Dear friends and readers,
Having gotten for myself two books filled with detailed analyses, commentaries, summaries, lists of bullet points of and from Breaking Bad: David R. Koepsell and Robert Arp’s collection of essays by themselves and others, Breaking Bad and Philosophy: Badder Living Through Chemistry (it takes the mini-series through Seasons 1-4), and Wanna Cook? The Complete, Unofficial Companion to Breaking Bad by Ensley F. Guffey and K. Dale Koontz (Seasons 1-5, complete series), I was prompted to re-watch the episodes of the first season (all 7) alternatively with what I had left of Season 4 (5-13, or 8 episodes). The new perspectives provided by the books and the early phase of the series (with its ironic foreshadowings only seen on a re-watch from the perspective of at least 3 seasons later) has made me change my mind about Skylar as well as come to a better understanding of this famed HBO macho soap opera.
I had thought of Skylar as a woman who was basically indifferent to her husband as an individual apart from her, non-loving or without real respect for him, an unethical bully (she withholds sex from him to pressure him into buying super-expensive chemotherapy treatments) who deserts to save herself when cornered (in Season 1 she rejects her sister, Marie [Betsy Brandt], is jeeringly spiteful (her boasted-of affair with Ted Benecke [Christopher Cousins]), but even if it is possible to extend this list of qualities I find alienating, I was wrong to sum her up as hateful, enacting, as the actress who plays Jesse Pinkman’s mother seems to, so much relational wrong to those around her. Rather she is a figure of pathos, pathetic in the older meaning of the world.
In the long view of four years, we can see that nothing she ever did made the slightest change in the ultimate fate of herself and the characters she holds dear. From about half-way through Season 4 the naivete we see in Season 1 (as when she threatens to expose Pinkman [Aaron Paul] for smoking pot to her “brother-in-law, a DEA man!” [Dean Norris]), her belief in some controlling morality in people, some rules somewhere which she can trust to as long as she seems to be moral herself and obey the law, and most of all her essential powerlessness leads to a set of behaviors and stances parallel to those we see in the first and second season. She thinks she can give Benecke money to pay his taxes and he will pay them (thus protecting her as his bookkeeper from scrutiny by the IRS); she believes buying and operating a car wash will control the money situation she finds herself in (she and Walt have far more than they can account for). Saul Goodman (Bob Odenkirk), the shyster lawyer is not simply laughing at her; he realizes her instincts as formed by her society make for decisions against her interests (such as, back to Season 1, her childlike worship of the oncologist).
Most of all, she has not all along begun to understand what other human beings (Giancarlo Esposito as Gus is not alone in his monstrousness) are capable of, including Walt — who in the fourth season wins over Gus by poisoning Jesse’s beloved semi-adopted son, Brock and persuading Jesse it was Gus who did this, thus winning Jesse back to work with him (not hard as Jesse does know how much frightening evil Gus and his henchmen can do) and tell him where is Gus’s weak point as Jesse has come close to Gus several times, and then lived in close proximity to Gus and Mike (Jonathan Banks, Gus’s hired thug-killer): Jesse finally thinks of Hector Salamanca, the nearly paralyzed dying Hispanic man who early in Gus’s career humiliated Gus and murdered a close associate and who all these years later Gus enjoys tormenting by telling of how he kills now this male relative and now that.
Skylar erects what Anna Gunn kept calling “all her boundaries” to shut this world and Hank’s and Marie’s out. In Season 1 when amid the teachers she hears the janitor blamed for stolen equipment to make meths, she nods in agreement and allows herself to be diverted by Walt. Walt might worry whether she’ll realize it’s his lab. He need not have. She does not put that kind of two-and-two together. (Nor does Hank. They trust their friends to be what they seem.) In Season 3, she learned she might need to protect her family against its protector: Walt, who has told her, he is the danger. In Season 4, Benecke turns out to be a petty cheat; baby in carrier, she goes to a central point in a four state area to see where she can flee and finds there is no where she belongs, can exist but where she has found herself at 40. All she has are Walt, Walt Jr, Holly, Marie and Hank. She returns home. Skylar does not seeth, but she writhes to no avail. I pity and feel for her.
