It’s nearing that magical time of November where everybody in America (not Canada, their Thanksgiving was in October. Go figure.) forgets their diets and eats enormous amounts of food! It’s time for not one, not two, but three NFL Thanksgiving games! It’s time for all the spectacle and wonderment that is the Macy’s Thanksgiving Day Parade! And not to be left out, it’s time for WWE’s fourth major PPV event, Survivor Series! Continue reading
I’m pretty glad I held off on writing this piece before Hell In A Cell, mainly because I was going to write about the status of Our Boy John Cena. But with the PPV in the can, that can be left to another day. Continue reading
Once more, The Boys Outta Brooklyn unite with their Brother from the North for a special 1970s-themed Obscure Horror Movies Episode! Join us as we discuss films about murderous old people, blind marauders, lollipop-sucking devils, and adult babies. Plus: gratuitous Don Cheadle Ass, the question of who killed who in Electra Glide in Blue, and the new reality series Satanic Orgy House! You know you don’t want Zalman King pulling on your wig, so get to clicking (and don’t forget to follow us on Twitter at @BITDShow)!
One of the biggest mistakes WWE ever made was destroying the creative talent that is in this ring, circa August 2008. The problem that Brian Kendrick and Scotty Goldman (aka Colt Cabana) had was that they were featured in the wrong era of WWE programming. Continue reading
I first mentioned the Kofi Box (Definition: The Kofi Kingston box is when WWE has a popular wrestler, whether he be face or heel, and they never push him into the main event picture, but they love giving him minor Titles) in my article leading up to the Payback PPV and with Battleground upon us (I swear, these names are getting worse), I wanted to rehash that idea a bit. But first… Continue reading
In a special edition of the Trike Adventures, Anthony, Thomas, and Kelen sit down to discuss Breaking Bad a few hours before its finale. They talk about their favorite moments, stray observations, favorite characters, and Breaking Bad’s place in television history. But don’t worry, there’s still plenty to laugh at!
To celebrate the last day of Breaking Bad Week, here we gather a bunch of links so that the show may live on despite its finale.
- An A-Z of Breaking Bad – http://www.kontraband.com/tv/36895/z-breaking-bad
- The original Breaking Bad pilot script – http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Breaking_Bad-Pilot.PDF
- 10 things you may have missed this week on ‘Breaking Bad’ – http://popwatch.ew.com/2013/09/17/10-things-missed-breaking-bad-ozymandias/
- Breaking Bad Series Finale After-Party: Machine Guns, Badfinger, and Tidy Resolutions – http://www.grantland.com/blog/hollywood-prospectus/post/_/id/88433/breaking-bad-series-finale-after-party-machine-guns-badfinger-and-tidy-resolutions
- Relive 5 ‘Breaking Bad’ seasons by remembering those who died along the way – http://youtu.be/7E-s8srPxW4
- The Tape Deck ’13: Volume #30 (Breaking Bad Edition) - http://www.hiphopisread.com/2013/09/the-tape-deck-13-volume-30-breaking-bad.html
- Bryan Cranston and Aaron Paul discuss ending of ‘Breaking Bad’ finale – http://insidetv.ew.com/2013/09/30/breaking-bad-finale-bryan-cranston-aaron-paul/
- ‘Breaking Bad’: We Rank Every Episode - http://www.ew.com/ew/gallery/0,,20302134_20737170,00.html
- ‘Breaking Bad’: 10 questions we’ll never see resolved – http://popwatch.ew.com/2013/09/30/breaking-bad-finale-burning-questions/
- ‘Breaking Bad’ at Comic-Con: Bryan Cranston & co. talk favorite, challenging moments – http://insidetv.ew.com/2013/07/21/comic-con-breaking-bad-season-5/
- ‘Breaking Bad’: Vince Gilligan Reveals The Alternate Endings That Almost Were - http://moviesblog.mtv.com/2013/09/30/breaking-bad-alternate-endings/
- Breaking Bad Minisodes (some contribute to the story) – http://www.amctv.com/shows/breaking-bad/tag/videotype/minisode
- ‘Breaking Bad’: Creator Vince Gilligan explains series finale – http://insidetv.ew.com/2013/09/30/breaking-bad-finale-vince-gilligan/
- ‘Breaking Bad’ series finale ratings smash all records – http://insidetv.ew.com/2013/09/30/breaking-bad-series-finale-ratings/
- In A Perfect Finale, ‘Breaking Bad’ Proves It’s A Love Story – http://www.forbes.com/sites/allenstjohn/2013/09/30/in-a-perfect-finale-breaking-bad-proves-its-a-love-story/
These are just 15 links we gathered in the past few days. The internet is a vast place ladies and gentleman. Venture forth!
