In which the DEA catches a break, and Walter makes some changes.
Like the best criminals, real and fictional, Mike Ehrmantraut had a solid escape plan: fake documentation, stockpiled money, even a secret well to hide stuff in (even Tony Soprano didn’t have one of those). The only thing he really cared about was his Granddaughter, and with a pretty serious box of cash already stashed away for her, he was ready to disappear as needed. What he didn’t bank on was Walter White.
Throughout the season (and, really, the series), Mike has consistently underestimated Walt, in both his ability to escape from crazy situations and willingness to behave like an utter maniac. Chain him to the radiator, he’ll make an ad hoc blow torch. Tell him not to steal the methylamine, he’ll do it anyway. But plugging Mike in the gut as a response to an (completely fair and accurate) insult? That’s pretty rash, even for Walter White. Apart from the dead-on character assassination, what might rile Walt the most is the idea that things were better under Gustavo Fring. Walt’s murder of his old boss is perhaps his crowning criminal achievement; he did the unthinkable, taking out a man who seemed essentially invincible. The very notion that his master plan was a mistake is just too much for Walter to take. In the short lived partnership, Mike was forced to serve as the voice of reason, curbing Walt’s more insane instincts. With Mike dead, Walt is now unequivocally the boss – and having killed a man who pointed a gun at him so many times can only increase his already ludicrous levels of confidence.
And given the gusto with which he negotiates a new business arrangement at the top of the episode, his self belief is already dangerously high. He said last week that he’s in the empire business: this week, he compares himself to Coca Cola, in a series of equally boisterous boasts to his new business partners. The cold open (from which the episode gets its title) reflected the importance of name and reputation in the criminal world, a theme regularly touched upon in THE WIRE. Coming in, to these street smart gangsters, they’re just dealing with a bespectacled bald loudmouth, making ridiculous comparisons and unreasonable demands. He’s a decent chemist, sure, but nothing more than that; just a geek who knows his way around a lab. When Walter starts to list his credentials, though, it’s clear that his appearance is somewhat deceptive (another theme throughout the show). He’s not just some buffoon – he’s Heisenberg, a name he makes them say out loud, so sure is he that his reputation precedes him.
It’s a testament to BREAKING BAD’s skill and willingness to stare into darkness that the meth business is allowed to look exhilarating and terrifying in equal measures. Train heists and cook montages set to Monkees songs are fun and exciting, there’s no denying it. Child murder and meth addicts, not so much. This season has given us our best look into the running of a meth operation, and it’s the only time Walt now seems truly alive: in full Heisenberg mode, staring down a bunch of gangsters, saying what he wants, and getting it. It’s all he has left, he told Jesse last week, and that seems to be true.
Especially with Jesse out of the picture, or at the very least trying his hardest to get away from Walter. Mr White used to put a lot of effort into manipulating his protégé. In this episode, he simply brushes aside Jesse’s repeated requests to leave the business (“we’ll talk”), so sure is he that Jesse still remains right in his pocket. It seems like he doesn’t even give Jesse’s decision to walk away another thought until Jesse brings it back up again, at which point he tries to buy him off, like a dad keeping his kid sweet. In a funhouse mirror paternal scene, he offers Jesse a meth lab of his very own, ending: “why not? You deserve it”. But as soon as he realises that Jesse is truly on his way out, he switches from Mr White, chemistry teacher and father figure to Walt, the bully. This is Walt at his cruellest, taunting a young man whose destroyed future can be blamed in no small part on Walt himself. Seemingly, though, Jesse has finally seen through the facade, having witnessed too many broken promises, bloody situations, and dead children, none of which seem to bother Walt all that much.
And now that Walt is teamed up with kid-killing Todd, who takes diligent notes and defers payment until he’s perfected his meth technique, there’s no telling how dark he can get. The voice of conscience has walked, the voice of reason is dead. All that’s left is Heisenberg and an assistant, student and hit man rolled into one.
Other thoughts:
- Among the many things BREAKING BAD is great at is making up fake companies. Los Pollos Hermanos and Better Call Saul! are brilliantly designed, and now Vamonos Pest, with its fun bug logo. Really nice attention to detail.
- This show is singled out a lot for its great cinematography (and for good reason; this episode’s final shot is beautiful), but an unusual amount of effort goes into the more unsung sound design, too. The squeaking of the swing as the cops closed in on Mike was a great tension raiser, like Tio’s bell in previous seasons.
- Jonathan Banks was just fantastic this season, and never more than in this episode. Also, as dramatic as Mike’s final scene was, Walt’s angry stompy walk over to Mike’s car was really funny.
- “He would’ve had better luck with the law firm of Moe, Larry and Shemp”
