WEBVTT 00:00:00.000 --> 00:00:02.500 Welcome back to the deep dive. Glad to be here. 00:00:02.740 --> 00:00:05.980 So, you know, there's this very specific kind 00:00:05.980 --> 00:00:08.160 of nightmare that nobody really talks about. 00:00:08.240 --> 00:00:11.119 Right. We are so culturally obsessed with the 00:00:11.119 --> 00:00:13.960 nightmare of dying. You know, the diagnosis, 00:00:14.140 --> 00:00:17.219 the deadline, the absolute terror of the end. 00:00:17.460 --> 00:00:20.699 The ticking clock. Exactly. But we rarely talk 00:00:20.699 --> 00:00:23.019 about the psychological nightmare of living when 00:00:23.019 --> 00:00:26.079 you were when you were absolutely 100 percent 00:00:26.079 --> 00:00:27.980 certain you were going to die. The survivor's 00:00:27.980 --> 00:00:31.570 trap. It's a completely fascinating psychological 00:00:31.570 --> 00:00:35.189 space to be in. It really is, because you mentally 00:00:35.189 --> 00:00:39.009 cash out your 401k, you say your internal goodbyes, 00:00:39.090 --> 00:00:41.350 you burn all those bridges you don't think you'll 00:00:41.350 --> 00:00:43.350 ever need to cross again. Right. And then the 00:00:43.350 --> 00:00:45.329 doctor walks in and just says, hey, good news, 00:00:45.350 --> 00:00:47.770 you have another 30 years. And suddenly you're 00:00:47.770 --> 00:00:49.909 standing in the middle of a scorched earth landscape 00:00:49.909 --> 00:00:53.130 that you burn down yourself. Yeah. Holding a 00:00:53.130 --> 00:00:56.250 gas can. And you have to figure out how to replant 00:00:56.250 --> 00:00:59.109 the crops. That is exactly it. And that is a 00:00:59.109 --> 00:01:01.030 terrifying premise of the file we are opening 00:01:01.030 --> 00:01:03.929 today. We're doing a deep dive into Breaking 00:01:03.929 --> 00:01:07.890 Bad, Season 2, Episode 10. The title is over. 00:01:08.250 --> 00:01:11.090 Just over. Just over. And frankly, I really think 00:01:11.090 --> 00:01:12.969 this might be the most psychologically violent 00:01:12.969 --> 00:01:15.870 moment in the entire series, even though, spoiler 00:01:15.870 --> 00:01:18.469 alert, nobody actually gets shot. Well, that's 00:01:18.469 --> 00:01:20.870 a bold claim. I know, I know. Considering we 00:01:20.870 --> 00:01:23.170 have episodes in this show where people are literally 00:01:23.170 --> 00:01:26.829 dissolved in acid or blown up in nursing homes. 00:01:26.950 --> 00:01:30.010 Fair play. I am totally inclined to agree with 00:01:30.010 --> 00:01:32.430 you here. This episode, which originally aired 00:01:32.430 --> 00:01:35.629 on May 10th, 2009, which is right when the global 00:01:35.629 --> 00:01:37.790 economy was also realizing the party was over, 00:01:37.969 --> 00:01:40.569 by the way. Oh, man, what timing. But it is the 00:01:40.569 --> 00:01:42.590 pivot point. It is the moment Walter White looks 00:01:42.590 --> 00:01:44.989 at the exit door, the happy ending, and he just 00:01:44.989 --> 00:01:46.950 decides to bolt his shot. Yeah, he locks himself 00:01:46.950 --> 00:01:49.310 in. And it was written by Moira Wally Beckett. 00:01:49.439 --> 00:01:52.219 who famously wrote Ozymandias later on in the 00:01:52.219 --> 00:01:54.599 series. Yes. You can totally see her fingerprints 00:01:54.599 --> 00:01:56.859 all over this script. She seems to just love 00:01:56.859 --> 00:01:59.420 stripping Walt of his excuses layer by layer. 00:01:59.560 --> 00:02:02.040 She really does. And the context is key here 00:02:02.040 --> 00:02:04.500 for you listening. This episode is sandwiched 00:02:04.500 --> 00:02:07.500 right between four days out. Which was incredible. 00:02:07.739 --> 00:02:09.620 Right. That intense survivalist horror movie 00:02:09.620 --> 00:02:11.439 in the desert where they almost died of thirst. 00:02:11.840 --> 00:02:15.659 And then the next episode is Mandala, which introduces 00:02:15.659 --> 00:02:18.060 Gus Fring and the whole corporate side of the 00:02:18.060 --> 00:02:21.789 drug trade. So, over is the bridge. It's the 00:02:21.789 --> 00:02:24.250 bridge, but it is a bridge carrying a massive 00:02:24.250 --> 00:02:26.409 amount of structural weight. Let's unpack that 00:02:26.409 --> 00:02:29.710 title, over. On the surface, it seems celebratory, 00:02:29.930 --> 00:02:32.530 right? The cancer threat is over. The need to 00:02:32.530 --> 00:02:34.750 cook meth is over. But the deeper you look into 00:02:34.750 --> 00:02:36.409 the episode, the more it feels like a threat. 00:02:37.210 --> 00:02:40.449 What exactly is over? Is it the danger, or is 00:02:40.449 --> 00:02:42.650 it the excuse? That is the hook right there. 00:02:42.949 --> 00:02:45.490 We are dealing with what... should be the best 00:02:45.490 --> 00:02:48.189 news possible, remission. Yet this good news 00:02:48.189 --> 00:02:50.810 triggers a much darker psychological spiral for 00:02:50.810 --> 00:02:53.590 Walter White than the bad news of the diagnosis 00:02:53.590 --> 00:02:56.370 ever did. It's the vacuum effect. When you live 00:02:56.370 --> 00:02:58.590 the death sentence, you have a singular purpose, 00:02:59.129 --> 00:03:01.590 survival and provision. It is a teleological 00:03:01.590 --> 00:03:04.389 existence. Everything is driven by a very clear 00:03:04.389 --> 00:03:07.590 end goal. When that sentence is lifted, the goal 00:03:07.590 --> 00:03:10.050 just vanishes. You have to face the life you've 00:03:10.050 --> 00:03:12.610 actually built. And for Walt, that life is becoming 00:03:12.610 --> 00:03:15.849 completely unrecognizable. Exactly. So our mission 00:03:15.849 --> 00:03:18.370 for this deep dive is to analyze exactly how 00:03:18.370 --> 00:03:20.990 Walter White handles the sudden loss of his noble 00:03:20.990 --> 00:03:23.449 cause. We're going to look at how that vacuum 00:03:23.449 --> 00:03:26.090 of purpose leads him to one of the most famous 00:03:26.090 --> 00:03:28.150 lines in television history. And we're going 00:03:28.150 --> 00:03:30.490 to see how the rot isn't just in the floorboards 00:03:30.490 --> 00:03:32.750 of his house. It's absolutely everywhere. So 00:03:32.750 --> 00:03:35.169 let's get into it. The remission and the reaction. 