A Tribute to Breaking Bad – My Baby Blue – Best series finale ever Breaking Bad
Breaking Bad Series Finale – My City Guide Reports BEST SERIES FINALE EVER! BRAVO Vince Gilligan – Bryan Cranston – Aaron Paul & cast!
‘Breaking Bad’ series finale ratings smash all records!
A Tribute to Breaking Bad – My Baby Blue HQ Audio
Video by DarKHumOuR1
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I dont own anything of this video.
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“this video was a big risk. Breaking Bad was never aired to Greece, and maybe in many other european countries too. so, due to copyrights my lovin account with almost 2,5 million views is in danger. maybe tomorrow this video will not exist, as my account also. but i believe thats worth the cost for a great series like this. we f*cking Looove Heisenberg!love you guys! thanks for watching!”
republished by My City Guide Reports – also taking a big risk!
but godspeed Heisenberg…
AMERICA SPEAKS ABOUT BREAKING BAD SERIES FINALE
breaking bad series finale
“”Chemistry is the study of transformation.” Gilligan himself says the show is about watching Mr. Chips turn into Scarface. Yes, he eventually became addicted to the power, but that is not how he started out per the theme of the series and the words of the creator”
“this ending was….well…. AMAZING!!!!!”
“THE BEST ENDING EVER…!”
“Don’t know about you guys….but I can’t stop crying….
this was the only thing that I loved more than anything else….even my first love….
I just can’t get around the fact that it has ended…:'(“
“Man it’s hard to watch this without getting emotional. Outstanding show and outstanding editing job! Thanks for uploading this.”
“I teared up at the ending of Breaking Bad, never done that for any kind of tv show/ movie before”
“i cried watching Walt died…. he was a genius!”
“DarKHumOuR1…..GREAT TRIBUTE!! Thank you for putting this together!!!”
“Best ending ever. But cant get over it :(“
“I’m not seeing Walt as being Evil. Once Walt decided to make the money there was really no choice but to do whatever to survive. The bad guys were taken care of by Walt. He wears a white hat iMO”
“Too bad they couldn’t spare a bullet for Marie. Still, an enjoyable finale.”
By Dan Sniersonon Sep 30, 2013read what series creator Vince Gilligan had to say about this satiating last-ever episode, which saw the fall of meth kingpin Walter White (Bryan Cranston). “Ours is nothing if not a definitive ending to the series,” says the show’s mastermind, who also wrote and directed the episode. It’s a heady challenge to wrap up five seasons of one of TV’s most daring, beloved and obsessed-over dramas in a manner that’s provocative and satisfying, and Gilligan was keenly aware of it as he and his writers toiled away for endless hours in search of the perfect ending. “I think plenty of people out there will have had a different ending for this show in their mind’s eye and therefore we’re bound to disappoint a certain number of folks,” he says, “but I really think I can say with confidence that we made ourselves happy and that was not remotely a sure thing for the better part of a year. I feel that the ending satisfies me and that’s something that I’m happy about.” Gilligan spoke with EW about the fates for Walt and Jesse, the possible alternate endings, the classic Western movie that turned out to be a huge influence on the ending and the most structurally important scene of the finale. On choosing an ending for Walt in which he was afforded a sliver of redemption before dying “We didn’t feel an absolute need for Walt to expire at the end of the show. Our gut told us it was right. As the writers and I worked through all these different possibilities, it felt right, but I don’t think it was a necessity for us. There was a version we kicked around where Walt is the only one who survives, and he’s standing among the wreckage and his whole family is destroyed. That would be a very powerful ending but very much a kick-in-the-teeth kind of ending for the viewers. We talked about a version where Jesse kills Walt. We talked about a version where Walt more or less gets away with it. There’s no right or wrong way to do this job — it’s just a matter of: You get as many smart people around you as possible in the writers room, and I was very lucky to have that. And when our gut told us we had it, we wrote it, and I guess our gut told us that it would feel satisfying for Walt to at least begin to make amends for his life and for all the sadness and misery wrought upon his family and his friends. Walt is never going to redeem himself. He’s just too far down the road to damnation. But at least he takes a few steps along that path. And I think more importantly for him than that is the fact that he accomplishes what he set out to accomplish way back in the first episode: He leaves his family just a ton of money. Of course, Walt for years now has been looking through the wrong end of the telescope. … For years now, he thought if he makes his family financially sound — that’s really all he has to do as a man, as a provider, and as a father. They’re going to walk away with just shy of 10 million in cash, because of Walt’s machinations with Gretchen (Jessica Hecht) and Elliott (Adam Godley). But on the other hand, the family emotionally is scarred forever. So it’s a real mixed message at the end. Walt has failed on so many levels, but he has managed to do the one thing he set out to do, which is a victory. He has managed to make his family financially sound in his absence, and that was really the only thing he set out to do in that first episode. So, mission accomplished.”
