Joyce Evans anchors the news for Fox 29 in Philadelphia. She also seems to be a fan of Breaking Bad. So what better way to tease the lead story on yesterday’s 10 p.m. news — a mass shooting — than by dropping a BB reference?
Tag: Breaking Bad (11-20 of 131)
After Walter White met his demise in Breaking Bad‘s series finale, The Albuquerque Journal decided to pay respects to one of their own — with a fake obituary printed in the real paper.
The paper’s obit cites Walt as a 52-year-old man who died after a “long battle with cancer, and a gunshot wound.” They also refer to him as a “co-founder of Gray Matter,” which we’re pretty sure Gretchen and Elliott Schwartz would complain about … if they weren’t still living in fear of death by laser pointer.
Walt was also a “research chemist who taught high school chemistry” and “later founded a meth manufacturing empire,” according to the Journal. Good choice of words: If they hadn’t said “empire,” we’re pretty sure the ghost of Heisenberg would’ve shot them dead (with an M60 in the trunk of his ghost mobile).
Bad news: Breaking Bad is over. Good news: Now we get to spend the rest of our lives figuring out just what Breaking Bad was all about. On the new episode of our Entertainment Geekly podcast, Jeff Jensen and I dig deep into the Bad series finale. Some things we liked. Other things — hello, Schwartzes! — we’re not so sure about. Other topics include: A new theory about what makes a good series finale, how the idea of the “Bad Fan” affected our collective perspective of the final season, and why nobody (not even Hank) was a hero on Breaking Bad.
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Entertainment Geekly: The myth of Antihero Fatigue and the revisionist/reductionist history of TV's golden age
Entertainment Geekly is a weekly column that examines contemporary pop culture through a geek lens and simultaneously examines contemporary geek culture through a pop lens. So many lenses!
Five important events occurred in the last few months that have radically altered the history of TV’s so-called Golden Age. Going backwards chronologically: Last Sunday, Breaking Bad ended its five-and-a-half-season run with a generally-beloved finale; the Sunday previous, Dexter ended its million-season run with a generally-loathed finale; on Aug. 11, AMC debuted its terrible new show Low Winter Sun and gave everyone the funniest running joke of the year; on June 30, Showtime debuted its terrible new show Ray Donovan and gave everyone fresh opportunity to ponder Jon Voight’s forehead; and on June 25, Brett Martin’s book Difficult Men hit stores, presenting a behind-the-scenes view of the era that transformed television and in some ways providing the blueprint for the conversation taking place now about the overabundance of Antiheroes on television today. READ FULL STORY
How strange, and yet right, that the defining event of week 1 of the network-TV season happened on cable. Last Sunday, we bid Breaking Bad farewell after six years and 62 episodes of some of the best television ever made. Like The Sopranos, Mad Men, and other cable series that have defined the new golden age of TV drama, Breaking Bad distinguished itself with a large, grand arc of moral complexity and a protagonist inside of whom a man and a monster were at war. We were riveted, and so were the people who program network shows. They were also annoyed (about the media attention), envious (of the awards), and curious (about how to get in on the action). READ FULL STORY
Don’t despair over the end of Breaking Bad — dance instead.
To “Dance Bitch,” that is. Music producers Tom Neville and Zen Freeman teamed up with Breaking Bad‘s Aaron Paul to produce the electro-funk jam, which features Paul uttering Jesse Pinkman’s signature “bitch” throughout the song.
Neville and Freeman call the creation “a hyper kinetic dance floor gem unlike anything else out there.” We call it something Jesse would have included on his mind-numbing party playlist back in season 4. Take a listen for yourself below.
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“For those just joining the story in progress, our government is going to shut down in 57 of your Earth minutes,” Jon Stewart declared around 11:03 p.m. ET last night. To mark the occasion, both he and his networkmate Stephen Colbert kicked off their shows with segments celebrating “Rockin’ Government Shutdown Eve” — though naturally, each comedian put his own spin on the material.
Stewart indulged in his trademark righteous indignation, sniping at Republican explanations for the shutdown – “‘it’s an unconstitutional takings of God-given American–’ it sounds like ‘a bullsh—ing of random patriotic buzzwordies’” — and comparing the GOP to a losing football team that threatens to shut down the NFL if they’re not awarded more points. (“What I’m saying,” Stewart continued, “is, wouldn’t it be nice if the united states congress aspired to the maturity and problem-solving capacity of football players?”) The Daily Show host ended the bit with his very favorite Willy Wonka clip — words that Republicans should heed, since they’re coming from “a small business owner.”