00:03:35.550 --> 00:03:37.210 The episode kicks off right where we want to 00:03:37.210 --> 00:03:40.629 be. The oncologist's office. The scan results 00:03:40.629 --> 00:03:44.370 are in, and the news is objectively miraculous. 00:03:44.669 --> 00:03:49.069 It is. The tumor has shrunk by 80%. 80%. Which, 00:03:49.270 --> 00:03:51.870 in the world of stage 3, a lung cancer is basically 00:03:51.870 --> 00:03:54.289 winning the lottery. It is legitimate remission. 00:03:54.550 --> 00:03:56.629 Right. And looking at the scene, the sound design 00:03:56.629 --> 00:03:59.969 is so crucial. Usually when a character gets 00:03:59.969 --> 00:04:02.430 good news in a medical drama, you know, the music 00:04:02.430 --> 00:04:05.349 swells. The lighting softens, everyone hugs. 00:04:05.530 --> 00:04:07.870 Yeah, it's a huge release of tension. But here 00:04:07.870 --> 00:04:11.949 the room feels sterile. It's cold. And look at 00:04:11.949 --> 00:04:15.310 the reaction of the family. Skyler, Walter Jr. 00:04:15.590 --> 00:04:18.850 They are ecstatic. They're thrilled. There are 00:04:18.850 --> 00:04:21.149 tears. There's hugging. It is the moment they 00:04:21.149 --> 00:04:23.910 have been praying for. But then the camera just 00:04:23.910 --> 00:04:26.160 lingers on Walt. And that is where it gets really 00:04:26.160 --> 00:04:28.860 unsettling. Because Walt isn't cheering. He isn't 00:04:28.860 --> 00:04:32.459 crying tears of joy. If you watch Bryan Cranston's 00:04:32.459 --> 00:04:35.319 face when the doctor shows the scan, he creates 00:04:35.319 --> 00:04:38.639 this tiny micro expression of, I don't know, 00:04:38.959 --> 00:04:40.519 annoyance. Annoyance, yeah. It's almost like 00:04:40.519 --> 00:04:43.180 he's insulted or trapped. Trapped is a great 00:04:43.180 --> 00:04:44.980 word for it. There's actually a sociological 00:04:44.980 --> 00:04:47.620 concept called the sick roll. It was coined by 00:04:47.620 --> 00:04:50.639 Talcott Parsons back in the 50s. OK. Basically, 00:04:50.939 --> 00:04:53.170 being sick. gives you social permission to opt 00:04:53.170 --> 00:04:55.610 out of normal responsibilities. You don't have 00:04:55.610 --> 00:04:58.889 to be a good employee or a boring dad or a law 00:04:58.889 --> 00:05:01.430 -abiding citizen. You just have to survive. Wow. 00:05:01.610 --> 00:05:04.029 So the cancer was his permission slip? It was 00:05:04.029 --> 00:05:06.649 his shield. He could say, I can cook meth because 00:05:06.649 --> 00:05:09.329 I'm dying. I can kill crazy eight because I'm 00:05:09.329 --> 00:05:11.490 dying. Right. I'm doing it for my family. The 00:05:11.490 --> 00:05:13.910 remission rips that shield away completely. If 00:05:13.910 --> 00:05:16.129 you aren't dying, you're just a criminal. You're 00:05:16.129 --> 00:05:19.050 just a bad person making bad choices. That explains 00:05:19.050 --> 00:05:21.850 the bathroom scene immediately after that. He 00:05:21.850 --> 00:05:24.050 goes into the hospital bathroom, he washes his 00:05:24.050 --> 00:05:26.870 hands, and he sees his reflection in that distorted 00:05:26.870 --> 00:05:29.470 metal towel dispenser. And he just starts punching 00:05:29.470 --> 00:05:31.829 it. He is furious. He beats the hell out of it. 00:05:32.050 --> 00:05:34.689 A normal person would be praising God or calling 00:05:34.689 --> 00:05:37.629 their friends. Walt is punching a metal box until 00:05:37.629 --> 00:05:40.370 his knuckles bleed. It's not relief washing over 00:05:40.370 --> 00:05:42.930 him. It's the return of accountability. And notice 00:05:42.930 --> 00:05:45.129 the visual composition of that bathroom scene 00:05:45.129 --> 00:05:47.850 you mentioned. The reflection is warped. You're 00:05:47.850 --> 00:05:50.089 seeing Walt's self -image fracturing in real 00:05:50.089 --> 00:05:52.009 time. He doesn't recognize the man who isn't 00:05:52.009 --> 00:05:54.870 dying. Yeah. He prepared to die a martyr. Now 00:05:54.870 --> 00:05:57.689 he has to live as a what? A retired chemistry 00:05:57.689 --> 00:05:59.829 teacher with a really dark secret? That's just 00:05:59.829 --> 00:06:01.889 not enough for him anymore. He comes out and 00:06:01.889 --> 00:06:05.329 Skyler, who is just overflowing with hope, she 00:06:05.329 --> 00:06:08.430 suggests he take a week off work to process it, 00:06:08.470 --> 00:06:11.329 to celebrate. He agrees, but his demeanor is 00:06:11.329 --> 00:06:14.069 just completely off. He seems adrift. He's a 00:06:14.069 --> 00:06:17.050 soldier coming home from a war he actually enjoyed, 00:06:17.310 --> 00:06:19.069 only to find out he has to go back to filing 00:06:19.069 --> 00:06:21.990 taxes. That is a perfect analogy. He immediately 00:06:21.990 --> 00:06:24.930 tries to tie up Lucens, which feels way more 00:06:24.930 --> 00:06:26.870 like he's closing a business than celebrating 00:06:26.870 --> 00:06:30.209 a life. He meets Jesse to deliver the news. Right. 00:06:30.430 --> 00:06:32.949 And note the location. They are in the lab. They're 00:06:32.949 --> 00:06:35.949 out in the open, but it feels incredibly clandestine. 