Andy Greenwald of Grantland has been recapping every episode of season 5, part 2. Instead of trying to fumble with the words to describe how I feel after the finale, I’d like to share with you his words, which do a much greater job at summing up something so huge in scale.
“Felina” brought Breaking Bad to a close in the most perfect way imaginable. It squared each circle. It righted all the wrongs. Everything that had been done was undone. The pieces fit together. The keys were in the car. The car was in the compound. The gun was in the trunk. The cat was in the bag. And the bag’s in the river.
In the end, there was no art. Only science. And this was sort of the problem, wasn’t it? After five-plus years of watching everything break bad, the finale gave us 75 minutes of watching everything break just right. There was plenty of sweet coincidence and even sweeter revenge. The timing was deliberate, and immaculate. Where Heisenberg’s plans once rained down on Albuquerque with all the grace and subtlety of an exploded airliner, Walt’s endgame tumbled like dominoes. Everything, even the promised M60, fizzed and popped so perfectly it felt almost sterile. Walt — and at the end it was only Walt — finally got his clean lab, his pristine experiment. As he lay dying, surrounded by the beakers and tubes that were his most constant companions, he could smile and rest easy knowing that the purity of his last cook was 100 percent.
But was it equally satisfying? I’m not so sure. In many ways, the story of Breaking Bad ended last week: a dying, bitter man got away with murder; his punishment was surviving long enough to see his empire reduced to recriminations and dust. “Felina” gave Walt a chance for a rewrite and Vince Gilligan and his merry crew of chemists a chance to take every loose end remaining from the preceding 61 hours and tie them together in a decorative dragonfly knot. There weren’t many surprises — yes, the gun was for the Nazis; the ricin, now and forever, meant for Lydia — but there was closure. There’s been a great deal of talk these past few weeks about how Gilligan is a moralist, but I have to say, I have my doubts. After last night, I’d say he’s an aesthete, one who admires clean lines and elegant design above all else. In this, Jesse’s golden-hued woodworking fantasy seemed more like an OCD dream on loan from his creator than the actual imaginings of an imprisoned meth cook. Appreciating Breaking Bad is like appreciating architecture; its form is inseparable from its function.
To be clear: I admire this outrageous attention to detail! Gilligan’s achievement is just a different kind of beauty than what I’m used to. I’ve never been one to swoon at the interlocking exactitude of a fine wristwatch (like the one Walt left atop the pay phone, as if it were a signature in the corner of a painting) or the flawless symmetry of a snowflake (like the ones covering the window of the stolen miracle car, chilly crystals that obscured Walt from the flashing lights of the oncoming heat). I suppose on some level I prefer my fiction when it looks a little more like Walt himself did at the end of his story: shaggy, stumbling, reeking of bad living and worse choices. Even though he and Jesse engaged in an epic beard-off, the mechanism that reunited them was as smooth as their formerly bald heads. The only real moment of tension was whether Walt would be able to reach his car keys across the felt of a pool table. Once those were safely in his hand, the doors of fate were all too easily unlocked.
But to complain about these things now seems almost peevish. Breaking Bad has been obsessed with neatness and order from the beginning. It unfolded itself with such elegance and purpose that it’s difficult to imagine it leaving the scene any other way. “Felina” felt like the best kind of dinner guest, one who washes his own plates and sweeps under the table before leaving. (At times it felt like it even managed to unbutter its own bread.) Perhaps it’s a byproduct of Gilligan’s own Southern manners, but Breaking Bad, though shocking, never completely surprised: rather, it announced itself at nearly every turn. “Chemistry is the study of change,” Mr. White told his students at the start, and everything that followed did so accordingly. There was nothing in the final exam that hadn’t been covered in class. This was television as a science experiment: Every action had a purpose and, more important, it had an equal and opposite reaction.
