Breaking Bad Parting Thoughts

I just finished watching the final episodes of Breaking Bad & I want to blather about how the show ended. So...spoiler alert. I loved Breaking Bad. And I loved it despite the fact that there came a moment, probably during the third season, when I got really angry at it. I'd  loved Breaking Bad as an unlikely hero's journey. I must have thought the title was ironic, or humorous, rather than a plot summary.

I'd loved watching Walter grow stronger. Seeing him stand up for himself, develop a sense of pride--oh, that was satisfying. When I realized that Walt wasn't morally grey but, increasingly, utterly immoral, I was disappointed. I'd been rooting for him. I wanted to root for him.

But I couldn't.

So I had to reorient myself towards the show. It wasn't what I originally wanted, but I like Breaking Bad better for its uncompromising morality. For giving us characters that are complex and relatable--lovable--but never losing sight of the bottom line: certain things are wrong, no matter who's doing them or why.

So I was ready to see Walt get what he deserved. I knew that meant something terrible--that the show would end with his fall from grace. I was pretty sure he'd die. I figured he'd suffer before it happened. I couldn't guess what would happen to the other characters, but I'll tell you the truth: I hated a lot of them.

Hank and Marie, for example. Hank actually did become an unlikely hero, as the show hammered away at his thick crust of smug dickishness to unearth a bedrock of uncompromising good guy. But from that very first episode, when Hank is delighted to soak up the sunlight at Walt's birthday party, he understood his place in the family as #1 male. Whatever else he doubted about himself, he always had Walt to kick around.

When Hank confronts Walter White not as a whipping boy but as a nemesis, he isn't just determined to put a bad man behind bars. He wants to put Walter back in his place--as a lesser, a subordinate. His pride won't allow for anything else.

And, you know, when it comes to the DEA agent and the drug dealer, that's natural. Even if Hank's professional and personal impulses harmonize in an ugly way. But when his last words were, "You're the smartest guy I ever met, and you're too stupid to see--he made up his mind ten minutes ago," I was...not that sorry to see him die. Because five seasons down the line, Hank is still sounding the same note that he did at the beginning: no kind words without a 'but' at the end, taking them all away.

And Marie was worse. So much worse. Because she had all the attitude and none of the vocation. That scene in "Ozymandias" where Marie, having gotten a call from Hank that he'd arrested Walter, decides to march on down to the car wash and do a victory lap? She is so pleased to have won. She is so pleased to be in charge, dictating conditions, forcing her will on her sister.

Marie is there to rub it in. She wants to see Skyler fall apart. Her sister's naked pain is Marie's reward for all she's suffered. It makes her feel good. In miniature, that's the entire show: how fear and pride can make us cruel.

It struck me that as Walter became more and more evil, his flashes of goodness stood out. It was easy to focus on his better impulses because they were so extraordinary, in the sense of being...out of the ordinary, i.e., rare. With Hank and Marie, it's the opposite. They're both basically decent people, but it got so easy for me to focus on their petty impulses and small-mindedness.

My feelings about Skyler were more mixed. Because, again, I hated the way she treated Walt at the beginning. When she first finds out about his cancer diagnosis, she does not care at all what he wants. It's his life, and his death, and he should have a right to make his choices. But she wants him to get treatment, and he doesn't. So Skyler sets about bullying him to her point of view. She stages an intervention with her sister and brother-in-law--her allies, not his, people who are happy to bulldoze over Walt--because she knows he'll cave.

That's the status quo. That's Walt's ordinary world. Before the meth, before Skyler knew about the meth. And I hated it. So when the final season took us back to the backyard for a birthday celebration and Walter is going on about how grateful he is to Skyler, Hank & Marie for having convinced him to get treatment, I felt a certain vicious satisfaction. How does she like it when someone walks all over her? How does she like it when her wants and desires are just little nuisances to be batted aside so someone else can get his way?

But, oh, it made me heartsick as well. That moment when Skyler says, "I'm not your wife, I'm your hostage," with such bitter self-awareness. Her slow realization that she was powerless, that she was afraid, and how it weighed on her.

Whatever Skyler's misdeeds, she didn't deserve to have them fall back on her--let alone in such a terrifying, strengthened form. If the show did anything right, absolutely right, it was to show that 'an eye for an eye' is a foolish motto, that it can only lead to escalation and endless slaughter.