00:06:36.250 --> 00:06:39.029 Walt tells Jesse the news, and then he makes 00:06:39.029 --> 00:06:42.089 his declaration. He is out. He literally says, 00:06:42.519 --> 00:06:45.519 I'm out. Yeah. Pay attention to the reasoning. 00:06:46.199 --> 00:06:49.180 It is purely financial. He says he no longer 00:06:49.180 --> 00:06:51.600 needs to pay for the treatment, so the chronal 00:06:51.600 --> 00:06:53.839 enterprise is finished. It's so transactional. 00:06:53.860 --> 00:06:56.000 He doesn't say, hey, man, I'm out because this 00:06:56.000 --> 00:06:58.180 is dangerous, or I'm out because I almost got 00:06:58.180 --> 00:07:00.399 us killed in the desert last week. Right. He 00:07:00.399 --> 00:07:02.319 says the ledger is balanced. I don't need the 00:07:02.319 --> 00:07:05.439 cash for chemo, so the job is done. Which completely 00:07:05.439 --> 00:07:08.000 ignores Jesse's position. Completely. Jesse's 00:07:08.000 --> 00:07:09.579 standing there looking like a puppy that just 00:07:09.579 --> 00:07:11.839 got kicked. He does. For Jesse, this has become 00:07:11.839 --> 00:07:14.480 his life. It's his identity too. They went through 00:07:14.480 --> 00:07:17.079 hell together in the previous episode, and wall 00:07:17.079 --> 00:07:19.120 - Walt just discards it like a temp job he doesn't 00:07:19.120 --> 00:07:21.959 need anymore. It really highlights Walt's narcissism. 00:07:23.040 --> 00:07:26.660 He views Jesse as a tool. If the job is done, 00:07:27.019 --> 00:07:29.220 you put the tool back in the toolbox. He doesn't 00:07:29.220 --> 00:07:31.639 realize or he just doesn't care that the tool 00:07:31.639 --> 00:07:34.779 has feelings. So Walt tries to return to a normal 00:07:34.779 --> 00:07:39.439 life. to a suburban dad existence. But it's like 00:07:39.439 --> 00:07:41.579 trying to put on a suit that's three sizes too 00:07:41.579 --> 00:07:43.379 small. It just doesn't fit him anymore. He's 00:07:43.379 --> 00:07:45.860 restless. He's highly agitated. He has all this 00:07:45.860 --> 00:07:48.180 adrenaline, all this cortisol that used to go 00:07:48.180 --> 00:07:50.600 into survival mode and cooking meth, and now 00:07:50.600 --> 00:07:52.540 it has nowhere to go. And that energy, it has 00:07:52.540 --> 00:07:54.819 to go somewhere. Physics tells us energy cannot 00:07:54.819 --> 00:07:57.420 be created or destroyed, only transferred. Which 00:07:57.420 --> 00:07:59.680 leads us perfectly into the transfer of that 00:07:59.680 --> 00:08:03.399 energy, the party from hell. Oh, God. The tequila 00:08:03.399 --> 00:08:05.750 incident. Let's get into it. Skylar throws a 00:08:05.750 --> 00:08:08.050 party to celebrate the remission. On the surface, 00:08:08.189 --> 00:08:10.490 it's a standard suburban gathering. Plastic cups, 00:08:10.850 --> 00:08:13.329 dip, friends and family. But the atmosphere is 00:08:13.329 --> 00:08:15.389 so thick you could cut it with a knife. It's 00:08:15.389 --> 00:08:19.470 suffocating. The lighting is that harsh, oversaturated 00:08:19.470 --> 00:08:22.339 New Mexico sun. Everything looks too bright. 00:08:22.519 --> 00:08:25.459 It's almost nauseatingly cheerful. It completely 00:08:25.459 --> 00:08:27.839 clashes with Walt's internal state. And it all 00:08:27.839 --> 00:08:30.279 centers on the pool. We have this triad of men 00:08:30.279 --> 00:08:33.399 sitting there, Walt, Hank, and Walter Jr. The 00:08:33.399 --> 00:08:35.720 father, the son, and the uncle. Yeah. But look 00:08:35.720 --> 00:08:38.710 at the archetypes. Hank is the hero. He's the 00:08:38.710 --> 00:08:41.789 DEA agent. He's the alpha male, the guy with 00:08:41.789 --> 00:08:44.389 the wild war stories. He's holding court. And 00:08:44.389 --> 00:08:47.090 Walt is sitting there in his boring beige outfit, 00:08:47.289 --> 00:08:49.710 just simmering. He's so jealous. He's jealous 00:08:49.710 --> 00:08:52.190 because Hank is occupying the space of the cool 00:08:52.190 --> 00:08:55.009 dad. Hank is making junior laugh. Hank is the 00:08:55.009 --> 00:08:57.830 protector. Walt feels totally emasculated in 00:08:57.830 --> 00:09:00.210 his own backyard. So Walt grabs the bottle. By 00:09:00.210 --> 00:09:02.049 the way, does anyone track the brand of that 00:09:02.049 --> 00:09:04.830 tequila? Oh, it's Sapphiro and Yeho. It's a fictional 00:09:04.830 --> 00:09:06.809 brand created specifically specifically for the 00:09:06.809 --> 00:09:08.649 Breaking Bad universe. It has that signature 00:09:08.649 --> 00:09:11.789 copper agave stopper. Which is such a cool detail 00:09:11.789 --> 00:09:14.350 because that exact same brand shows up later 00:09:14.350 --> 00:09:16.470 in Better Call Saul. Yes, it does. And it plays 00:09:16.470 --> 00:09:19.590 a huge role in Gus Fring's story. It's a poison 00:09:19.590 --> 00:09:22.250 pill, essentially. Right. The prop itself signals 00:09:22.250 --> 00:09:25.629 death. It's brilliant. So Walt pours a drink 00:09:25.629 --> 00:09:27.370 for himself, one for Hank, and then he pours 00:09:27.370 --> 00:09:31.769 one for Junior. Who is 16 years old. Now, a sip 00:09:31.769 --> 00:09:34.870 for a teenager at a family party. Maybe not a 00:09:34.870 --> 00:09:37.870 huge deal in some households. But Walt doesn't 00:09:37.870 --> 00:09:41.090 stop at a sip. He pours a full glass. And Hank, 00:09:41.649 --> 00:09:43.250 trying to be the responsible voice of reason 00:09:43.250 --> 00:09:46.029 and also maybe sensing Walt's weird vibe, says, 00:09:46.129 --> 00:09:48.450 whoa, ease up. And he tries to cap the bottle. 