And so, while it may have been tidy it was also unquestionably satisfying to see Walt use Gretchen and Elliott, the squeaky-clean former colleagues who screwed him out of millions, to launder Heisenberg’s dirty money. (The use of Badger and Skinny Pete as laser-pointing “snipers” was a rare bit of fan service, but one I’m more than willing to overlook. Pete even had a chance to recap the entire series in a manner much more economical than mine: “The whole thing felt kind of shady, moralitywise,” he said, speaking about what had just happened and, maybe, everything that had happened. Then Walt flashed some Franklins and made all his hesitation disappear.) The sugar-free dispatching of Lydia was plenty sweet, and while I usually abjure gun violence of any kind, I’m willing to make an allowance for gun violence against a room full of neo-Nazis. Especially ones who, upon gaining a windfall of more than $70 million, adjust their poisonous lifestyle only enough to allow the purchase of a massage chair from the 1987 edition of the Sharper Image catalogue. (I was actually impressed with Uncle Jack’s spiffy new look until I began to wonder if his eggplant crew neck was actually a present for himself or just something he stole from Marie’s house right along with Jesse’s confession DVD.)
Relating to Walter White was never easy, but, from the fulminated mercury to the great freight train robbery, one of Breaking Bad’s strengths was its ability to make even English majors swoon when its literal-minded protagonist pulled off yet another well-oiled bit of DIY ingenuity. That the rifle and the ricin were long foretold took little away from the kinetic pleasure of seeing them go off. In fact, Gilligan did Chekhov one better: Not only did the gun fire in the third act, it did so in the trunk, the exact same place it had been all along. I’ve said it before and it bears repeating: Breaking Bad, at its best, was a magician who shows you how the trick is done and dazzles you anyway because the real-life dexterity involved is much more impressive than any hocus-pocus could ever be.
I guess where I’m still hung up is that after seeing us through a transformation never before attempted on television — not just the tired “Mr. Chips to Scarface” thing, but the way Breaking Bad itself set like the sun throughout its lifespan, so that what began as a comedic frenzy ended with a season as dark as midnight — Gilligan and his writers suddenly seemed to invoke something other than chemistry to change things back. After successive weeks spent watching terrible things happen to non-terrible people, it was a little strange watching Walt tiptoe through the minefield he himself had laid: securing a hassle-free inheritance for Junior, getting revenge on those who had wronged him, and taking his greatest intellectual property with him to the grave — or perhaps it would be better to say, to his blue heaven.
Breaking Bad has always been unique among the great television dramas in that it never wavered, never digressed or dabbled in B-story; it was a show about Walter White, from beginning to end. This made our final glimpse of the show’s world remarkably pointed — Cranston, brilliant to the last, played this final iteration of Walter like some unholy combination of boomerang and machete — but also a little lonely. Anna Gunn earned her Emmy all over again with the pain and resignation on her face during her solitary scene, but even in that, Walt got the last word. Flynn was filmed respectfully, from a distance. By leaving Marie to grieve for Hank in peace, we never had a chance to grieve for him at all. And it’s now clear that the usefulness of Jesse Pinkman, once the unstable agent that sparked the entire show, had, like one of his ever-present cigarettes, long since burned out. Aaron Paul’s dialogue this season was almost nonexistent, his suffering utterly silent and his marginalization more or less complete. Still, it was a nice touch to give Jesse his agency back at the end: first by squeezing the life out of Todd and then by refusing to do the same favor for Walt. It’s impossible to guess just how far he’ll go or how he’ll manage to survive when (and if) he gets wherever it is he’s headed. (Alaska? Brock’s elementary school? That great Ed Hardy store in the sky?) But the visuals told a fine story: Jesse, a prisoner long before Todd chained him to the ceiling, was finally free. (His actual escape, while exuberant, seemed to me like an oddly timed promo for Need for Speed.)
I don’t know if “Felina” let Walt off too easy — I mean, he did die — but maybe it was too easy on us. In its final weeks, Breaking Bad had dipped its toes into the kind of muddy water nearly all popular entertainment does its best to avoid: one in which sentimentality and preexisting notions of justice played no part, one where breaking bad itself is an impossibility since everything was already so irreparably broken. And its audience was, for the most part, ready to dive right in with it and splash around. Instead, in the final hour, the show stayed high and dry, allowing Walt to pull off the happiest of all possible endings for himself. Like a critic, he was able to swoop in and point out his own failings. His final conversation with Skyler was magnificently staged and played, but it felt jarring to hear Walt say the words that those of us on this side of the screen had been repeating for months: “I did it for me. I liked it. I was good at it. And I was … alive.” This level of self-awareness, like the teary good-bye to a sleeping baby Holly, struck me as undeserved.