Which brings me back to Walt. His refrain this last season was: this is the last bad thing I'm going to do. After this, I'll wash my hands of evil. But, of course, he was wrong and with increasing frequency. His assurances grew shrill; his insistence that he only resorted to evil under duress, after exhausting all other options, grew unconvincing.

I think my single favorite line of the whole season was Mike's--when he says to Walter, "Just because you shot Jessie James, don't make you Jesse James." The show rushed us through two attempts to fill the void that Gus' death left. The Irish cooks led by Declan and then the white supremacists that Todd brought into the picture. Both of these gangs were thinly drawn, Declan and his gang especially, but they served a purpose.

If the show hadn't ended, they could have followed the Lydia/white supremacist clan with a third group, and then a fourth. One part of Walter White's fall from grace was the destruction of his myth. He wasn't special, he wasn't necessary. He did not change the business; the business changed him.

In the final episodes, Breaking Bad revealed the motivations (justifications?) that drove the entire show to be hollow and false.

I mean, in particular: money and family.

The show took it for granted that most people will do things they believe to be wrong, if you pay them enough. Maybe it only takes ten dollars. Maybe it takes ten thousand, or ten million. Money was the irresistible temptation. But by the end, every single one of the main characters had found a line in the sand, a place where money didn't matter at all. Where it was repellant.

When Walter Jr. says that he doesn't want his father's money. When Skyler says she doesn't want Walter's money. When Jessie tosses his millions out the window of his car, and drives off into the sunset penniless.

Walt crosses the line twice. First, when he offers to trade everything he's hoarded in exchange for Hank's life. He's desperate. The offer is sincere and clearly hard for him--a major sacrifice. He thinks he's doing something good, something moral, but it's hopeless. He can't redeem himself by buying someone's life. That's the poison talking. The belief he's developed, as a major player in a drug empire, that blood and money can be exchanged like currency.

The almost-very-last moment of the show, when Uncle Jack promises to lead Walter to the rest of his stash, is the second time Walter reaches that line in the sand. But it's the first when Walter really doesn't care about the money at all. It's the first time when money doesn't move him, or change his mind.

And the second thing. Family. It was very tempting, especially at first, to root for Walt because his intentions were good. Everything he did, he did for his family! Which is why it was so important, so necessary, that Walter have that final conversation with Skyler.

That's when Skyler and Walter Jr.'s anger is validated, clarified, by Walter's confession. Every time he said he'd committed a crime for 'his family', he was giving them a share of the responsibility and absolving himself. He was making them carry his burden. He takes full responsibility for his acts only once in the show, when he says, "I did it for me. I liked it. I was good at it."

By the end, Walter had become so terrible. A monster. A devil. Everyone who knew him rejected him, and that hurt him but didn't change him. He had passed the point of redemption. I thought, when he killed Mike or tried to sweet-talk Jesse into fleeing the country, that he might have passed the point of any self-awareness, too. A moment of clarity was the best I could have hoped for him. Not remorse--he showed none; he died committing murder; and that was absolutely right for him--but he had the moment of clarity, and that's made the episode work for me as a finale.

And Jesse.

I read a few complaints that Jesse was absent during the final season, or didn't have enough of a role to play. I was grateful. His repeated attempts to withdraw from the business, to give away his cash, to flee or turn witness made me hope he might survive. And I wanted him to survive.

I'd like to believe that his time in the cage, being forced to cook for the white supremacists, is all the punishment he's going to get.

And I like that when Walter passed him the gun, offered him the revenge he had to be craving, he didn't pick it up. He'd taken enough lives. He was done.

 

In

Fauxdori

The goal: make a passport-sized traveler's notebook in preparation for an upcoming trip to Chile. In retrospect, this was the simplest of craft projects. Hardly worthy of the name. But that means it would be easy to duplicate. My model was the Midori Traveler's Notebook. I don't buy leather products new, or else I would have just bought the Midori. But I'm a vegetarian so instead I scoured Etsy for vintage leather scraps and came up with this chocolate-colored leather that, if I'm guessing correctly, was once part of a  jacket.

Fauxdori
Fauxdori

I bought Midori innards for the notebook. The orange elastic and the tin tie along the spine are from a Midori repair kit.

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More Midori innards. Open up the leather flap & there's the passport-sized plastic zipper pocket.

Midori Itinerary
Midori Itinerary

I also got the Midori-brand kraft folder, but those are pretty easy to DIY & I found plenty of instructions on how by googling. But since I don't have any plain manila folders lying around, I'd have had to buy them. So, minimal savings for extra effort. Not worth it. I bought the folder.