00:09:48.590 --> 00:09:51.169 And that phrase, ease up. That is the trigger. 00:09:51.210 --> 00:09:53.649 Yeah. That harmless little phrase completely 00:09:53.649 --> 00:09:56.929 emasculates Walt in his own house by the guy 00:09:56.929 --> 00:09:58.629 who sleeps with his sister -in -law. Yeah. By 00:09:58.629 --> 00:10:00.649 the guy who thinks Walt is just a fragile, boring 00:10:00.649 --> 00:10:04.159 teacher. No. The switch flips. Walt pours an 00:10:04.159 --> 00:10:06.039 excessive amount. He's staring right at Hank 00:10:06.039 --> 00:10:08.320 while he does it. It's aggressive. It is a direct 00:10:08.320 --> 00:10:10.139 challenge. Hank eventually takes the bottle away, 00:10:10.159 --> 00:10:12.440 trying to deescalate the situation. He lasts 00:10:12.440 --> 00:10:14.000 it off initially, you know, trying to keep it 00:10:14.000 --> 00:10:16.600 light, but then he gets serious. And Walt just 00:10:16.600 --> 00:10:18.960 explodes. He angrily bands the bottle back. He 00:10:18.960 --> 00:10:22.940 says, my son, my bottle, my house. The rhythm 00:10:22.940 --> 00:10:25.580 of that. My house. It's territorial marking. 00:10:25.759 --> 00:10:28.879 It's primal. But the real tragedy is who gets 00:10:28.879 --> 00:10:31.419 caught in the middle? Walter Junior tries to 00:10:31.419 --> 00:10:33.919 keep up. He tries to please his dad, to drink 00:10:33.919 --> 00:10:36.860 the tequila, to prove he's a man, to defuse the 00:10:36.860 --> 00:10:39.460 tension. And the result is, well, it's visceral. 00:10:39.879 --> 00:10:41.899 Junior vomits right into the pool. It breaks 00:10:41.899 --> 00:10:45.320 the tension, sure, but it ruins the moment completely. 00:10:45.679 --> 00:10:48.519 It humiliates Junior, it alienates Skyler, and 00:10:48.519 --> 00:10:51.580 it exposes Walt. The cringe factor is just off 00:10:51.580 --> 00:10:53.620 the charts. It's abusive. Let's call it what 00:10:53.620 --> 00:10:56.440 it is. He's using his own son as a pawn to win 00:10:56.440 --> 00:10:59.139 a staring contest with Hank. It is abusive. But 00:10:59.139 --> 00:11:01.860 it's also the very first time Walt publicly wears 00:11:01.860 --> 00:11:04.340 the Heisenberg mask in front of his family. The 00:11:04.340 --> 00:11:06.179 shambling monster that usually stays out in the 00:11:06.179 --> 00:11:08.419 RV or out in the desert is now sitting by the 00:11:08.419 --> 00:11:11.139 pool. And he's drunk on power, not just tequila. 00:11:11.460 --> 00:11:14.860 And the aftermath. Skyler's furious. She refuses 00:11:14.860 --> 00:11:16.940 to answer Walt's apology calls. She's giving 00:11:16.940 --> 00:11:18.960 him the silent treatment, and rightfully so. 00:11:19.100 --> 00:11:21.279 The morning after is stark. The party lights 00:11:21.279 --> 00:11:24.139 are down. The hangover, both physical and emotional, 00:11:24.200 --> 00:11:27.039 is incredibly real. Walt is left completely alone 00:11:27.039 --> 00:11:29.970 in that house. The silence is deafening. He needs 00:11:29.970 --> 00:11:31.929 a distraction. He needs to control something 00:11:31.929 --> 00:11:33.649 since he clearly couldn't control the party. 00:11:34.190 --> 00:11:36.570 So he goes on a home improvement spree. He buys 00:11:36.570 --> 00:11:39.470 a new water heater. And note the source of the 00:11:39.470 --> 00:11:42.570 funds for this. He uses his drug money. Right. 00:11:42.730 --> 00:11:44.929 It's tucked away in the air vent. He's using 00:11:44.929 --> 00:11:48.470 illicit cash to perform mundane suburban maintenance. 00:11:48.789 --> 00:11:50.870 It's a desperate attempt to launder his life, 00:11:51.110 --> 00:11:54.210 not just his money. It's like he thinks if I 00:11:54.210 --> 00:11:57.220 fix the house, I fix the family. Exactly. But 00:11:57.220 --> 00:11:59.580 while he's installing this heater, he notices 00:11:59.580 --> 00:12:02.299 something. Rot. Wood rot in the floorboard. A 00:12:02.299 --> 00:12:05.360 fungus. A decay spreading in the dark underneath 00:12:05.360 --> 00:12:07.740 everything. And a normal person might patch it 00:12:07.740 --> 00:12:11.679 or maybe call a contractor. But Walt, he goes 00:12:11.679 --> 00:12:14.539 completely manic. He tears the house apart. He 00:12:14.539 --> 00:12:17.519 buys a saw. He buys lumber. He creates an entire 00:12:17.519 --> 00:12:20.080 crawl space. He's obsessively sawing and drilling. 00:12:20.200 --> 00:12:22.299 The sound design is so aggressive. The screeching 00:12:22.299 --> 00:12:24.840 of the saw, the tearing of the wood. It's grating. 00:12:25.039 --> 00:12:28.240 The symbolism here is, well, it's not subtle, 00:12:29.000 --> 00:12:33.259 but it is very powerful. It's potent. The physical 00:12:33.259 --> 00:12:35.860 rot perfectly mirrors the moral and familial 00:12:35.860 --> 00:12:39.179 rot. The foundation of the house is decaying, 00:12:39.279 --> 00:12:41.279 just like the foundation of his marriage and 00:12:41.279 --> 00:12:43.379 his relationship with his son. And his obsession 00:12:43.379 --> 00:12:46.200 with fixing it, it's projection, right? 100%. 00:12:46.200 --> 00:12:48.519 He thinks if he can just cut out the bad wood, 00:12:48.879 --> 00:12:51.240 the structure will hold. But he's completely 00:12:51.240 --> 00:12:54.480 ignoring the fact that he is the rot. He is the 00:12:54.480 --> 00:12:57.320 thing Destabilizing the foundation you can't 00:12:57.320 --> 00:13:00.320 fix the house when you are the termite That's 00:13:00.320 --> 00:13:02.379 a great way to put it and while he's playing 00:13:02.379 --> 00:13:05.019 handyman in the dark Skyler is looking for an 00:13:05.019 --> 00:13:08.649 escape Which brings us to Skyler and Ted? Now, 00:13:08.669 --> 00:13:10.570 I know Skyler gets a lot of hate from a certain 00:13:10.570 --> 00:13:13.009 segment of the fan base, but I really think we 00:13:13.009 --> 00:13:15.169 need to look at this compassionately. Absolutely. 