In a world governed by Bunsen burners and scales it’s silly to talk of things being “deserved.” I’m not a judge. Walter White never even saw the inside of a courtroom. But still, it seemed both odd and at odds with everything that came before to see Walt redeemed like this. In the end, he really did outsmart everyone. Not to parse Pinkman’s proverbs, but wasn’t this a touch too much “Yeah, bitch!” at the expense of the science? All the swaggering outlaw clichés turned into Swiss cheese by agonizing, bullet-ridden episodes like “Ozymandias” were made whole again last night. The story of a man became, in its final hour, the story of a legend. It seems Walt’s hollow boast at the end of Season 4 was premature, not pathetic. In the end, he really did win.
That I don’t necessarily agree with this outcome is irrelevant. Scientists react to facts, not hopes and conjecture. And regardless of what this unprecedented, five-year experiment ultimately proved, its final result in no way invalidated the staggering originality of its approach, the bubbly cocktail of giddiness and dread that was its most addictive byproduct. Breaking Bad was like nothing I’ve ever experienced before and it’s something I doubt we’ll experience again. Aligning all the elements that made it great, from actors, to writers, to that impossibly blue New Mexico sky, is unlikely to be repeated. Another series capturing the country’s imagination and its attention in such a way — transforming Sunday-night appointment viewing into a nationally calibrated heart attack — seems even more improbable. This sort of consistency and focus — in TV shows as in chicken kingpins — is rare, awe-inspiring, and, if we’re being honest, more than a little terrifying.
Breaking Bad wasn’t a procedural and it wasn’t (exactly) a period piece. It was a mystery box filled with working gears and expertly soldered wires. It grounded dizzying flights of visual fancy with a blue-collar love of process, a dedication to the solid, unglamorous work of getting a story from point A to point Crazy and back again. It was, at once, flammable and controlled, the charming Winnebago and the ruthless superlab. For good or bad, there was always a scientific method to its madness. This was a breathtaking, risky story that always remembered to keep its gas mask on, its hazmat suit zipped. In the end, as in the beginning, Breaking Bad was just too smart to go totally wild.
Kelen Conley: So after all the emotional of this episode (“Granite State”)…where do we go from here? Walt’s headed back to the ABQ, his family are loose ends…who dies besides Walt? Is it Skyler’s time? Is the ricin for Lydia or Todd? How far are the Feds on Walt’s ass? Does Walt finally die in the series finale?
Thomas Crawford: I think Walt is going to use the ricin on Lydia, or his former partners of Gray Matter; that whole bs thing telling the news that Walt just came up with the name of the company sort of set him off. I wonder if Skyler dies, I’m not sure if Lydia trusts her to keep her mouth shut even with Todd’s warning…and we have seen how Lydia handles anyone who can point a finger at her. It’s also clearly obvious that Todd would do it without hesitation; Lydia wouldn’t even have to pay him for it. The machine gun seems like it’s for a showdown with the Nazis, however, this seems too unlike Walt and this show in general. I think the writers want us to think it but they may just be leading us on with showing the gun.
KC: Since Skyler didn’t get arrested, I definitely think she’s dying. Walt Jr. and Holly end up with Marie (who narrowly escapes death).
I think the M-60 is for Gretchen and Elliott. If Walt manages to tie up all the other loose ends in ABQ, why not burst into their home and murder them in cold blood? Then he could keel over immediately after; fade to black.
I’m not sure who kills Skyler though. I wouldn’t be surprised if some firefight broke out and both Skyler and Lydia were nearby. Then when Skyler lives through the assault, a desperate Lydia picks up a discarded gun and shoots her. But then again, that’s not really her style.
And at some point this episode, Lydia will definitely use Todd’s crush to benefit her in some way.
Who’s dead after the finale list
Which leaves Jesse and Lydia remaining alive.
Anthony Sellers: Jesse dies this episode. He’s gonna try to escape again to no avail. A couple of the Nazis will die but not Todd and his uncle. Skyler I could see dying and Marie getting the children for the family’s sake. Walt kills Gretchen and Elliott but dies trying to save Jesse.
KC: No way Jesse dies. While BB has never been a show to stray too far from reality, doesn’t it deserve to have some form of happy ending for someone?
Jesse won’t try to escape again, he already watched Andrea die and Jack said Brock was next so he’ll try to kill himself before he tries to escape.
