Realistically there's not much more you could do than what they gave us.
From my perspective, at least as I write, shortly after the finale aired, if this episode in fact took place in reality, it was troubling, and yes, disappointing, if only because the story ended by confirming Walt’s most grandiose notions: that he is, in fact, all-powerful, the smartest guy in the room, the one who knocks. Anyone other than Walt becomes a mere reflection of this journey to redemption. (With the exception of Jesse, who had the most mysterious scene: a poetic fugue of his own, in which he created what felt like a small coffin.*) It’s not that Walt needed to suffer, necessarily, for the show’s finale to be challenging, or original, or meaningful: but Walt succeeded with so little true friction—maintaining his legend, reconciling with family, avenging Hank, freeing Jesse, all genuine evil off-loaded onto other, badder bad guys—that it felt quite unlike the destabilizing series that I’d been watching for years. If, instead, we were watching Walt’s compensatory fantasy, it was a fascinating glimpse into the man’s mind—akin to the one in the movie “Mulholland Drive,” a poignant, tragic attempt to fix a life that is unfixable.
In “Granite State,” after all, each of the show’s action-hero fantasies were punctured, then deflated. Walt’s new identity doesn’t leave him safe in the Bahamas, with WiFi, free to plan his comeback. He’s trapped in New Hampshire, paying ten thousand dollars for an hour of poker—alone, powerless, sick. Jesse’s bold attempted escape from Nazi meth slavery doesn’t buy him freedom; it means his ex-girlfriend gets shot, and Brock is left a traumatized orphan. Walter’sclever phone call to Skyler was certainly a fantastic Hail Mary pass, as Saul acknowledges. But, in the aftermath, we can see that this brilliant stratagem doesn’t get Skyler off the hook: instead, she’s under the thumb of the law, working as a taxi dispatcher, her house trashed.
Also, Walt still has cancer. He’s sick. In fact, he seems like he’s dying.
That New Yorker article is overthinking a finale that didn't have any hidden meanings or overwrought subtext. It's like the writer has been so conditioned by the shytty final episodes of Shows like The Sopranos and Lost that she can't accept what was so plainly laid out for her by BB's last episode so she needs to impart deeper meaning and misdirection where there was none.This article makes a strong case that the last episode mightve been just Walt's fantasy rahter than actual reality. Especially when contrasted against last week's episode:
http://www.newyorker.com/online/blogs/culture/2013/09/breaking-bad-finale-reviewed.html
This makes more sense to me than the gibberish psycho-babble you stans have been typing up for the last 8 weeks plus "All he cares about is his family...I mean money...I mean his ego...I mean pink teddybears in every scene"
lol you really accuse her of over thinking? This show? With the pink teddybears that symobilze death? Titled after random country music songs? Where every shot is a callback to an episode from 3 years ago full of references to novels, movie posters etc?That New Yorker article is overthinking a finale that didn't have any hidden meanings or overwrought subtext. It's like the writer has been so conditioned by the shytty final episodes of Shows like The Sopranos and Lost that she can't accept what was so plainly laid out for her by BB's last episode so she needs to impart deeper meaning and misdirection where there was none.
ending should of ended in an orgy, Flynn fukks Marie
and Walt end up tappin Lydia's OCD havin ass
There's no contradictions.lol you really accuse her of over thinking? This show? With the pink teddybears that symobilze death? Titled after random country music songs? Where every shot is a callback to an episode from 3 years ago full of references to novels, movie posters etc?
But comparing 2 consecutive episodes with obvious contradictions is over thinking?
I disagree
She is overthinking the living fukk out of this final episode if she thinks it was all one big Walt fantasy.lol you really accuse her of over thinking? This show? With the pink teddybears that symobilze death? Titled after random country music songs? Where every shot is a callback to an episode from 3 years ago full of references to novels, movie posters etc?
But comparing 2 consecutive episodes with obvious contradictions is over thinking?
I disagree
It would be:Also it would have been cool showing a quick lil montage at the end showing Jesse getting his life back to normal, showing Grey Matter presenting Walt Jr with trust and maybe showing Huell finally leaving the safe house for a lil comic relief at the end....
There's no contradictions.
.
One week the guy can't make it 5 miles into town and is getting chemo in a log cabin. He's so lonely that he has to pay 10,000 dollars for a guy to play cards with him
The next week he's finding the keys to abandoned cars and driving across the country to buy the worlds strongest gun...and he meets all of his old friends along the way...
Thats not a contradiction?
One week the guy can't make it 5 miles into town and is getting chemo in a log cabin. He's so lonely that he has to pay 10,000 dollars for a guy to play cards with him
The next week he's finding the keys to abandoned cars and driving across the country to buy the worlds strongest gun...and he meets all of his old friends along the way...
Thats not a contradiction? I didn't even mean contradiction in a bad way,I just meant very obvious differences in the themes.But no middle ground with you fanatics....
cool show tho. Really. I've been watching since Episode 1...
Can someone help me out with this question: What was Walt's motivation for killing Lydia?