00:13:15.570 --> 00:13:18.269 This subplot is absolutely essential for understanding 00:13:18.269 --> 00:13:21.370 the total collapse of the white marriage. Skyler 00:13:21.370 --> 00:13:23.450 is spending more and more time at work with Ted 00:13:23.450 --> 00:13:25.990 Beneke. Because at work, she isn't the wife of 00:13:25.990 --> 00:13:28.129 a cancer patient. She isn't the wife of a man 00:13:28.129 --> 00:13:30.649 who forces tequila on their teenage son until 00:13:30.649 --> 00:13:33.370 he pukes. She's just Skyler. She's competent. 00:13:33.570 --> 00:13:35.950 She's appreciated. It's a sanctuary for her. 00:13:36.090 --> 00:13:39.029 And Ted represents the life she could have had. 00:13:39.470 --> 00:13:42.370 He's handsome. He's successful. But more importantly, 00:13:43.029 --> 00:13:45.669 he's normal. He's safe. But the cracks start 00:13:45.669 --> 00:13:48.149 to show there, too. She has this emotional breakdown 00:13:48.149 --> 00:13:50.769 in front of Ted. She confesses that she isn't 00:13:50.769 --> 00:13:53.070 optimistic about the remission. This is a huge 00:13:53.070 --> 00:13:55.450 admission. She said she knows Walt still has 00:13:55.450 --> 00:13:58.009 cancer. The tumor shrank, but the disease is 00:13:58.009 --> 00:14:00.909 still there. Yeah. But subtextually, she's talking 00:14:00.909 --> 00:14:04.129 about the other cancer, the secrets, the behavioral 00:14:04.129 --> 00:14:07.139 changes. She feels trapped. She expected relief, 00:14:07.320 --> 00:14:10.139 but all she feels is dread. And Ted steps up. 00:14:10.279 --> 00:14:12.480 He shows empathy. He talks about caring for his 00:14:12.480 --> 00:14:14.779 own dying father. He validates her feelings. 00:14:14.820 --> 00:14:17.879 He doesn't judge her for not being 100 % happy. 00:14:18.000 --> 00:14:21.129 And that validation is a... incredibly powerful 00:14:21.129 --> 00:14:23.210 aphrodisiac when you've been gaslit for months 00:14:23.210 --> 00:14:25.610 by your husband. Right. And then we get the tender 00:14:25.610 --> 00:14:28.470 moment. They hold hands. It's intimate. It's 00:14:28.470 --> 00:14:30.549 not explicitly sexual yet, but it's emotionally 00:14:30.549 --> 00:14:32.590 and faithful. It's a crossing of the Rubicon 00:14:32.590 --> 00:14:35.049 for her character. And look at the scene where 00:14:35.049 --> 00:14:37.950 she goes back the very next day. She keeps asking 00:14:37.950 --> 00:14:41.009 him to check the figures. She creates a distraction 00:14:41.009 --> 00:14:43.429 just to stay in the office. And there's that 00:14:43.429 --> 00:14:46.070 amazing detail about the heated floors. Yes. 00:14:46.460 --> 00:14:49.460 She takes off her shoes and just stands on the 00:14:49.460 --> 00:14:52.860 heated floor. Such a tactile moment. She is seeking 00:14:52.860 --> 00:14:55.720 warmth, literal and metaphorical warmth. Because 00:14:55.720 --> 00:14:58.360 her house is cold, her house is full of rotten 00:14:58.360 --> 00:15:01.600 secrets, Ted's office has heated floors. She 00:15:01.600 --> 00:15:04.779 is grasping for a lifeline to a world where things 00:15:04.779 --> 00:15:07.440 make sense. It's not just an affair for her, 00:15:07.779 --> 00:15:11.009 it's a survival mechanism for her sanity. Meanwhile, 00:15:11.070 --> 00:15:13.149 speaking of survival mechanisms, let's look at 00:15:13.149 --> 00:15:16.389 Jesse. This storyline with Jesse, Jane, and Apology 00:15:16.389 --> 00:15:19.230 Girl. This storyline is so bittersweet and retrospect. 00:15:19.730 --> 00:15:21.830 We see Jesse trying to play house. He's trying 00:15:21.830 --> 00:15:24.169 to be the morning person. He makes breakfast 00:15:24.169 --> 00:15:26.289 for Jane Margolis. And the script actually notes 00:15:26.289 --> 00:15:28.490 it is clumsy. He's scrambling eggs. He's trying 00:15:28.490 --> 00:15:31.129 his best to be domestic. It's endearing. He wants 00:15:31.129 --> 00:15:33.049 to be the boyfriend who brings breakfast in bed. 00:15:33.549 --> 00:15:35.870 He wants to be normal, just like Walt claims 00:15:35.870 --> 00:15:39.179 to want. And they have this quiet moment over 00:15:39.179 --> 00:15:42.960 his artwork. Jane admires his superhero drawings. 00:15:43.500 --> 00:15:46.100 She points out that they all sort of resemble 00:15:46.100 --> 00:15:48.460 him. Which is a lovely insight into Jesse's psyche. 00:15:48.860 --> 00:15:51.259 He wants to be a hero. He wants to be the Captain 00:15:51.259 --> 00:15:53.679 Cook or Diesel who saves the day, or at least 00:15:53.679 --> 00:15:56.379 someone who matters. He's desperate for validation. 00:15:56.679 --> 00:16:00.820 But then reality comes knocking. Literally. We 00:16:00.820 --> 00:16:03.299 are introduced to Donald Margolis plays by John 00:16:03.299 --> 00:16:06.399 Delancey you from Star Trek exactly such great 00:16:06.399 --> 00:16:09.279 casting He brings this immediate stern gravitas 00:16:09.279 --> 00:16:11.379 to the scene. He knocks on the door. He owns 00:16:11.379 --> 00:16:14.019 the property He's Jane's landlord, but also her 00:16:14.019 --> 00:16:17.220 dad and here is the brutal betrayal Jane answers 00:16:17.220 --> 00:16:19.519 the door and she pretends she doesn't know Jesse 00:16:19.519 --> 00:16:22.799 ouch She treats him like a total stranger a tenant 00:16:22.799 --> 00:16:24.700 just some guy who lives out bad and you can see 00:16:24.700 --> 00:16:26.440 Jesse just crumble He's standing right there 00:16:26.440 --> 00:16:29.399 and she essentially erases him It reinforces 00:16:29.399 --> 00:16:32.580 his deepest insecurity, the idea that he is a 00:16:32.580 --> 00:16:35.019 loser, that he's not good enough for a nice girl 00:16:35.019 --> 00:16:37.879 like Jane. Jesse confronts her later. He's visibly 00:16:37.879 --> 00:16:40.179 hurt. He says she isn't taking the relationship 00:16:40.179 --> 00:16:43.720 seriously. And her defense is highly practical. 