On the decision to spare Jesse and allow him to escape “We found over the years that the way we can please the majority of the audience most of the time is to tune out as much extraneous factors as possible and please the eight of us in the writers room. If we can make ourselves happy day in and day out, we had a pretty good chance of making most viewers happy as well, and that’s what held us in good stead for six years. With that in mind, all [of us] in the writers room just loved Jesse (Aaron Paul) and we just figured he had gotten in way over his head. When you think of it, he didn’t really have a chance in the early days. Walt said, ‘You either help me cook meth and sell it, or else I’ll turn you in to the DEA.’ So this poor kid, based on a couple of really bad decisions he made early on, has been paying through the nose spiritually and physically and mentally and emotionally. In every which way, he’s just been paying the piper, and we just figured it felt right for him to get away. It would have been such a bummer for us, as the first fans of the show, for Jesse to have to pay with his life ultimately.”
On what happens to Jesse now “We always felt like the viewers desired Jesse to get away. And it’s up to the individual viewer to decide what happens next for Jesse. Some people might think, ‘Well, he probably got two miles down the road before the cops nailed him.’ But I prefer to believe that he got away, and he’s got a long road to recovery ahead, in a sense of being held prisoner in a dungeon for the last six months and being beaten to within an inch of his life and watching Andrea be shot. All these terrible things he’s witnessed are going to scar him as well, but the romantic in me wants to believe that he gets away with it and moves to Alaska and has a peaceful life communing with nature.”
On whether the writers considered a version in which Jesse does shoot Walt during their final conversation “We talked about Jesse taking Walt up on his offer to kill him or Walt turning around to find Jesse had a gun on him. We talked about every permutation we could conceive of, and we went the way we went ultimately because the bloodlust had been satiated prior to that moment by seeing Jesse throttle Todd (Jesse Plemons) to death. That’s what the writers wanted to see. Todd is actually in a weird way kind of likable, but he just had to go. Opie had to go. Ricky Hitler, as we like to call him. I think the whole world is better off without that group of characters. So having satisfied that, it felt to us like, ‘Jesse is not a killer.’ This poor guy has wound up having to kill over and over again. The first time he did it was to save Mr. White as well as himself, and it’s not a natural fit for him, and it’s something that’s stolen a big, important piece of his soul. And we thought to ourselves, ‘You know what? Let it end with Todd. Let that be the last person this kid ever kills. Let him go on from here to have a decent life.’ And also, he’s got reason enough to kill Walt. He’s got reason enough to be murderously angry at him. But he had said a long time ago, in a previous episode, ‘I’m never doing what you tell me to do ever again,’ so when he says no and drops the gun and says, ‘Do it yourself,’ to Mr. White, it’s as much a refusal to do what Walt tells him. He’s just not going to make Walt happy anymore. It’s not about, ‘I’m not still angry enough to murder you.’ Rather, it’s, ‘You want this, and therefore I’m not giving it to you.’”
