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In this scene, he is more terrifying than Gus, Tuco and Uncle Jack combined. Lambert is a hybrid of Heisenberg’s ruthlessness and Walter White’s cunning. It’s as if a second transformation has taken place. But have we ever seen Heisenberg be that menacing? I don’t think we can even call him by that name anymore.
I’m not going to say much about it, because there isn’t much critique I can offer, only praise. The sequence that comes next – involving laser-pointers and home invasion – is pure genius. I probably would have left satisfied if Walt just some-how found his way back home without explanation but instead, Vince Gilligan chose to show us this scene.
However you see it, that scene is definitely odd. Hell, maybe it’s the audience that grants Walter the keys I that moment. Just enough time to finish the story the way it should end not locked up in some cabin, withering away. What ever omnipresent entity has granted Walter White his incredible luck decides to bless him with 24-hours more of it.
It’s the kind of writing Breaking Bad has always made a point of avoiding: no short-cuts (or half-measures, for that matter). Look: this might really happen in towns that small, but you can’t argue that from a story-telling perspective, that doesn’t feel like a big cheat.
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The keys to the car, in uniquely TV logic, just so happen to be hidden in the visor. Maybe to God (which seems unlikely to me), or maybe to the writers-room, begging to have his winning-streak back for one last show-down (in a The Dark Tower -sorta way). He leans back, takes a moment to compose himself, then does something very odd. After failing to hot-wire the car, Walt hears the police sirens coming for him. Walt peers through a snow-covered windshield, then opens the door and climbs inside. The cold-open of the finale episode was a little of column A and a little of column B. Breaking Bad loves to make its audience say “What the fuck am I watching?”, but other times, they’ve used the cold-open to establish some piece of plot to kick-start the episode. Think back to the sauce taste-testing with the chicken nuggets, the close-up’s of a house-fly with Skyler singing a lullaby accompanying it, the skate-boarders in Walt’s pool, the boy putting a tarantula in a glass-jar and riding off on his motor-bike. Most cold-opens in Breaking Bad (a cold-open is that tease that comes before the BrBa logo and the episode proper begins) are more surreal than narratively focused. To me, Breaking Bad was as much about watching characters re-act to Walter. Starting with his first business-partners, then Skyler and Holly, and ending with his last business-partners. In retrospect, it paints Breaking Bad out to be wholly the story of Walter White and his misdeeds, which I never believed it was. Walt delivers closer to every character’s door-step with a neat little bow on top.
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Each character was given a pitch-perfect note to leave the series on, but they had no sense of control in it, which robbed those scenes of a little gravity. Jesse, too, had little to no agency over the events that brought the series to a close – excluding the very last moments. It was an unexpected surprise to see Badger and Skinny Pete again, but it bugged me a little that characters like Marie and Skyler didn’t really contribute to the momentum of the narrative, like at all. Much like the finale episode of LOST, I felt disappointed – granted though, to a way-less degree – that plot-points and side-charactors I loved weren’t given their moment of proper send-off. The finale episode of Breaking Bad is nothing like any of those endings, but it was a little bit of all of them. Let’s start with the bad, because there isn’t too much of it. Or, one last example, the LOST method: in which loose-threads are tied into an incoherent knot at the last second, but major themes go neglected. Or, there is The Wire, where last-minute twists and revelations – the bread and butter of most finale episodes – was replaced by a bitter-sweet sense of closer – in that case, a long good-bye to the city of Baltimore. There is The Sopranos approach, which is akin to a punk-rock band smashing their instruments and storming off stage before the encore. There are a lot of ways to end a long-running series. Note: When you embed the widget in your site, it will match your site's styles (CSS).One Little Kiss and Felina, Good-Bye: The Series Finale of “ Breaking Bad“
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