00:16:44.059 --> 00:16:46.220 She says she's protecting him from her overbearing 00:16:46.220 --> 00:16:49.679 father. Donald is clearly controlling and judgmental. 00:16:49.840 --> 00:16:51.980 She thinks she's doing Jesse a favor by keeping 00:16:51.980 --> 00:16:55.580 him off the radar. But what Jesse hears is, you 00:16:55.580 --> 00:16:58.159 aren't good enough to meet my dad. And what does 00:16:58.159 --> 00:17:00.840 Jesse do when he feels rejected? When he feels 00:17:00.840 --> 00:17:03.659 small? He retreats to his toxic coping mechanism. 00:17:04.039 --> 00:17:07.259 He smokes meth. It's a tragic relapse. The emotional 00:17:07.259 --> 00:17:09.700 pain is immediate, so he seeks the immediate 00:17:09.700 --> 00:17:13.200 numbing agent. But there is a resolution. Jane 00:17:13.200 --> 00:17:16.420 realizes she messed up. She slides a drawing 00:17:16.420 --> 00:17:19.430 under his door. Apology, girl. A superhero that 00:17:19.430 --> 00:17:21.670 looks just like her. It's a really sweet gesture. 00:17:21.869 --> 00:17:24.150 It saves the relationship for the moment. But 00:17:24.150 --> 00:17:26.829 if we analyze the dynamic, it's incredibly fragile. 00:17:27.130 --> 00:17:29.369 It's a relationship based entirely on secrets, 00:17:29.789 --> 00:17:32.329 on hiding, on addiction. It mirrors the secrets 00:17:32.329 --> 00:17:34.970 in the White household perfectly. Everyone is 00:17:34.970 --> 00:17:36.589 hiding the truth from the people who are supposed 00:17:36.589 --> 00:17:39.950 to be closest to them. Exactly. Walt hides from 00:17:39.950 --> 00:17:43.529 Skyler. Jane hides Jessie from her dad. Skyler 00:17:43.529 --> 00:17:46.730 hides her feelings from Walt. It's a web of deception. 00:17:47.049 --> 00:17:49.150 that is only going to get tighter. So we have 00:17:49.150 --> 00:17:53.710 the stage set. Walt is adrift and angry. Skylar 00:17:53.710 --> 00:17:56.329 is seeking comfort elsewhere. Jesse is feeling 00:17:56.329 --> 00:17:59.190 small and relapsing. The pressure is building. 00:17:59.829 --> 00:18:03.069 And it all culminates in the climax, the hardware 00:18:03.069 --> 00:18:05.490 store. This is the scene. If you remember one 00:18:05.490 --> 00:18:08.170 thing from the episode over, it's this. Wolf 00:18:08.170 --> 00:18:10.430 is at the hardware store. He's shopping for paint, 00:18:10.609 --> 00:18:12.910 repair supplies for his rot project. He's standing 00:18:12.910 --> 00:18:15.009 in the aisle looking like a regular suburban 00:18:15.009 --> 00:18:18.069 dad in his polo shirt. And he spots a cart, a 00:18:18.069 --> 00:18:19.970 young man's shopping cart. He looks at the items 00:18:19.970 --> 00:18:23.269 inside. Matches. Specific chemicals. Tubing. 00:18:23.529 --> 00:18:25.990 Walt's chemist brain just activates. He knows 00:18:25.990 --> 00:18:28.049 exactly what this kid is doing. He's buying ingredients 00:18:28.049 --> 00:18:30.349 to cook meth. And at first the teacher emerges. 00:18:30.730 --> 00:18:32.549 Walt walks up to him. He doesn't threaten him 00:18:32.549 --> 00:18:35.210 initially. He actually critiques him. It's hilarious 00:18:35.210 --> 00:18:37.349 and terrifying at the same time. He tells the 00:18:37.349 --> 00:18:39.849 kid, you bought the wrong matches. Let's get 00:18:39.849 --> 00:18:42.210 technical for a second here. What exactly did 00:18:42.210 --> 00:18:44.930 he see that ticked him off so much? He sees match 00:18:44.930 --> 00:18:51.319 books. But specifically, the wrong kind. To extract 00:18:51.319 --> 00:18:54.180 red phosphorus, which is the catalyst for the 00:18:54.180 --> 00:18:56.460 red pee method, you need the striker strips. 00:18:56.980 --> 00:18:59.720 But if you buy the wrong brand or the safety 00:18:59.720 --> 00:19:01.700 matches with the wrong chemical composition, 00:19:02.380 --> 00:19:04.539 you're just going to create a foul smell and 00:19:04.539 --> 00:19:07.180 absolutely no meth. So this isn't just Walt being 00:19:07.180 --> 00:19:09.559 a jerk. It's Walt the chemist being deeply offended 00:19:09.559 --> 00:19:12.019 by bad science. It's an insult to the craft. 00:19:12.420 --> 00:19:15.099 He sees the muriatic acid, the pseudo... It's 00:19:15.099 --> 00:19:17.839 a sloppy, highly dangerous cook waiting to happen. 00:19:18.079 --> 00:19:20.609 He tries to help them initially. He says... Buy 00:19:20.609 --> 00:19:22.809 the striker strips. Don't buy everything in one 00:19:22.809 --> 00:19:24.589 place. Which is actually terrible advice for 00:19:24.589 --> 00:19:26.410 a criminal. You should never give lessons to 00:19:26.410 --> 00:19:28.690 strangers in a hardware store. But Walt can't 00:19:28.690 --> 00:19:30.750 help himself. He needs to be the teacher. He 00:19:30.750 --> 00:19:33.349 needs to be the smartest guy in the aisle. The 00:19:33.349 --> 00:19:35.710 young cook is completely spooked. He looks at 00:19:35.710 --> 00:19:38.210 this intense older guy and he just drops everything 00:19:38.210 --> 00:19:40.430 and runs away. Yeah. And that should be it. Walt 00:19:40.430 --> 00:19:42.190 should go back to his paint. He's out, remember? 