Next is my current itinerary for the trip, printed out in booklet form. Date at the top and then all the travel details that I'll want to remember: hotel names and addresses, flight numbers and times. This is practical for me because I won't have access to wifi, so I can't count on my phone to hold all the data.

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The little passport-sized Midori notebook insert. Graph paper, because that's what I prefer, and opened to the stitching to show the orange elastic that holds the notebook to the leather cover, as well as the rubber band that secures the itinerary booklet to the whole. The essence of the Midori "system" (it's less than a 'system' but more than a 'notebook' -- a sort of rudimentary system) is that they sell elastics to band several notebooks together inside the case. That allows you to use several different notebooks at once, according to your needs. In my case: one notebook, an itinerary, and a passport. Midori sells special rubber bands but I passed on those.

I'll paperclip the current itinerary-date to an open page of the notebook. That way I'll always be able to flip between the current, pressing travel info and my most recent notes.

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The back of the zippered pocket and my passport.

So, in terms of 'crafting' here's what I had to do:

1. Buy leather.

2. Cut the leather to size.

3. Poke holes in the leather.

Pretty simple. It took very little time to actually make (especially compared to the amount of time I spent thinking about making it). Cost-wise, the DIY aspect makes it easy to adjust. A new Midori-branded cover costs $50, but I paid $10 for the leather I bought. The accessories add up, if you buy them all from Midori, and the slim little notebook inserts aren't cheap. But most of those are easy to make by hand; and if you make your own cover, you can tailor the size to fit your preferred brand of notebook. (Mine, of course, is sized to my passport, so the passport-sized Midori products were perfect).

I'm tempted to add bells & whistles, because this was just so simple--and, in fact, I probably will add a Leuchtterm pen loop--but I don't want to bulk it up any further. The idea is that I'll tuck it into my high-security camera bag while I'm traveling & keep it on me at all times.

The interesting part will be comparing how I set up the notebook now, before the trip, and what it looks like at the end. How it holds up, what I modify. Before & after pictures will be fun. I settled on the Midori because it solves the problems I ran into during my last long trip, when I went to India, and I had to juggle on-the-go arrangements with advance bookings. I want to be able to slip maps into the kraft folder, business cards into the zippered pocket, write down directions and other bits of advice, while always having confirmed plans at my fingertips.

I'm going to make a separate notebook for on-the-go journaling. I've collected some patterned cloth for the interior and vinyl for the exterior. I'll probably make it along the same lines as the Midori, but without the 'accessories' & in a larger size (closer to 5 x 8 inches).

Interested in buying a Traveler's Notebook or the accessories? I like the Goulets.

Wondering why I've been so obsessively drooling over Midori Traveler's Notebooks in recent days? Check out the Flickr pool.

In

Scrabble

I used to be really bad at Scrabble, because I thought it was a word game. I thought the goal was to make the most interesting words or the longest words. Maybe themed words. I lost every time, and I never understood why. Hadn't I made some very nice words? Shouldn't that strategy lead me to victory...sometimes? My Scrabble performance improved instantly and dramatically with one, key realization. Scrabble is not a word game. It's a math game. It's a game about scoring points. The most important aspect of a letter tile is the little point score in the corner. That number can be added or multiplied by its placement on the board. A 'Z' is worth 10 points. That's good. A 'Z' on a triple letter score tile is worth 30 points. That's better.

So, for example, 'zephyr' is a nice word. A pretty word. An impressive word to form from a pool of seven tiles. But play it without any multipliers, and it's worth 10+1+3+4+4+1=23 points. 23 points is nothing special in Scrabble.

But 'zoos', which is a boring and short word, could be positioned to cover a triple word tile and a triple letter tile, and so worth 30+1+1+1=33x3=99 points. Four times as much.

I think life can be like that sometimes. You think you understand what it's all about, you think you understand the goal, when really all you're meant to be doing is scoring points.

 

 

In

Tableaux

I can go for an awfully long time without seeing, first-hand, anything truly memorable. But over the past month or so, I've witnessed three things that run on loops in my brain-cinema. Tableau #1:

I was driving home at night. I live on a farm. It's rural. There are ditches alongside most roads, and no streetlamps. I drive at night using my brights. So the brights are what flashed on this scene, like a spotlight in the blackness:

A car in a ditch. Tipped lengthwise. Smoke coming from the hood, everything bleached of color. The rear door opening and closing, opening and closing, as someone inside struggled to get out.