An early still of Jesse as he walks into his parents’ dining room to set the table
Jesse’s parents want to know from the valued son whether he is getting out of his teacher what success requires
A second watch showed me how angry Jesse is — else how does he get involved? A rage and a fury. Why else does he continually spit out his words in slightly broken half fury? Rejected by parents, who prefer the hypocritical cold son, ambitious, a liar. He is offered this shit-ass job disguised as a bird selling junk on the street. We see immediately how clever he is, how quickly perceptive his judgments, but he is utterly uneducated: all school is for is to get a job wearing a suit. As he hardens, he keeps his heart partly because he has been so hurt. He has artistic ability Jane appreciates, and she reads his yearning to be a hero through the cartoons he draws. But hero in the US is defined by Mike (Jonathan Banks) and Gus — and Hank (Dean Norris). Jane (Krysten Ritter) did begin to offer him another vision (the trip to Georgia O’Keefe paintings is part of this), but she was sickened by her culture too, desperate to escape its pressures and demands that she be guarded, cool. A kind of Hansel and Gretel with heroin as the witch. You see this kind of thing only by re-watching. Many people learn to lie low: I suspect that will be the final lesson of Jesse’s career with Walt.
Hank emerges more interestingly too — once you know how he emerges later as the half-lamed man, a sleuth. To this Sam Spade has come down. He begins as a coarse, crude, loud-mouth condescending macho type, so sure of himself, mocking his brother-in-law as not manly, but his pity for his shoplifting wife and feeling for the disabled nephew, Walt Jr (RJ Mitte) shows he has camaradarie impulses. Fatherly, kindly to those he does not “other.” Maybe only he or his type of person could love and support the dense yet intuitively alert Marie. Murdering people point-blank even when they are trying to kill him (in the Second Season) leaves him emotionally shattered (as it will Jesse in the third Season).
In the pillow interrogation where Skylar wants all of them to help her force Walt to go for treatment, after Marie breaks ranks to say chemotherapy is miserable and maybe Walt should spend his last months differently, Hank says Walt should do what he wants …
At the baby shower, though, once he spots the expensive diamond and ivory baby tiara Marie has supposedly bought for the coming baby, he needs a stronger drink to endure staying there and pretending all is fine in his house. And in the first season there are many ironies surrounding his talk, showing how little he gets about the meth trade when he thinks he understands so much.
I missed the mood or kind of gothic this story is: horror is one word for it, as all sorts of body taboos are sliced off: from the opening blood, the color red, from raspberry to bright scarlet, to blue and venal streams across the TV screen’s firmament. Ghastly comedy in season 1, ghastly terror in season 4: in one of the features for Episodes 4:11-13, Vince Gilligan explains how the crew spent months talking about how they could make Gus’s death adequate to the evil of his life and then planning and executing the bomb scene and destruction of half Gus’s face (face off) and part of his body. The moment is all the more electric as at first we startled to see him escape apparently unscathed, and fix his tie: a key to his character is he is a black man determined to enact an upper class, super-polite ceremonial lifestyle, the benevolent philanthropist the powerful in his society turn to. But the nurses running over shudder, cover their faces, and we get a barely watchable (I kept averting my eyes) series of close-ups, which I reproduce only one of:
The series does not rely on these horrible shocking moments; they are part of sequences of agonized high anxiety (to allude to Mel Brooks, appropriately parodic) which punctuate story arcs and character development. Intriguing suggestive life-histories are given most of the tertiary characters whose names we learn; we can fill out their pasts. The strength of the series is character exploration in scenes of virtuoso acting, but I hadn’t noticed how much change the characters seem to undergo at the same time as in their beginning (Season 1) is their end (Season 4 foreshadows what is to be). So while the mood of Season 1 replicates at moments that of the Three Stooges (which Jesse watches on TV), or clowns; the two chief males form the love-hate, teacher-pupil, chemist-assistant team they keep up throughout several permutations, with Jesse sometimes taking the lead, doing what Walt can’t, seeing what Walt doesn’t, by its end Walt does show an insidious delight in enacting all that is forbidden, anticipating his later manipulative ruthlessness while Jesse remains on just this side of decency. Walt contemplates suicide in Season 4, diverted by suddenly seeing seeds on he side of the pool he can use to poison Brock
but Jesse feels emotional hurt from betrayed ties (in Season 1, his family, later Jane, and now Andrea [Emily Rios] and Brock) that he will not cast aside. In season 4 Walt refuses to work unless Jesse is with him, Jesse refuses to cooperate in the business of meth at all if Gus has Walt killed.