On the story inspiration for Walt, who was hellbent on killing Jesse, saving his ex-partner out of sudden instinct “A lot of astute viewers who know their film history are going to say, ‘It’s the ending to The Searchers.’ And indeed it is. The wonderful western The Searchers has John Wayne looking for Natalie Wood for the entire three-hour length of the movie. She’s been kidnapped by Indians and raised as one of their own, and throughout the whole movie, John Wayne says, ‘I need to put her out of her misery. As soon as I find her, I’m going to kill her.’ The whole movie Jeffrey Hunter is saying, ‘No, we’re not — she’s my blood kin, we’re saving her,’ and he says, ‘We’re killing her.’ And you’re like, ‘Oh my god, John Wayne is a monster and he’s going to do it. You know for the whole movie that this is the major drama between these two characters looking for Natalie Wood. And then at the end of the movie, on impulse, you think he’s riding toward her to shoot her, and instead he sweeps her up off her feet and he carries her away and he says, ‘Let’s go home.’ It just gets me every time — the ending of that movie just chokes you up, it’s wonderful. In the writers room, we said, ‘Hey, what about the Searchers ending?’ So, it’s always a matter of stealing from the best. [Laughs]“
On whether Walt’s death means that he ultimately paid for his sins “It’s in the eye of the viewer. Dying is not necessarily paying for one’s sins. I certainly hope it’s not, because the nicest people that have ever lived are going to die eventually. So it could be argued instead that he did get away with it because he never got the cuffs put on him. [There was] the one time with Hank [Dean Norris, in ‘To’Hajiilee’]. But he’s expired before the cops show up. They’re rolling in with the sirens going and the lights flashing and he just doesn’t give a damn. He’s patting his Precious, in Lord of the Rings terms. He’s with the thing he seems to love the most in the world, which is his work and his meth lab and he just doesn’t care about being caught because he knows he’s on the way out. So it could be argued that he pays for his sins at the end or it could just as easily be argued that he gets away with it.”
On how Lydia became the ricin target “The writers and I all subscribe to the dramatic philosophy of playwright Chekhov, who said that if you establish a gun in Act 1, you better have it get fired at somebody by Act 3. We knew that ricin was still out there and we knew it was hidden behind the wall outlet in the old White house bedroom. I guess we could have let it slide, but we thought to ourselves, ‘The audience has been real good to us, they’ve paid very close attention, we want to reward them by not leaving any loose ends here.’ And also, honestly, the actress who plays Lydia [Laura Fraser] is a wonderful, warm, sweet person but the chatacter of Lydia — we were all champing at the bit to see her get her just desserts much more than Todd even. Todd is so likable, you almost have these ambivalent feelings when he’s being choked to death. But Lydia? We were all of one mind when we were saying, ‘Oh man, she’s got to go.’ So we figured, ‘What’s the best way to do that?’ And we thought somehow she could be there when the M60 goes off, but then we thought, ‘She’d never be around for that kind of stuff.’ She’s just not that person. And then we thought, ‘Can we use the ricin?’ So we were very proud of ourselves when we figured out a way to hang it all together and have her get her just desserts as well. It was very hard-fought, trying to figure out how to plot all this stuff out so that everyone got theirs. Everyone had their final moment in the episode, and it caused a lot of headaches and a lot of stress trying to get all the stuff worked into the final hour of TV [laughs], but I feel real good about it that we did it.”
On the most challenging scene in the finale to pull off “Oddly enough, the revenge stuff at the end is — this is an odd way to put it because it’s so violent — but that’s sort of the cherry-on-top stuff, that’s the stuff that the audience needs to see for their own emotional contentment. At the end of the hour, the audience needs to see Walt get revenge against the guys who killed Hank. That’s sort of a necessity, and that stuff was a little more clear-cut. But the most important sequence in the episode for me probably was Walt succeeding at his 62-episode long task, which is leaving money to his family. The sequence with Gretchen and Elliott at their house was the hardest thing of all for the writers and I to figure out. In the previous episode, Saul Goodman (Bob Odenkirk) lays it out for Walt. He gives Walt all the reasons why it’s impossible to leave millions and millions of dollars to his family. He says, ‘You’ll never get it past the cops, and if somehow you manage to get to your family, the cops will find out about it and they’ll seize it because it’s drug money. And if miracle of miracles, you manage to get it past the cops, your family is not going to take it because it’s from you and they hate you. Especially your son, who is primarily the one you’re doing this for, so it’s an impossibility.’ We kept talking about that in the writers room saying, ‘Jesus, Saul’s right on the money, no pun intended. There’s no way for Walt to do this.’ The Gretchen and Elliott scheme is structurally the most important sequence in the episode, when Walt pulls that scam on Gretchen and Elliott and he intimidates them into giving his family money so that it’ll ride past the DEA without the DEA knowing it’s drug money and then it’ll be accepted by Skyler and Walt Jr. as largesse, as charity and not as money from their patriarch. As soon as we figured that out, we were like, ‘Oh my god, let’s go to lunch!’ [Laughs] That’s probably structurally the most important moment of the episode, and the toughest one to crack.”
