Preparations for Sakura-Con are nearly complete.
Asked by staringabyss1 staringabyss1
oh gosh yeah s4 was pretty fuckin rad
i have so many problems with s5 tho
like how the heckie are we supposed to believe walt, a 50-year-old cancer patient, could dig a hole in the desert big enough for all those barrels of money (and then BURY THEM!!!!). like have u tried to dig a hole that big before? shit son
also mike knew walt was dangerous/”a ticking time bomb” but he didn’t put up much of a fight when he had to go in on their little meth empire. like ok yeah i get that he had to protect his guys in prison (and provide for his granddaughter) but it didn’t seem like he even tried any other avenue.
Also, sorry, but if you bring in Nazis you sort of automatically lose. Nazis and zombies are pretty much the bottom of the barrel in terms of easy villains. You want villains that are threatening, intimidating, and just reeking of evil, but you’re can’t come up with anything? Here’s an idea: throw some Nazis in there! (Not that Nazis can’t be well-developed, three-dimensional characters, but the Nazis in BrBa were, well, not? I mean, shit, they had Todd murder a frickin’ child and be totes cool with it!!!! How much more blatant could the writers be with the Obviously Evil® brush?)
One of Breaking Bad’s biggest strengths was developing the character of Walter, who originated as a protagonist then slowly developed into an antagonist. And for a show that proved to be wholly capable of writing developed, three-dimensional characters, throwing the flat, cardboard Nazis into the mix seemed like they were grasping at straws for new villains. Because I guess having Walt as the main baddie wasn’t enough even though that’s they what were building up to?
Also, Jesse seemed to mood-swing to the convenience of the plot, didn’t he? When he needed to be depressed and sad so Walt could be there to relay important information or comfort him, he was depressed and sad! Jesus, guy, ping-pong balls bounce back and forth less than you do! When he needed to be angry at Walt, there was always some poorly-established reason for it. The justification for his emotions in s5 just seemed really weak and not established enough in comparison to earlier seasons.
And, yeah, Walt got way more cartoonishly evil. I guess the writers were like “gee, people still seem to like this guy. Maybe we did too good a job at making him human and therefore sympathetic? Let’s see, what ridiculously out-of-character stints can we pull to make sure the audience isn’t on his side?”
Walt telling Jesse the truth about Jane just seemed unnecessarily vicious and mean-spirited, like it was just for the sake of showing how ~evil~ he is. Oh, yeah, and that was right after he sold Jesse to the Nazis. Which, y’know, totally made sense /sarcasm.
What I liked about Walt was that you were never really sure if he was retaliating against a world that never cut him a break, a man going through a midlife crisis after being faced with his own mortality, or if he really was sociopathic all along and the diagnosis exacerbated it. The mystery and freedom of interpretation made him great. But s5 was just like “nope” and pulled back the curtain, which, y’know how in horror movies what you see on screen is never as scary as your imagination? Yeah. I think they should have left it ambiguous.
And Walt was a fucking idiot for leaving that damn book in his bathroom. “Leave a vital piece of evidence of my involvement in a murder/meth ring in my house where my DEA brother-in-law frequently visits? WHAT COULD POSSIBLY GO WRONG?”
But Gus was kind of stupid too for having all of his incriminating files on his laptop that the police took into evidence.
But I could forgive that, all of it, if Brock’s poisoning hadn’t been so poorly executed. For such a central plot point that pretty much carries Jesse’s arc in s5, why the hell didn’t the writers show us Walt making the poison/going to Andrea’s place/arranging it with Saul/wtfever he did??? I’m not asking for a flashback where we see Walt administering poison to a child, just something that shows he did it. At the end of the last s4 ep we see the plant in his backyard, which, if the show had ended there, would have been a fuck-awesome way to go (“did he really poison him?”). But the writers kinda shit the bed in s5 with that plot point, because it’s addressed in dialogue, but we don’t get to see it. Apparently Word of God is that Walt put the poison in a juice box and gave it to Brock at his school? Well, gee, that would’ve been a helpful scene to have, wouldn’t it? I wouldn’t care if it wasn’t a big plot point, but because Brock’s poisoning was yet another Moral Event Horizon for Walt and Jesse’s primary motivation for teaming up with Hank, it seems prudent that we should have seen it, y’know? It would have been much more impactful, rather than just having loose ends tied up a little less loosely. It almost comes off as cheap shock value.