The last two thirds of season 4 (for episodes 1-4 see A Killing Way of Life) are highly theatrical stagings of suspense. I couldn’t stop watching them — got caught up in the intensity of it all and began to long to see Gus as a figure of ultimate evil done away with. By the end I was shaking from the whole experience, with its final twists and turns moving from engineering the near death of a child to persuading an old man to blow himself up suicidally in order to take Gus out too. There is a weird parodic feel here — because in a soap opera you have just these twists and turns. I haven’t got so caught up in anything since watching Lagaan a few years ago where I so rooted for the Indians against the Brits — only here more so. I had wanted to watch some earlier episodes but could not get myself to stop until I saw Gus die. And it was horrific — the make up of him as this ghastly skeleton. When Walt returns to the Meth lab and manages to kill the murderous bullying bodyguard who has handcuffed Jesse to a pipe (Jesse is often in the role of the vulnerable Pauline heroine), and they set fire to, destoying the lab, it is like destroying the vampire’s lair. It was where they were enslaved and watched by a surveillance camera. Here action adventure high violence was meaningful.
Here and there images evoked the real world of America inside its border and out. At one point in a desert Mike throws Walt on the ground to kneel before Gus with a black bag over his head; he has been badly beaten up: it is the image of torture we see done to Arab prisoners by US interrogators.
Gus is saying if Walt interferes with Gus’s killing Hank, “I will kill your wife, I will kill your son, I will kill your infant daughter” — this is precisely what Frankenstein’s monster does to Frankenstein’s family after Frankenstein destroys the bride the monster had asked for
There are memorable slow quiet moments. After Walt miscalculates and allows his hot-blooded temper to get the better of him because he finds Jesse is lying to him, and has seen Gus up close but not tried to administer a powerful poison (ricin) and rushes to Jesse’s house to accuse him, and they have this brutal fierce fight where Jesse gets the better of the older man, Walt collapses in his flat. It has been Walter Jr’s birthday and Walt missed it. Skylar had insisted on returning the super-expensive glamorous speed car Walt had bought for his son, what Walt Jr really wanted, and gotten him the sensible relatively inexpensive compact hybrid, and little as Walt Jr is thrilled, he drives it to his father’s flat to be congratulated. Walt is in a shattered confused state, and breaks down in front of Walt Jr, weeping: “I made a mistake.”
The son physically helps the father to bed, much moved by his father’s reality with him. He hears his father address him as “Jesse” and say “I’m sorry.” He sleeps on the couch not far from his father. That morning, Walt awakes and tries to erase the image he had left; he attempts dignity, tells his son that his grandfather died of Huntington’s disease; we see him coughing — a foreshadowing of death to come.
Mike and Jesse also manage their unarticulated moments of mutual shared danger, mutual help and respect — and Jesse is distraught when he must leave the internally bleeding and shot-up Mike behind in Mexico: he will die unless someone gives him blood, staunches the bleeding, tends to his wound; the minimal sophisticatedly-equipped hospital staff paid by Gus are just ignoring Mike to save Gus. They tell Jesse it’s Gus who pays them.
There is peculiar comedy mixed with anguish: Jesse hugging Andrea and bothering the hospital staff with his attempts to wait with Andrea and her mother inside the operation when as not-family the insurance company decrees he should not be there (so they say). Each time Jesse has to say that Brock was poisoned to someone, he breaks down: here he’s telling Walt in the hospital waiting room.