On how he feels now about ending the show just as it was surging in popularity “Every story has its running time, and it’s just hard in television to know what that running length should amount to, and I feel very happy and satisfied by the fact that we’re wrapping up now. I can’t even believe that the ratings have increased with each episode — I just think it’s wonderful — and people have asked me, ‘Does it make you want to go on and do a bunch more episodes now?’ Just the opposite. It makes me think, through quite a bit of good luck being involved, we really did pick the right moment to exit the stage, and I feel even more confident of that now than I did before.”
Bryan Cranston and Aaron Paul discuss ending of ‘Breaking Bad’ finale
By Dan Sniersonon Sep 30, 2013
They were teacher and student. Master and apprentice. Father figure and problem child. Manipulator and manipulated. Heisenberg and Hoodie. Hazmat-suited partners in crime making fat stacks. However you viewed Walter White (Bryan Cranston) and Jesse Pinkman (Aaron Paul) — and chances are that view changed radically over the last five seasons – the two men will forever be linked as the blackened heart and corroded soul of AMC’s meth-making drama Breaking Bad. The pair’s relationship flamed out spectacularly in the final season, as Jesse, realizing that Walt was responsible for the near-death of Brock, the son of Jesse’s ex-girlfriend, helped ASAC Schrader (Dean Norris) to (almost) bring Walt to justice. Walt sought revenge, first by handing over Jesse to the neo-Nazis (who gave him two scoops of torture and ice cream), and then by returning from cold and lonely New Hampshire to wipe out Jesse along with Uncle Jack (Michael Bowen) and his crew. But when Walt saw the hideous, ragged condition of his estranged and now-enslaved labmate, who turned out not to be a 50/50 partner in meth manufacturing with these vicious white supremacists, he had an instinctive change of heart and saved Jesse from the hellfire that they were all going down in. What did Cranston and Paul think of the ending of their audacious adventure, which only left one of their characters alive? Read on to find out.
Calling it “100 percent satisfying,” Paul tells EW: “There were thoughts I had that maybe Walt will be the only one standing. I love that toward the end, Walt’s there to go on a suicide mission and blow everyone up, including Jesse, but he sees what they have put him through. His hair’s super long, he’s vacant. There’s not a soul in him anymore, and [Walt] decides that he deserves a second chance, so he dives on him. He throws himself in front of a bullet for him — and it’s kind of beautiful.” He adds with a chuckle: “It’s good that Walt got his, because he’s an evil, evil man, and he needed to go.”
In shooting the scene in which Jesse refuses to shoot Walt, Paul wound up (semi-)fulfilling a desire he’d possessed for years. “I always had the vision of Jesse pointing a gun to Walt’s head, I really did,” he explains. “I’m like, ‘It’s got to end like this,’ and deep down, I wanted Jesse to kill Walt. But the closer we got to the end, I realized I didn’t want that. Jesse can’t kill anybody else — even though he ended up killing Todd. But that was really self-defense and he just had to get out of there. But it’s good that Jesse was put through that torture for the past four or five months, put in a hole, because Jesse’s not an innocent person. He did some very bad things. It’s good that Jesse was put through that so he did some time, but I believe that he deserved to get away from all of it and just leave. You don’t really know where he goes … ” Paul has a few ideas, though, about what happened to Jesse. “In my mind, he gets the hell out of Dodge,” he says. “He’s like, ‘Oh my god.’ I think he probably goes and says bye to Brock, if he can, or at least just sees him from a distance and then he leaves. Maybe Alaska, maybe New Zealand. Becomes a bush pilot. It’s all part of the story.”