…And I just stumbled onto something huge. What if Walt does go after the Nazis to save Jesse, somehow succeeds but Jesse killed himself somehow before he could get to him? Like maybe he remembers how to make the gas from episode 1 that Walt made and he just ends it for himself?
But that’s exactly what I mean too. How many viewers would feel cheated if Jesse kills himself? I know I would unless it’s done perfectly. And everything this part of season 5 has been perfect.
And why does Todd and Jack get to live? You almost sound like you’re pulling for the bad guys. If they don’t get their comeuppance, what’s the point of Walt going back to ABQ? He would’ve waited to be apprehended.
But on another note, again, what if Walt doesn’t die by finale’s end?
And to completely veer from predictions: What does the teddy bear in season 3 symbolize?
TC: Did we ever make any connection with the bear and Jane because of that mural in her room showing the falling pink bear?
KC: NO. I thought we (Anth and I) had just made a connection with Walter wearing pink in the season 2 finale when the bear falls out of the sky. The bear is a representation of his world falling apart with Skyler kicking him out of the house. And the bear sinking into the pool represents Walt drowning in his loss.
TC: Hah, well I just sort of remembered something about the pink bear on Jane’s wall mural while her dad was getting her funeral dress, just a thought.
I remember reading a comment about it, went back and checked it out. It’s sort of eerie.
KC: No, I meant I didn’t realize not NO that’s a terrible idea.
TC: Oh, well check out the final episode of season two, like 24 minutes left in it, I just watched.
KC: I think the bear represents all the characters in season 2 at some point or another, with the final one being Walter. Just based on the cold openings:
- Episode 1: No-Doze and Gonzo. No-Doze because Tuco beat the shit out of him (burns on bear), Gonzo because of the missing eye (when the cars fell on him).
- Episode 4: Jesse. Bear is put in evidence bag, away from home; Jesse gets kicked out and is living in the RV.
- Episode 10: Walt. Bear is placed in a container and cleanup is taking place, but there’s still a lot of work to do; Walt “quits”, gets Jr. drunk, fixes the water heater, discovers the “rot”, but then runs into two guys trying to get into the business and threatens them.
- Episode 13: Jane/Walt. Bear leaves in van, smoking city is shown; Jane is dead from “crashing” into Walter White. She’s the bear being taken away in the beginning while the bear represents Walt falling to “safety” in the end.
TC: Looked way more into it than I did, but you have a strong analysis there.
KC: Just saw the bear picture in Jane’s room. Definitely think the girl in the art is her and Walter is the bear. The Moon and Saturn could be Jesse orbiting her since she became his world. Clock shows that her time is running out.
Feel free to move back to my finale questions and thoughts, this is getting heavy.
Clock shows time is running away from her, this was in the last episode of the season.
TC: I think I like it, but at same time I think the focus is on the girl and the bear because when I watched it, that was the main thing you got to see. And when you see it over the shoulder of her dad as he opens the closet door, that is all you get to see, both are falling, it definitely symbolizes her I think. Perhaps what I read in a comment, how the bear represents her, an innocent that Walt has led to harm. Even though he has tried to rationalize it, he is doing things that hurt people, even those he doesn’t know, as in the passengers of the two planes. Walt’s actions have far-reaching consequences than even he understands and he doesn’t find out until season three when he realizes it was Jane’s father that caused the accident.
KC: There’s a bear in the tree in the “Rabid Dog” episode, 12th of season five. It’s stuck in a tree representing Jesse falling right into Hank’s hands. I’m done now.
TC: Ha! How about we are too specific? I like the bear representing the far-reaching consequences, while Walt is “trying to do the right thing for his family”.
KC: Just watched the first episode of season 3, 167 people died. 167! All because Walt let Jane choke! This would be one of the great American tragedies if it really happened.
TC: Dude this would be, all because of a decision. I more like the morality tale of this, that one decision, one action, or inaction can lead to consequences that aren’t even considered.
KC: I was just about to say I agreed with you overall, far-reaching consequences would be the big picture. I’m nitpicking.
TC: By the way, do you really think Lydia will make it out? I mean, she is responsible for Todd putting the fear into Skyler, and I’m assuming the last episode takes place over a few months. Walt is probably going to figure out she had a hand in it and whatever else happens to Skyler and his family. I really don’t like her getting away scot free.