Hank pressures Walt to take him to Hermanos to see the fried chicken operation Gus runs as Hank’s study of evidence from the murdered Gale Boetticher’s (Dale Costabile) flat leads Hank to suspect Gus is the linchpin leader of a meth gang. Walt is terrified at the coming consequences. As they drive up and Hank instructs Walt to set up a bug on Gus’s car, Walt sees Mike drive up and sit alongside them. Mike winks.
What I enjoyed most was to see parallels in Season 1, similar scenes. I had not noticed the Prologues were already used in atemporally symbolic ways. We see a very young Walt explaining a chemical formula to his then girlfriend, a very young Gretchen, later Schwartz (Jessica Hecht) who married the man who made a fortune from Walt’s discovery. The punning titles for the episodes, many ironic, begin immediately. Also to see Marie and Skylar in characteristic alike sister formations: sometimes talking in the kitchen, sometimes hugging, and then again Marie refusing to admit she shoplifts:
A No Rough-Stuff Type Deal (Season 1:7): Skylar tries to stare the truth out of Marie
I wonder what they will think up for a fifth season. They have killed off a number of major characters. Will they have more of the same yet worse: yet more diabolical people in the Meth trade; I read that Jesse will become enslaved to Todd, a new Meth associate. I hope the next season brings genuine new content and insight as Downton Abbey manages to each year. I suspect this must be done by working further on the fates and personalities of the closely-knit central characters. I know that Hank will die — something foreshadowed in the second season when Marie declared him indestructible.
End Times: (Season 4:12): Hank suggesting his need to have Walt drive him to the laundry (where the Meth lab is a dungeon below)
I hope Jesse will end up with Andrea but somehow doubt it.
Saul Goodman delivering weekly money to Andrea until Goodman persuades Jesse to go in himself
The two books:
Marie towards bitter end: facing death
Breaking Bad and Philosophy reminds me of an undergraduate text I had for a Philosophy course. Heidegger is applied; superman theory (the will to power); authenticity explained. One essay on the decision to have the expensive chemotherapy is knowing about the very bad chances aggressive treatment will work. Fun ones too: finding happiness in a black hat, the last man left standing, hurtling towards death. There’s a long essay in the Unofficial Companion about the uses of houses, what kinds and space in the series which in its limits really explains what symbolism is intended. Even if an official connection is denied, the Companion could not have been done without the cooperation and input from the film-makers. Just the right quotations are cited as central to each episodes; tidbits of information and connections set up; photographs of the actors, some of shooting during rehearsal; background information on content in the show or about the production design.
Walt’s hat when first put on — it looks dark blue, not quite black as yet
But they are not critical in any larger reflective sense. Neither ever mentions how the series reflects American values and norms and conflicts; not a whiff about racism: Gus and he doctor who fleeces the Whites over his stupendous chemotherapy are black and this is never mentioned; that most of the lesser crooks we meet are hispanic is never mentioned. These things probably work to deny racism in the US. The only political essay I’ve found thus far is an attack on those on the Net who are said to talk of Skylar with intense hatred — which enables the writers to say see how women hate women to have or seek power. They use Foucault’s logic of scandal and badness the way the film-makers do in the feature: simply parrot without further context how evil it is to sell meths, how destructive the drug. Their stories and characters are authorized by assumed feelings of moralized indignation; scandal fosters what it is supposed to suppress (and this series could foster violence and apparently reinforces misogyny among some viewers), and its existence is never explained.
The Companion talks about Walt in a condeming moralistic way from the first chapter on — the writers never once take into account, what was the man to do: just die or go into terrific debt? Was he to let Emilio and Crazy 8 kill him and Jesse? They say in passing how we root for Walt, describe the acts or episodes ably, but not a word of larger justifying explanation. In that sense the Philosophical book, jejeune as it sometimes is, is better; one cannot have socialism, but existential is the acceptable justifier — or Foucault. Still however unexplained or wrongly framed, BB does reflect US life more than any TV program I’ve seen.