“Ozymandias” Cements Breaking Bad’s Legacy

never written a TV review before, but just had to after last night. Although
 I have tried to write about Breaking Bad several of times, but the
problem is words just doesn’t do the show any justice. It is
so prodigious that it is  honestly surreal. I’ll try and do my
best. And if people like them, I’ll review the last two shows.

anyway, a lot of people call the Wire the greatest show ever, but there is no
bleeping way that it is better than this. Breaking Bad has become the most
compellingly vigorous serial show that has ever been constructed.
nobody anticipated it to be…..
Gilligan, to most, was a rather unknown writer, with his popularity mostly
coming from writing episodes for the X-Files, and Bryan Cranston
was famous for being a ridiculously goofy comedian. Now, he is playing one
of the deepest characters ever, and with skillfulness and some luck, Gilligan
has written a chef-d’oeuvre that is going to be known to many as the greatest
TV show of all time. There are just so many remarkable things about Gilligan’s
writing in Breaking Bad.
starters, his aptitude to develop relatable, yet enormously multifaceted
characters, is off the charts. Look no further than at Walter White for an
example. Much like the typical Bryan Cranston played character we are used to,
White is introduced as a misfortunate spineless nerd, who is underachieving as
a high-school chemistry teacher. His less-than-stellar life takes an
immense turn once he is informed that he has cancer and also when he meets up
with an old high-school student: Jesse Pinkman.
time, he ends up undertaking every conceivable illegal activity—not because of
him being a deranged psychopath; instead, to protect himself from
being caught or murdered. Regardless of being an ingeniously shrewd,
calculating murder, Gilligan does an impeccable job of keeping Cranston’s
character both sympathetic and amiable. Whether it is because of his cancer,
handicapped son, unfair wife, or him continuously trying to protect Pinkman’s
well-being, or something else, there are certain merits White has that
figuratively enforces someone to cheer for him. His walks a really narrow line
that is vulnerable for blemishes, and yet miraculously has virtually
is no doubt about it, developing characters is a very significant layer of
writing. However, it pales in comparison to storytelling. Breaking Bad has an
exquisite storytelling, and it is obviously because of Gilligan. He
has mastered every façade of both writing and telling a story. As a result of
his virtually flawless writing, he has made his followers exultant, infuriated,
perplexed, and traumatized. Another remarkable thing about the show is it
has a payoff in every episode, yet that doesn’t derail or
slow anything down. The show is also is layered with unanticipated twists and
turns that still remain true to the characters. And suspense is splendid, the
action scenes are penetrating, and the dialog is piercing as a stiletto.
has taken his followers on a compelling journey of Walter White’s life, using
tons of twists and turns and yet not derailing its lucidity at all. Whether it
is by creating an intriguing conflict or stacking colossal odds against the
main characters, it always has its viewers addicted.
to its virtues, season four could have been an admirable culmination to the
show, particularly because of the chess match among Walter White and
Gustavo Fring, translating into the most intense conflicts of all time and
therefore making Season 5 essentially a bonus.
what a bonus it  has turned out to be!
seems like Breaking Bad is not in it just for the money. It has too much
dignity, and it cares too much about ending on a high note rather than
milking the cow until it becomes entirely dry. Even if it is going to be a sad
day when it climaxes, it is the right decision. After all, all good things have
to end, and there is no better way than going out at the best time. But
seriously though, I still just do not get how each episode just keeps
outshining the other. I mean every one in this season has been virtually
perfect, but somehow the next one is even better than the former. It
is effectively and exquisitely escalating and intensifying all the
way to the crescendo.
last week’s controversial ending – instead of stretching and
delaying the gun scene out as far as possible –  they gave us the
pay-off right away. The scene established that Walter White has some
good morals left since he negotiated with Jack to keep Hank
alive. He offered him every penny that he had saved in order to keep the same
guy alive that wanted him arrested and to decay in jail.  Even though Hank
was ruthlessly emotionless towards Walter, he wanted to keep him alive because
he was family.
did not work, though. Hank is now dead, ending the cat-and-mouse
game among him and Walter. This twists the narrative in a downright
unpredictably stimulating direction, as everyone thought the finale would be
an ultimate showdown between the two. 
White becomes evil again by showing a vulnerable Jesse Pinkman no remorse when he discovers him hiding under the car and then points him out to the
neo-Nazis. He does not change his mind, either, as he gives Jack a subtle
nod to do the job. But instead of killing Jesse, the neo-Nazis say that they
are going to “get information out of him” ( in reality, they are using him to cook
them meth) and then kill him afterwards. Just as Pinkman is being dragged
away, Walter tells him he watched Jane die when he could have saved her, which
was a playback to an earlier episode.
a cruel bastard!
Johnson was a perfect selection as the director, as he created a subtle,
detailed, artsy and sophisticated masterpiece.The minor details are
insanely well-done, as they are barely recognizable, but they do such
a phenomenal job in intensifying the scene.
Hank gets shot, it echoes off the mountains and an insufferable noise
plays, portraying that Walter is shell-shocked and stunned.
Jesse is soon to be expired, he looks up and sees the birds flying around,
which was a moment of clarity of the situation and him seeing his life flash
by him.
greatest directed scene, however, goes to the scene where the White
family separates, wherein Walter packs his clothes and other stuff up in
order to escape from the major problems surrounding him, but his wife keeps
asking the same questions over and over again, even though Walter keeps insisting
that he will explain it all later. She then grabs a knife and actually slashes
White’s hand. He is in shock by her actions, and to display that, a
puzzling-type sound plays in the background, exemplifying total astonishment.
they wrestle over the knife while their baby loudly cries, adding more power and intensity to
the scene. Flynn eventually saves his mother by knocking his dad off her.
Everything becomes too peculiar for Walter — as he mutters out, “What are you
doing!? We’re supposed to be a family!? The camera then zooms out, displaying
that Walter is dizzy and perplexed, and not able to fully digest all that has
happened today.
a heartbreaking moment, Flynn turns on his father by calling the police and
telling them that he pulled a knife on his mother and killed someone. Their
relationship, which had been tremendously strong and bursting with oodles of
affection and love, becomes blemished in such a short time. As White is leaving
the house fully aware his family has become dismantled, he takes the only
person part of his family who does not hate him: his baby.
after, Bryan Cranston delivers his best soliloquy of all time when he unleashes
his thoughts on his wife. He was so convincingly believable and everything felt
truthful. At the same time, in his irregular way, he essentially saved Skyler
from getting in trouble, as something tells me that he knew the cops were
listening, by putting the entire blame on himself. Even though it was likely to
save her, him going off on her was one my favorite moments in TV history. I
hate Skyler so much, and I just hope that she fully gets her comeuppance for
being, in Walter’s words, a bitch.
line, “I still have things to do.” by Walt is a perfect way to explain the
final two episodes left of this show. The pieces have been impeccably
 put in place of building and completing this masterpiece, but it is not
over yet.  This episode was exquisitely written, acted, and
directed. It was terrifyingly forbidding, disconcerting and downright malicious
at times, and it was the most penetrating, cruel, horrific, and elegantly
written episode of the season.
is almost scary to think that we have two more left that could be even better.