an example, you cannot stand too close, but you also don’t want to stand too far away. So how do you begin to truly appreciate something so massive, so complicated, and still not miss something? One thing is to not negate the work with brevity, and another is to revisit it often enough to gain understanding, to see something missed last time, and to try to appreciate the whole as well as the individual parts from which it is composed.

To me Breaking Bad is very much like Geurnica, including the requisite violence that comes with all wars. Guernica shows the devastating impact on individuals from a bombing during the Spanish Civil War. What was Breaking Bad but a show that illustrated the effects on individuals from a mushroom cloud called Walter White (Bryan Cranston). His violent explosions as Heisenberg set events in motion that finally became totally clear in the last three episodes, but anyone who watched the show over five seasons had to know where it was heading, unless some viewers were wishing it would not be so or tragedy could be averted.

Show creator and executive producer Vince Gilligan has been known to say that Breaking Bad was the story of Mr. Chips becoming Scarface, but that doesn’t begin to do justice to what happened during those five seasons. This is why we need to step back, to admire that work of art, and try to assess it on the “whole” work rather than a few final episodes.

From the first episode in season one, we saw the scope of Walter Hartwell White’s drop into the depths away from the light. By making a conscious decision to “cook” an illegal drug for profit (even if ostensibly to make provision for his family after a diagnosis of terminal and inoperable cancer) Walt chose to enter a world where violence and death were always seconds away. He fortunately escapes the first episode with just some damage to his RV, but in the process he has broken the law and taken out two drug dealers. This start of things opened us up to go along for the ride, to see how this seemingly mild mannered chemistry teacher could turn into something even he himself won’t recognize. After that first episode, I know I was hooked and would be there (62 episodes later) when it all would end.

Perhaps none of us accepted where Breaking Bad was going, but as Walt became increasingly dark, and the heft of his deeds started involving more people, we had to begin facing the inevitable. I know that Jane’s death sort of caught me by surprise – I didn’t think Walt would let her die, but the after effects (especially the plane crash), shook me up and made me realize that Walt was digging a hole from which there would be no escape.

There is no way to truly think of him as “good” after that, and yet we still see him going through the motions, being the family man, and professing even to himself that all he is doing is for his wife and children. People wanted to believe it because Walt wanted to believe it too, and if it were other than that then the evil heft of his deeds would be almost unfathomable.

This is why when Walt finally admits to Skyler “I did it for me” in “Felina,” there is a slap across the audience’s faces louder than Cher hitting Nicholas Cage in Moonstruck. If we were still in a collective fog, that slap had to bring us out of our trances. It was finally the “confession” that Walter Hartwell White needed to make, and not that it provided Walt redemption (that would come later with Jesse), but it allowed him to settle things with Skyler and to see his baby Holly one last time.

So looking at the whole series, the first episode and “Felina” provide apropos opening and closing to the video novel. We got hooked at the start, kept reading all the way through, and got to the last page and felt closure, even as our anti-hero lay in his own blood staring at the camera. We take a step back, and just as the whole of Guernica involves all its parts, every episode moved the story along the way to its only logical, and painful, conclusion.

About Victor Lana

Victor Lana has published numerous stories, articles, and poems in literary magazines and online. His books In a Dark Time (1994), A Death in Prague (2002), Move (2003), The Savage Quiet September Sun: A Collection of 9/11 Stories (2005) and Like a Passing Shadow (2009) are available online and as e-books. He has won the National Arts Club Award for Poetry, but has concentrated mostly on fiction and non-fiction prose in recent years. He has worked as faculty advisor to school literary magazines and enjoys the creative process as a writer, editor, and collaborator. He has been with Blogcritics since July 2005, has edited many articles, was co-head sports editor with Charley Doherty, and now is a Culture and Society editor. He views Blogcritics as one of most exciting, fresh, and meaningful opportunities in his writing life.