I mean, wouldn’t you have been pissed if we never saw the scene where Walt snuck into Jesse’s place and let Jane die, and then when Jesse wakes up and she’s dead, later Walt’s like “o yea that was me” to Saul or something???? ‘Cause that’s basically what they did here.
I don’t think the other seasons are flawless, as they all have their share of headscratchers and “wait, what?” moments, but everyone seems to hail s5 as this pinnacle of perfect TV and I’m just like “hold on there friend let me explain u a thing.”
I think the fact that this was the season that pretty much gave birth to fanfic (for which there was no need before) is a proof enough that the show failed somewhere. For the first time I needed to reach for fanfiction and meta to somewhat connect with Walt’s character, because the presentation in the show just left me baffled.
It always felt to me like the writers had different ideas about where to take the story but then decided on the more flashy way, turned it into Walt vs Hank show. Don’t get me wrong, I have an undying love for Hank but it’s the treatment of Jesse’s character that really upsets me. It’s pretty obvious they were at a loss of what to do with him so he became a plot device (and the way I see it they weren’t even gutsy enough to give him a definite resolution), which brings me to the whole Jesse Pinkman torture show (I don’t think I’ll ever get over people getting off on it, thanks for that btw) and completely unnecessary Andrea’s death. It could have been a devastating event but instead was eye roll worthy and an attempt at manipulating audience at best and not even Aaron Paul’s performance managed to salvage that. Was there any other point to those events besides trying to get us invested in the Nazi group as credible villains and cheer for Walt in his final showdown? I don’t think so.
Oh man, oh man. I agree with so much of this, and I actually loved S5. But I too felt the sting of Jesse’s near-total absence from the plot as the series drew to a close, Andrea’s completely unnecessary fridging, and… like, everything involving the Nazis.
Here’s the thing: I was really looking forward to Walt as the Big Bad. And it didn’t bother me that the power went to his head and he got over-the-top with it, because Walt has always been a pretty dramatic guy. But we timeskipped over that entire plot in Gliding Over All. We got to see next-to-nothing of Walt the Emperor before everything came crashing down around him. The purpose was, yes, to get us back on Walt’s side so we could root for him during that final showdown. And it worked.
But… why? Why should we root for Walt? We had another protagonist to root for, and that was Jesse Pinkman. He was right there! Existing in total contrast to everything that Walt stood for, even more so than Hank (who was motivated by pride, while Jesse was motivated by conscience).
The writers stated that S5a was originally meant to end with Jesse taking over the empire as a new Heisenberg. That would’ve been really interesting, too, but they found that the character simply would not go there after the events of Dead Freight. Okay, sure. But that still leaves a whole lot of room for Jesse to take center stage during the latter half as the main opposition to Walt, rather than a bunch of Neo-Nazis that came out of nowhere (deliciously entertaining though they were, those evil scamps) and Lydia (who was amazing as the Walter White who out-Walter Whited Walter White, but never got a chance to grow in the narrative).
I understand the point. The point was that Walt’s hubris, once he had risen to power, blinded him and made him careless in every respect. In throwing away every last one of his scruples regarding who he worked with and what he was willing to do, he brought about his own demise. Okay.
But the seeds for that plot already lay with Jesse. Walt’s betrayal and manipulation of Jesse in S4 and S5a could have represented all of that in itself, and built to something with more emotional resonance. Because we already cared about Jesse. He was already our hero and we wanted him, not Walt, to win.
Instead, what we got was Jesse beaten down and further victimized and turned out, and at the very end we’re given only a glimpse of him and he’s just a mute shadow of his former self. As glorious as it was to watch him refuse Walt in those final moments, how amazing would it have been if that was the whole of S5b?