00:19:42.210 --> 00:19:44.289 He's retired. But he doesn't. He stands there. 00:19:44.609 --> 00:19:46.950 He takes a breath. And then the music starts. 00:19:49.819 --> 00:19:52.559 We have to talk about this needle drop. It's 00:19:52.559 --> 00:19:54.640 arguably the best use of music in the entire 00:19:54.640 --> 00:19:58.680 series. Toonday Ebimbe's vocals coming in, congratulations 00:19:58.680 --> 00:20:01.839 on the mess you made of things. It's this pulsing, 00:20:01.859 --> 00:20:04.619 low -frequency dread. It sounds like a heartbeat 00:20:04.619 --> 00:20:07.279 that's about to flatline. It fits the birth of 00:20:07.279 --> 00:20:10.480 Heisenberg perfectly. Walt walks out to the parking 00:20:10.480 --> 00:20:12.960 lot. This is the pivot point, the ultimate moment 00:20:12.960 --> 00:20:16.039 of no return. He sees the young cook and his 00:20:16.039 --> 00:20:19.089 partner. They are in an RV. It's a perfect mirror 00:20:19.089 --> 00:20:21.970 image. He is looking at a younger version of 00:20:21.970 --> 00:20:25.589 himself and Jesse. The amateur set up. The fear. 00:20:26.230 --> 00:20:28.470 The sloppy execution. And something just snaps. 00:20:28.730 --> 00:20:31.009 He realizes he is being copied. He realizes he 00:20:31.009 --> 00:20:33.289 is being replaced. It's not just replacement 00:20:33.289 --> 00:20:36.029 for him. It's a direct insult. He looks at them 00:20:36.029 --> 00:20:38.630 and sees mediocrity. But more importantly, he 00:20:38.630 --> 00:20:40.349 feels that vacuum we talked about at the very 00:20:40.349 --> 00:20:43.069 beginning. Right. The cancer is gone. The noble 00:20:43.069 --> 00:20:46.119 purpose is gone. But here, right here in this 00:20:46.119 --> 00:20:48.140 parking lot, is an identity he can actually claim. 00:20:48.339 --> 00:20:50.240 He walks right up to the window. The guys are 00:20:50.240 --> 00:20:52.059 scared. They don't know who he is, but they sense 00:20:52.059 --> 00:20:54.839 the danger radiating off him. Walt stares them 00:20:54.839 --> 00:20:57.299 down. He doesn't yell. He drops his voice into 00:20:57.299 --> 00:21:00.299 that specific Heisenberg register. It's gravelly. 00:21:00.299 --> 00:21:02.960 It's cold. And he delivers the line, stay out 00:21:02.960 --> 00:21:05.559 of my territory. Chills. I get chills every single 00:21:05.559 --> 00:21:08.740 time. The amateurs drive away. They are terrified. 00:21:09.079 --> 00:21:11.160 And Walt just watches them go with this look 00:21:11.160 --> 00:21:14.369 of just total satisfaction. Let's really deep 00:21:14.369 --> 00:21:17.390 dive on this choice. This is the aha moment of 00:21:17.390 --> 00:21:20.109 the entire season. Why does he do it? He doesn't 00:21:20.109 --> 00:21:22.250 need the money. He has the cash in the vent. 00:21:22.349 --> 00:21:26.029 He has the remission. He has zero logical reason 00:21:26.029 --> 00:21:29.049 to be a criminal. Exactly. And yet he chases 00:21:29.049 --> 00:21:31.009 down these rivals. He asserts his dominance. 00:21:31.309 --> 00:21:33.970 He actively claims territory. Stay out of my 00:21:33.970 --> 00:21:36.130 territory, not I'm protecting my family, not 00:21:36.130 --> 00:21:40.029 I need cash for chemo. My territory. This confirms 00:21:40.029 --> 00:21:42.279 that the cancer didn't make him a criminal. The 00:21:42.279 --> 00:21:44.539 criminality gave him an identity he refuses to 00:21:44.539 --> 00:21:47.700 give up. He loves the power. He loves being the 00:21:47.700 --> 00:21:51.299 best. The title over refers to the good guy persona. 00:21:51.799 --> 00:21:54.799 That part of him is completely over. Precisely. 00:21:55.119 --> 00:21:56.920 Walter White, the mild -mannered high school 00:21:56.920 --> 00:21:59.579 teacher, is effectively dead. He died in that 00:21:59.579 --> 00:22:02.859 parking lot. Heisenberg is the survivor. He chooses 00:22:02.859 --> 00:22:06.259 the drug trade right here, explicitly, out of 00:22:06.259 --> 00:22:08.700 pride and ego. It's the exact moment he admits 00:22:08.700 --> 00:22:11.009 it to himself. Even if he hasn't admitted it 00:22:11.009 --> 00:22:13.369 to Skyler or anyone else yet, he isn't doing 00:22:13.369 --> 00:22:15.349 this because he has to. He's doing it because 00:22:15.349 --> 00:22:17.730 he wants to. And that makes him infinitely more 00:22:17.730 --> 00:22:20.549 dangerous. A man fighting for his family has 00:22:20.549 --> 00:22:23.930 limits. A man fighting for his ego. He has absolutely 00:22:23.930 --> 00:22:27.049 no limits. Wow. OK, let's take a breath. That 00:22:27.049 --> 00:22:29.470 scene is so heavy. Let's look at how this episode 00:22:29.470 --> 00:22:32.049 was received in the real world, moving to production, 00:22:32.349 --> 00:22:34.529 reception and the music choices. It's always 00:22:34.529 --> 00:22:36.190 interesting to look back at the reviews from 00:22:36.190 --> 00:22:39.079 2009 when this first dropped. Donna Bowman from 00:22:39.079 --> 00:22:41.740 the AV Club gave it an A -. She praised that 00:22:41.740 --> 00:22:44.259 contrast we talked about earlier, the high intensity 00:22:44.259 --> 00:22:46.880 versus the quiet character moments. Bowman was 00:22:46.880 --> 00:22:49.079 always great at spotting the nuanced character 00:22:49.079 --> 00:22:51.980 work. She saw that the quiet scenes, like the 00:22:51.980 --> 00:22:54.619 rot repair, were just as loud psychologically 00:22:54.619 --> 00:22:57.579 as the cartel explosions. However, looking at 00:22:57.579 --> 00:22:59.619 the retrospective rankings for the whole show, 00:23:00.160 --> 00:23:03.279 The Ringer ranked it 45th out of 62 episodes. 