'Breaking Bad' premiere explores the nature of power
'Breaking Bad' teases the direction of the upcoming fifth season in its premiere.
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While ‘Live Free or Die’ excels in teasing the audience with the season’s larger, more ambiguous direction, the episode also handles the fallout of season 4 with a deftness that makes it seem as though Gustavo ‘Gus’ Fring (Giancarlo Esposito) exited the series just last week. Walt’s conversation with Walt Jr. (RJ Mitte) – in the scene released prior to the season premiere – manages to somehow resurrect the intensity of ‘Face Off’ without resorting to any kind of hokey mid-scene flashback reminding the viewer just how dire the circumstances were. Instead, it simply offers the season 4 phone call between Walt and Skyler as a sort of abridged version of the events that occurred beforehand.Skip to next paragraph
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Even with the intensity of last season’s finale fresh on everyone’s mind, Cranston manages – in his own skillful manner – to clearly define the tonal shift in Walt, now that he’s moved into the post-Gustavo world. Gone is the frightened, desperate man who detonated a bomb in a nursing home and poisoned a small child to regain the trust of his partner. In his place, Cranston has breathed new life into the kind of fierce Walter who sought to defend his territory against would-be cookers in a parking lot.
That same bravado is on display throughout the present-day scenes. Walter White is on the top of the world, but he’s finding it a very lonely place. Walt Jr. is enamored with his uncle Hank (Dean Norris), and Skyler readily admits she’s now frightened of the man her husband has become. In fact, when he’s at home, Walt’s forced to toast himself in the mirror and enjoy a congratulatory drink by his lonesome. Perhaps that is why, even when facing down the gun of an angry Mike Ehrmantraut (Jonathan Banks), he doesn’t even flinch. Despite Mike’s eagerness to kill him – and with Jesse professing his allegiance – it’s only in that company that Walt feels he’s truly amongst people who understand him.
The marketing campaign of “All Hail the King“ is incredibly accurate. Walter White has in fact ascended to the throne. He displays the kind of self-assuredness that comes when one believes he is truly predestined to the role he’s taken.
When Walt orchestrates the destruction of Gus’ laptop by buying a giant magnet from Old Joe (Larry Hankin) and using it through the wall of a police evidence room, Mike asks if he’s supposed to accept that the mission was a success on faith. Walt simply tells him it worked because he says it did. It’s the kind of answer one gives to a pestering child, or a person one deems to be beneath them – as the ruling class might look upon the peasants who do their bidding. A thing is because the king says it is.
However, it’s not until the episode’s end that Walt truly understands, or perhaps accepts, his place in the new power structure he’s created. And what an embrace it is. After assuring (read: threatening) Saul Goodman (Bob Odenkirk) that his lawyerly work will still be required under this new regime, Walt comes home to Skyler, making her aware that he’s been completely briefed on the Ted Beneke (Christopher Cousins) situation. With fearsome deliberation, Walt holds his wife close and tells her she is forgiven.
As things stand, in the world of Breaking Bad, the power to forgive or condemn, kill or set free belongs to one man. For the time being at least, Walter White finds himself wearing the crown.
In many ways, Gilligan’s cryptic declaration that things will change heightens the significance of Walter’s shifting demeanor. By hinting at the transitory nature of power – and of course its corruptive properties – Gilligan has seemingly brought a core element of his program full circle, stating: everything in life, including life itself, is fleeting. Best grab what you can before it comes time to check out.
Kevin Yeoman blogs at Screen Rant.
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