Well, maybe I’ll write it sometime. I don’t know.
a LYDIA mix [ listen ]
work [stripped] - iggy azalea // gold dust woman - hole // take the money - carina round // ballad of a politician - regina spektor // empire - alpines // day of the titans - susanne sundfør // trophy - bat for lashes // crown on the ground - sleigh bells // the king is dead but the queen is alive - p!nk // bbb - how to destroy angels // impaler - spinnerette // just the same but brand new - st vincent // the queen - lady gaga // how to be eaten by a woman - the glitch mob // time of my life - ms mr // the world is not enough - garbage // summer wine - lana del rey // march funèbre - soap&skin // precious things - tori amos // everybody wants to rule the world - lorde
Free shipping + $5 off each item at my store now through April 13!
the ninth circle
a WALT & JESSE mix [ listen ]
short change hero - the heavy // mr mudd & mr gold - steve earle // wolf like me - lera lynn // ice age - how to destroy angels // blow [deconstructed] - ke$ha // handshake drugs - wilco // come as you are - civil twilight // counting stars - gardiner sisters // paint it black - brian ritchey // kingdom of ice - wovenhand // a common disaster - cowboy junkies // our blue sky - the handsome family // gun - chvrches // photographs and gasoline - framing hanley // fire - delta rae // rapture [fear is a mind killa mix] - puscifer // devil’s resting place - laura marling // rootless tree - damien rice // change (in the house of flies) - deftones // 101 vultures - alex winston
a SAUL & JESSE mix [ listen ]
america - lou reed // i fought the law (and i won) - dead kennedys // time to pretend - mgmt // call me - blondie // get lucky - daft punk // ain’t no drugs high enough - ratatat vs marvin gaye // glockapella - cee lo green // i knew you were trouble - sam tsui & kurt schneider // paid in full - eric b & rakim // come when you call me america - lana del rey // money - velvet revolver // destroy all lawyers - mojo nixon // the void - eyedea & abilities // friend or foe ‘98 - jay-z // cold war - janelle monáe // hey hey my my (into the black) - battleme // you know where to find me - imogen heap // gold - sir sly // dramamine - modest mouse // travelling song - passenger
24 hours - Final stretch!
#You guys… what happens LITERALLY right after this GIF is going to make you scream louder than EVER
They’re not kidding. I’ve seen the script. Trust me.
Full credits for the Goblin Week Zine. We were extremely overwhelmed by the volume and quality of submissions, and whittling them down to fit in 60 pages was HARD. Emails going out to everybody shortly, but if you want to trawl through this wall of text to figure out its secrets in advance of that, feel free.
If you are emotionally tortured by any author’s work please notify that author because I promise that is 90273% of the reason we write and it is the highest praise we can get
for girls who died so boys could cry [ listen ]
far from any road - the handsome family // spark - tori amos // bang bang (my baby shot me down) - nancy sinatra // night time, my time - sky ferreira // jennifer’s body - hole // the ghost who walks - karen elson // forbrydelsen - frans bak // bones - ms mr // 101 vultures - alex winston // twin peaks - blvck ceiling // the kick inside - kate bush // in the pines - the kossoy sisters // serial killer - lana del rey // pale flesh - crystal castles // the space in between - how to destroy angels // where the wild roses grow - kylie minogue & nick cave // laura - bat for lashes // laura palmer theme - o
In its upright position, the Ten of Swords represents absolute destruction, being pinned down by a multitude of things or situations. The person lying on the ground, defeated and bleeding, may also represent a feeling of hopelessness and being trapped by emotions or mental anguish, since Swords represent strife and the mind.
The Ten of Swords is the most grim card in the deck, more destructive and reminiscent of death than the Death card itself. However, upon closer examination of the images in the card, any real death or destruction, like all things, may not be permanent. There is hope regardless of the situation: this is the worst the querant’s situation could possibly be, and things will only improve.
In the card’s reversed state, it symbolizes a troubling situation that will continue for a significant amount of time. The card suggests that the subject should not despair in difficult times, to avoid ruining future prospects for success.