00:23:03.819 --> 00:23:06.869 Vulture put it at 57th. That's pretty low. It 00:23:06.869 --> 00:23:08.789 is low. And I think that really comes down to 00:23:08.789 --> 00:23:11.549 the nature of a bridge episode. When people rank 00:23:11.549 --> 00:23:14.730 episodes of Breaking Bad, the ones with the massive 00:23:14.730 --> 00:23:18.109 plot twists like Ozymandias or the iconic deaths 00:23:18.109 --> 00:23:21.309 like Face Off, they float to the top. Over is 00:23:21.309 --> 00:23:24.049 a very slow burn. It's setting the table. It's 00:23:24.049 --> 00:23:25.809 doing the heavy lifting for character development, 00:23:25.930 --> 00:23:28.490 but maybe it lacks the kinetic energy of a Tuco 00:23:28.490 --> 00:23:31.549 episode or a season finale. Exactly. But without 00:23:31.549 --> 00:23:34.009 Over, you don't get the rest of the season. You 00:23:34.009 --> 00:23:36.369 absolutely need this psychological pivot to make 00:23:36.369 --> 00:23:39.069 the rest of Walt's journey believable. If he 00:23:39.069 --> 00:23:41.250 just kept cooking after a mission without this 00:23:41.250 --> 00:23:43.950 specific moment of choice, it wouldn't make sense. 00:23:44.250 --> 00:23:46.190 True. We already touched on DLZ, but the show 00:23:46.190 --> 00:23:48.910 also featured dance hall days by Wang Cheung 00:23:48.910 --> 00:23:51.569 and Zunguzunguguzunguzing by Yellow Man. The 00:23:51.569 --> 00:23:54.250 music supervision by Thomas Kulubic is legendary 00:23:54.250 --> 00:23:58.349 on this show. Mixing up upbeat 80s pop with reggae 00:23:58.349 --> 00:24:01.490 and then hit you with that dark indie rock. It 00:24:01.490 --> 00:24:04.349 creates a sonic landscape that feels completely 00:24:04.349 --> 00:24:06.880 disoriented, just like Walt. So what does this 00:24:06.880 --> 00:24:08.700 all mean for you listening? Let's wrap this up 00:24:08.700 --> 00:24:11.299 with our summary and key takeaways. If we summarize 00:24:11.299 --> 00:24:13.759 what we've really learned today, the remission 00:24:13.759 --> 00:24:17.359 was not a relief. It was a catalyst for a massive 00:24:17.359 --> 00:24:20.720 crisis. It stripped away Walt's primary excuse 00:24:20.720 --> 00:24:23.599 and left him naked with his own ambition. The 00:24:23.599 --> 00:24:26.140 rot is now fully exposed. It's in the house. 00:24:26.240 --> 00:24:28.259 It's in the marriage. It's in the relationships. 00:24:28.799 --> 00:24:31.599 And Walt is the termite. And Walt has officially 00:24:31.599 --> 00:24:33.980 transitioned. He's moved from cooking for money 00:24:33.980 --> 00:24:36.609 to cooking for power. Stay out of my territory 00:24:36.609 --> 00:24:38.930 is his new mission statement. Here is a provocative 00:24:38.930 --> 00:24:40.410 thought to leave you with, and this is something 00:24:40.410 --> 00:24:42.009 we were discussing before we started recording 00:24:42.009 --> 00:24:44.009 today. Right. Think about that parking lot scene 00:24:44.009 --> 00:24:46.990 again. Walt walks up to those two guys. He has 00:24:46.990 --> 00:24:50.309 no weapon. He has no backup. He's literally just 00:24:50.309 --> 00:24:53.069 a middle -aged guy in a beige polo shirt. He's 00:24:53.069 --> 00:24:56.230 completely bluffing. Or is he? If those amateurs 00:24:56.230 --> 00:24:58.869 hadn't run away, if they had stood their ground 00:24:58.869 --> 00:25:00.750 against him, what would have happened? That's 00:25:00.750 --> 00:25:03.630 the scary question. Would Walt have backed down? 00:25:03.980 --> 00:25:07.299 Or was he ready to commit actual physical violence 00:25:07.299 --> 00:25:10.039 right there in the broad daylight of a hardware 00:25:10.039 --> 00:25:12.460 store parking lot? Imagine if they had just laughed 00:25:12.460 --> 00:25:15.380 at him. Like, go home, Grandpa. What are you 00:25:15.380 --> 00:25:18.500 going to do? I think he might have snapped. I 00:25:18.500 --> 00:25:21.099 really do. I think the rage we saw with the tequila 00:25:21.099 --> 00:25:24.039 bottle, the violent rage at the paper towel dispenser, 00:25:24.180 --> 00:25:26.880 it was all hyper -focused in that stare. If they 00:25:26.880 --> 00:25:29.720 hadn't run... I honestly think Walt would have 00:25:29.720 --> 00:25:31.660 tried to kill them with his bare hands. It's 00:25:31.660 --> 00:25:33.480 terrifying to think about. He was looking for 00:25:33.480 --> 00:25:36.099 a fight. He actively wanted to prove he was the 00:25:36.099 --> 00:25:39.619 Alpha in that space. And he won. Which only feeds 00:25:39.619 --> 00:25:42.359 the monster moving forward. He learned that his 00:25:42.359 --> 00:25:45.640 reputation, his Heisenberg aura, is a weapon 00:25:45.640 --> 00:25:48.539 in itself. Man. A huge thank you to everyone 00:25:48.539 --> 00:25:51.000 for joining us on this deep dive into Over. It's 00:25:51.000 --> 00:25:53.000 been an absolute pleasure to dissect the rot 00:25:53.000 --> 00:25:56.089 with you. Do us a favor. Next time you have a 00:25:56.089 --> 00:25:59.630 minute, go re -watch that final scene. Listen 00:25:59.630 --> 00:26:02.470 to DLZ playing in the background. Watch Walt's 00:26:02.470 --> 00:26:05.349 eyes. And tell me you don't see the exact moment 00:26:05.349 --> 00:26:08.130 Walter White disappears and Heisenberg fully 00:26:08.130 --> 00:26:10.390 takes the wheel. You really can't unsee it once 00:26:10.390 --> 00:26:12.190 you know what to look for. Thanks for listening. 00:26:12.329 --> 00:26:14.269 We'll catch you on the next Deep Dive. Stay curious. 00:26:14.970 --> 00:26:15.150 See.