KC: We have three women left and I really think Marie and Lydia are the ones that live. Marie lost Hank, Walt loses Skyler, Todd dies, leaving Lydia behind after she somehow uses him. I didn’t take into account that a few months pass; Walt does have to drive cross-country with cancer wracking his body…
Fuck, Anthony might be right. Jesse will probably be dead before Walt even gets back to ABQ then. And I really think suicide might be how he does it. Then, when the Nazis find out Walt’s back in town, they’re determined to make him their new in-house cook.
But yeah, I really would like Lydia to bite it or go to prison or some shit.
Thomas Crawford: Jesse is my favorite, hands down. Jesse sort of represents human nature and the condition on the show. He goes to highs, lows; starts out as a punk that you hate, then you find out he has a soft side for his brother and kids in general. He needs some authority figures in his life to help guide him when he is in trouble, but who hasn’t needed that? He finds his way, loses it, finds it again. He makes mistakes, learns from them, then makes them again or something similar and gets burned.
Every person at the end of their life would look back and see a lot of the same things; they would have memories both good and bad, regrets, lost loves, hating themselves for some things, triumphs, etc. The only difference is that Pinkman experienced them all in a very condensed span of time. He just encapsulates what it means to be human. (Vocab five to myself for finally getting to use encapsulate).
Honorable mention, gotta throw it out to Saul Goodman, a slick man that you should hate but I love for being honest and a self-realized man. He knows he’s a scumbag, but he has his own code of honor and shows he isn’t spineless (telling Walt to turn himself in, only way he can save his family now). That’s just Saul, point blank, honest, even though he knows it’s not popular opinion. Also have to include Walt Jr./Flynn, the last two episodes have been crazy. He has sort of played the innocent character throughout, but also been able to stand up to his old man. He knows what is right and wrong in his mind, and have to give kudos.
My most hated character, Jane. Yes, there was some drama and pushed the story, but I mentioned before I don’t like that tool that much. The female antagonist coming between two male protagonists is easy; that’s why it’s over used. As it is, she just falls into that spot mostly because there were so few characters if any that I could say I truly hated. I didn’t hate Jane I guess, just didn’t like her role.
Kelen Conley: Jesse Pinkman is the winner of my favorite character sweepstakes as well. Which is almost as crazy of a turn as me hating McNaulty by the time I finished watching The Wire in full again. All through season 1 and season 2 and season 3, this kid is finding ways to fuck everything up time and time again. All Walt wants to do is get enough money for his family and this guy Pinkman…what a loser.
Then we get to season 4. Fresh from having to murder Gale, Jesse is out of fucks to give. Insane, never ending ragers at the house. Getting robbed and not caring. Little did he know that Gus was done with Walter White and wanted to see to it that Jesse was too. And it worked…until Walt lied his way out of a bullet to the skull.
Season 4 and 5 is when Jesse grew the fuck up finally. And that’s when I realized that BB was not only about Walt becoming a villain, it’s also about Jesse learning to change his life.
Honorable mentions: Hank Schrader, Gustavo Fring, Mike Ehrmantraut
Hated character: Todd Alquist. I think of Todd as Jesse’s evil twin: the kid who had it all coming up but then chose to hang out with his Neo-Nazi uncle after high school. He reminds me of one of those kids who would always come up short of expectations, but everyone liked him so much that they let him pass on that alone. And now I think I’m talking about myself a little bit. But this last half of season 5 has been his grizzly masterpiece, and I hate him for it.
Anthony Sellers: Favorite: Saul Goodman. As Thomas stated, he’s a self-realized man and always honest at every turn. Not only is he honest, but he has no regrets in life because he can accept who he is, the slum lawyer that talks money, at least to an extent. (That’s where his similarities go awry between him and Maurice Levy from The Wire, am I right?) What sets Saul apart from everyone else is the fact that he has all the connections, but is never in direct contact with those connections. (“I have a guy who knows a guy.”) Although I don’t think he ever thought he’d have to actually use any of those connections for himself. But that was the fine line he walked.
Most Hated: Huell Babineaux. Huell was good up till the point where Hank took him and punked his ass bigger than Kim Kardashian’s ass. He had that personality that was like, “Yeah, whatever happens happens.” Then Hank threatens him with death and he folded. Come On, Mannn.
Honorable Mention: Hank, because he was so dead set on the Sky Blue and he loved being a cop more than anything in the world. He was beyond passionate and let the whole “I’m a DEA Agent” get to his head. And he wanted to ram his authority up anybody who tried to get in his way! And that’s what gets him killed.