Cheaters never prosper, or so they say. And if they do, they’re probably biblical moralists or writers of film noir, the kind where desperate saps with immoral get-rich schemes get punished for their transgressive ambition one way or another, sooner or later. Double Indemnity. No Country for Old Men. And Breaking Bad, the extraordinary, many-things-at-once, neo-noir, desert-western, dark-comedy serial created by Vince Gilligan, which came to an end Sunday night. For five seasons, this bold and cold AMC series chronicled the downfall of a dying, dead-on-the-inside Everyman who sold out his principles (such as they were) to feel alive and strong; who betrayed and then just ripped up all of our culture’s explicit and implicit social contracts to score the significance he believed he deserved. Walter White was a man who could have been a tech king, but who chickened out and cashed out too early; who abused his neglected genius to enter the drug trade and build a grotesque, destructive substitute for the empire that might have been his; who tried to beat the reaper by becoming one himself, The One Who Knocks. In the end, this too-human monster was allowed a happy ending: He went to the grave on his own terms, and with all of his illusions about himself intact. He was, in his mind, a mythic Campbellian hero, a man who went on a journey to bring back an elixir of treasure to save his family (but oh, how they didn’t want it, his horrible blood money!); a Marvelous action hero, who emancipated slaves and destroyed an evil empire (that he had built himself, that had destroyed so many lives!). As an avatar of heroism, Walt was as meaning-challenged as the Lady Justice in Saul Goodman’s office, as the Nazi swastika on Uncle Jack’s arm. And so Walter White, the antithesis of what we really want from heroes — sincerity, selflessness, virtue we can believe in — was a critique of the antihero culture that spawned him. In his folly, we hear echoes of ancient wisdom. For what will profit a man if he gains the whole world but loses his soul? (Jesus) How much land does one man need? (Tolstoy) We must all face the choice between what is right and what is easy. (Dumbledore)
Breaking Bad was awesome. It was arty-fun pulp, profound but short of pretentious and never preachy, and proof that careful attention to the internal lives of its characters, the details of the world, and thematic possibilities of any story in any genre can create transcendent effects. It was not just a pleasure to watch, but it was a pleasure to watch the culture embrace it, especially here at the end. Given my regard for the show, I have long had that unreasonable fanboy desire for everyone to lovelovelove this seemingly unlovable drama about a brilliant meth-making skipper and his Bitch!-quippy little buddy trying to survive and thrive in the seedy wilds of underworld ABQ. I have also had that ridiculously demanding desire for Breaking Bad‘s last episodes to be perfect. I have not been as impressed with the last eight episodes as a whole as others have been (the Walt/Hank confrontation in the premiere, the all-time great “Ozymandias,” and the satisfying closure of the finale notwithstanding) — but 92 percent pure ain’t nothing to sneeze at. When I think about what makes Breaking Bad great, I think about the intricate, richly thematic design of individual seasons and the extraordinary mise-en-scène within each episode; I think about Cranston’s unfailing success at grounding every moment of his monster in some emotion or aspect of human experience that we can relate to, even when we didn’t want to; I think of the love-hate warfare between Walt & Jesse and Walt & Skyler; I think of the themes, like the value we put on human life and on our own; I think ofthe humor, the horror, and the endings. “Run!” “Everybody wins.” “Tread lightly.” The kicker to the pilot that resonated all the way unto the end: “Walt? Is that you?!”
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[SPOILER ALERT: If you haven't seen Breaking Bad's series finale, stop reading now.]
Believe it or not, some people actually made it out of the Breaking Bad series finale alive. And even though we won’t get to see their lives unfold, those survivors still have a (potentially) drug-free lifetime ahead of them. So what comes next? If chapter one of their stories involved Heisenberg, lots of desert, and even more drugs, what is chapter two (or three) all about? Here’s how we see the show’s biggest survivors 10 years from now:
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The Lost finale aired three years ago, and people are still angry about it. It is a gaping wound in the pop culture consciousness of a certain type of human being — the same people who will never get over the vain notion that the Star Wars prequels destroyed a very special part of their childhood. The wound reopened last night during the series finale of Breaking Bad, when a whole series of people used Twitter — a technological mechanism that would have seemed like an impossible glorious utopian dream-machine 30 years ago, something that theoretically is supposed to bring us all together in something resembling the Emersonian oversoul — to tweet a bunch of snippy comments at Damon Lindelof, co-creator of Lost and masochistic recipient of fan rage.
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