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Cranston, meanwhile, feels that Gilligan and his writers crafted both a “very satisfying” and ”unapologetic” finish to this unforgiving story. “It’s fitting. It’s complete,” he tells EW, explaining that the ending gave both characters an appropriate reunion and send-off. “When I see Jesse, this involuntary sense comes over me,” he says of Walt. “He’s been treated like a dog – like a beaten dog — and it just shocks me, and impulsively I protect him. He’s going off into the sunset. It’s fitting that the man who was so put upon and mistreated has a chance. And I like how it ends, because it’s not like, ‘Oh, he’s got the money.’ No. He’s just got his life, so he has a chance – just a chance.” He believes the finale cemented the notion that Breaking Bad is ”a tragedy of almost Shakespearean level. … Tragedy is not a bunch of bad guys doing bad things: ‘Oh, they killed the good guys!’ Tragedy is when the bad guys are sympathized, when you realize that it could have gone another way,” he notes. “There was hope for them at one time. Macbeth! Oh! In its truest sense, our story is a tragedy — an American tragedy. It’s not ‘good conquers evil,’ it’s not ‘good guys against the bad guys,’ it’s much muddier than that. Shades of gray.”
Walt’s unplanned self-sacrifice in shielding Jesse from the bullet not only exposed what humanity was left in Walter White, but underlined the significance of their relationship, no matter how fractured. “[When] he hears that the blue meth is still out there, that Jesse is still cooking, it’s like, ‘That bastard! He convinced them to be a partner with him, he’s still cooking! I’ll kill everybody!’” says Cranston. “And then when I see him, the shred of humanity left in Walter White is exposed at that moment and he acts. So if there’s any redeeming quality to him from the standpoint of the audience, it’s that moment. He even allows Jesse to kill him. Jesse has the gun and he points at me, and he says, ‘You want this?’ And I go, ‘Yeah. I think it’s fitting. Go ahead. You need to do it, go ahead. It’s okay.’ And then he says, ‘If you want this, then do it yourself. I’m not going to do it for you.’ At least there was some conclusion to their association. Their friendship did matter. And it was because of that history and friendship, that was the basis of his impulsivity. Because otherwise it would just be, ‘Jesus, look at that guy, that poor bastard,’ but I’m not going to risk my life for some stranger. There is more than familiarity. It’s deep-rooted. And it’s so true. Because sometimes you don’t know the depth of what you feel until you’re tested. That’s why I think it’s a satisfying ending. It’s still true to Walter White. Because he always possessed that. But it’s not saccharine sweet. It’s not done out of ‘Ohhh, Jesse.’ It’s just … ‘Jesus.’ If anything, it makes me hate Jack even more for his brutality.”
Did Cranston feel that the meth lord-in-chief ultimately had to die to give many Breaking Bad fans the closure they were seeking? “Because of his love for his family, there was a thought of mine that, ‘Would it be a more perfect hell for him to have to see his family die – his wife, his son, baby daughter — and he lives?’” he says. “And there’s some merit to that too. But ultimately, I think this is the best ending. A real satisfying ending. And I’m so grateful for that.”
Breaking Bad will not only be remembered as a TV drama that went out on top — creatively, and in terms of popularity — but possibly as a game-changer for underdog TV shows. The second half of the fifth season premiered last month to a stunningly large audience for the long-struggling cult-favorite series, delivering a record 5.9 million viewers. A couple weeks ago, ratings notably rose to 6.4 million viewers. Then last week’s penultimate hour crept up to 6.6 million.
For the grand series finale Sunday night, Breaking Bad hit 10.3 million viewers, with a 5.2 rating among adults 18-49.
Let me explain how crazy that is. Do you know what the fourth season finale of Breaking Bad delivered a mere two years ago? That was the gripping “Face Off” episode that capped Walter vs. Gus’ deadly season-long chess game. Go on, guess…
The fourth season finale delivered only 1.9 million viewers. And at the time, that rating was actually considered good news. Because that was up 23 percent from season three. So two years and only 16 episodes later (since the fifth season was split into two runs of eight episodes each), Breaking Bad viewership has skyrocketed an astounding 442 percent.