I stopped to offer help. I got into an accident about a year ago, and every car that drove by stopped, and the person inside asked if I needed help. I think that rural America is ugly in a lot of ways that I'm more familiar with now than I was when I lived in California or New York, but I'll never forget that.

As it happens, I wasn't the first person to offer, my help was unnecessary, and the people in the ditched car were fine.

Tableau #2

I was driving down my own little country road in the morning. There was a lump on the asphalt. I got closer and realized it was a live raccoon, curled up into a little ball. It looked up at me as I drove up alongside it. We looked at one another. I have never seen a raccoon so still and quiet before, and I'm a sucker for critters. I thought we were having a moment.

Then it scrambled into a ditch, using only its two front paws. I couldn't see where it had been wounded, and I didn't see any blood, but it hadn't been sitting still on the road for fun. There was no moment; it had been terrified. I spent the rest of the day wondering when and where it would die.

Tableau #3

I was in town this time. The nice part of town, which is more quaint than anything. You know. Victorianish houses, lawns, trees. I turned the corner and saw black smoke billowing up in front of me. So much smoke. And huge flames.

I pulled over. There were one or two people on the street. No cops, no ambulance, no orange cones or tape. I called 911. "There's a car on fire, right in front of me." "Are you sure it's not a motorcycle?" "I'm still about a block away. It looks like a car." "Thanks for calling, we know."

When I heard motorcycle I thought: I just can't look anymore. I don't want to know what I am not seeing, and I am glad there's a car in front of the wreck. So I did a three point turn and left.

But then I arrived at my destination, which had a view of the corner where the flames had been from an upstairs window. By the time I arrived, ten minutes later, the firetruck was already pulling away. So I looked.

Just ashes. I think someone hit a parked motorcycle? That's what I'm going to believe, anyhow.

In

Coulda, Shoulda, Woulda

So I've been reading Game of Thrones by GRR Martin. Like everyone else. I'm a fan of the HBO series, and so far the show tracks pretty closely to the book. That makes the reading experience very interesting -- on the one hand, I have never before read these words in this order. On the other, I know what's going to happen. It's nice to know who will die in advance, to be honest; I started grieving on page 1, and that makes it easier. And, armed with foreknowledge, I've had plenty of time to appreciate how skillful GRR Martin's plotting is. (Amazingly skillful).

But this blog entry really has a slightly different point. I've spent a fair bit of time browsing the reviews for Game of Thrones. I've waffled about reading the books for years; both the negative and positive reviews make persuasive arguments. The TV show finally has me so hooked that I couldn't resist.

One of the frequent complaints in reviews is that the book ought to have been shorter. Reviewers point out that descriptions could be trimmed, repetition eliminated, without any great cost to the integrity of the book. They're right. When I read a whole paragraph listing the names of the knights that competed at a tourney, or elaborate descriptions of meals that name every ingredient, I often find myself thinking, "Hmm, this is exactly the sort of thing I've been taught to snip snip snip."

That stuff could be cut. I don't need to know about firepeppers to understand the Dothraki. The story and the characters and, basically, the world would make sense without firepeppers. But does that mean they should be cut? I don't think so.

Yes, GRR Martin writes more words than are absolutely necessary to get across his point. And not always the most elegant, beautifully phrased words. But they add up to a deep sense of immersion in an alternate reality. Westeros feels real. The scope of the story is huge, yet every detail has been filled in. The characters, the story they're creating through their actions, feels epic.

Slashing at the manuscript with a red pen won't make GRR Martin a beautiful writer. He's not a stylist. On a pure craft level, he's average. A slimming regime might result in a marginal improvement, no more. The potential cost, however, is very high. When would the cutting start to diminish the things that GRR Martin does so marvelously well? The worldbuilding, the sense of immersion, the characters who interact with one another, with their environments, with the heritage that dictates how they perceive both.

These are questions that editors have the job of worrying about, I suppose. But as a writer, I find it pretty interesting too. I see the weaknesses as I read, and I don't care. Because he's just that good, and the thing that he's accomplishing is much more impressive than those flaws are irritating. The details build the world, and I want to be there and experience it. The repetition keeps me from becoming confused in a tremendously complex book with a huge cast of characters. As far as I'm concerned, it's all for the greater good.

In