Tag: Breaking Bad
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The Best Songs Featured on TV
Television has always been a great medium for exposing viewers to new music. A pivotal scene can become instantly classic when paired with the right song, and it can elicit the right emotions from fans – joy, despair, or even fear. Here, in no particular order, are some of the best songs that have been featured in a TV show.
“Where The Colors Don’t Go” by Sam Phillips on Gilmore Girls
https://www.youtube.com/watch?v=5Koh-wPyQvA
Gilmore Girls is first and foremost an offbeat comedy about mothers and daughters, but beneath the surface are commentaries on American privilege. The show became beloved for its underground-leaning soundtrack, especially once Lane decided to pursue her rock dreams. A third of the way through the pilot, “Where The Colors Don’t Go” begins playing as Lorelai realizes the only way to provide her daughter with a private high school education involves asking her wealthy, estranged parents for money. “In a white room / In a white head / In a cobweb of enterprise” sets the tone for the sharp juxtaposition between Lorelai’s small-town bodega life, and the Mayflower mansion she gave up in its stead.
“I Feel Alright” by Steve Earle on The Wire
Every of The Wire‘s five seasons ends with a deep-digging montage showing where relevant characters ended up by season’s end. Creator David Simon used these crucial scenes to drive home his points about corruption and power, and season two’s is particularly powerful. As the Baltimore PD continue to investigate the local drug rings from season one, unionized dock workers are introduced to the mix. Unshockingly for a Simon production, everything goes wrong and your favorite characters end up dead or internally destroyed (whaddup George R.R. Martin!). As “I Feel Alright” plays ironically, out-of-work shoreman Nikki reflects on his less than stellar decisions, and the viewers are left with a profound sense of understanding and emptiness.
“Far From Any Road” by The Handsome Family on True Detective
True Detective can be described as ‘creepy.’ I mean, it’s a show about a cult of child killers who live in the swamp. So naturally, its theme song should give one the heebie jeebies, and the Handsome Family’s “Far From Any Road” certainly fits this bill. The minor key finger picking and güiros give it the feel of a Mexican murder ballad, and it features the killer and appropriate line “the poisoned Creole soul.”
“Boom, Boom, Boom” by The Iguanas on Homicide: Life On The Street
Before The Wire, David Simon helped with the creation of another high-quality show documenting the daily lives of Baltimore’s finest. Homicide had less grandiose character webs, but was still just as emotionally impactful. Each show deals with the sisyphean task of keeping a lid on the murder rate. Facetiously, season five’s 11th episode has the department celebrate the new year, only to have the phone immediately alert them to a fresh body.
“Anyone Who Knows What Love Is (Will Understand)” by Irma Thomas on Black Mirror
https://www.youtube.com/watch?v=raQ2WguE37A
The BBC’s recent sort of Twilight Zone remake generally centers around the dystopian future we’ve set ourselves up for. So it was a jarring treat when “Fifteen Million Merits”, series one’s second episode, featured this classic from the Soul Queen of New Orleans. In the episode, one of the characters tries to change her fate by singing the song on a twisted iteration of American Idol, only to be coerced into pornography.
“Bouncin’ Back (Bumpin’ Me Against The Wall)” by Mystikal on Treme
Hey look, another David Simon show! Treme was Simon’s The Wire follow-up, and in similar fashion, it scrutinized race and class relations in a post-Katrina New Orleans. Main character Davis comes from a wealthy French Quarter family, but (tries to) reject his privilege by moving into the musically storied but poor neighborhood of Treme. When an affluent gay couple moves in next door, he fears gentrification and tries to drive them out by turning this song up to 11.
“Dead Fingers Talking” by Working For A Nuclear Free City on Breaking Bad
One of the best items in Breaking Bad‘s bag of tricks was the cooking montage. Though not detailed enough for an enterprising fan to figure out Walt’s recipe, they still managed to make chemistry interesting. (Sidenote: what if this show was just Vince Gilligan’s attempt at increasing STEM participation?!) Our first glimpse of the scary science game early in season one, when Walt and Jesse ventured to the desert in a ramshackle RV. “Dead Fingers Talking” has a squiggly, grimy vibe that works perfectly for the first of many cooks these star-crossed friends would embark upon.
“Fresh Blood” by Eels on The Jinx: The Life and Deaths of Robert Durst
HBO’s supreme new docu-series examines how a wealthy, disturbed man could manage to get away with murder on at least three separate occasions. The Jinx is often, nay, almost always described as Serial for TV, and it’s certainly not afraid to lay on the cliffhangers. As each episode sets up which aspect of these effed-up cases it’s going to focus on, the tension builds until Eels comes to the forefront. The lyrics don’t completely fit – the song seems to be written by a serial killer (“I’m so tired of the same old crud / Sweet baby, I need fresh blood”) whereas Robert Durst seems like a desperate sociopath backed into a corner by the falling dominos of his terrible decisions. Nonetheless, the song is synced perfectly with the surreal images of Durst and his various victims, and it’s chill-inducing every time.
Watch: Better Call Saul trailer!
FINALLY A TRAILER WORTH SCREAMING FOR!
In preparation for AMC’s newest show and Breaking Bad spinoff, Better Call Saul, there have been numerous teasers without much plot information.
Now, though, a new trailer has been released, and we have some action! The latest trailer for the BB spin-off stars Jonathan Banks reliving his old role of Mike Ehrmantraut (fave) working at his parking toll and ending up with a little run-in with Saul (Bob Odenkirk). Jonathan Banks plays angry really well, so this trailer is definitely something exciting to see.
Better Call Saul premieres Sunday, Feb. 8 at 10 p.m. on AMC.
SXSW 2014: Samsaya x Vinyl Video
We found our way to the Hilton rooftop pool (life is sooo hard) in downtown Austin during South by Southwest for this picturesque interview with “magma pop” sensation, Samsaya. This girl is seriously the bomb.
Before SXSW, I was totally obsessed with her music (everyone should get after her track “Stereotype”), and now I’m totally obsessed with her as a person. It’s really refreshing to meet such an enthusiastic and – for lack of a better word – “chill” artist. No ego. Just a love for what she does and an excitement to talk about it (Samsaya, if you’re reading this…you’re so awesome let’s have tea or something soon?).
This interview was seriously just a damn delight. Check it out for yourself, and watch us talk about her album Bombay Calling, her views on stereotyping, and the lethality of pop music.
A Proper Goodbye: Breaking Bad series finale ‘Felina’
It’s over. Finished. No more Heisenberg. No more Jesse. No more science…bitch.
Before we start, just be warned that I’m going to be using the words “genius” and “perfect” a lot in this article.
Breaking Bad has earned its place at the very top of the list of my (and millions of others’) favorite shows of all time. So I was more than a little sorry to see it go (what am I going to do on Sunday nights now? Watch Low Winter Sun? Doubtful). However, I am so grateful to Vince Gilligan for playing it smart, not dragging it out for three seasons too long just to keep getting paid, and achieving something that so few of my favorite shows have pulled off (*cough* LOST *cough*) – a perfect ending. Really, the only word that I can think of is genius. Gilligan is an absolutely brilliant writer; he tied up every loose end so neatly…it was truly poetic.
Before we go on, let me just go ahead and warn you – SPOILER ALERT – although, if you haven’t already watched “Felina” or at least heard about it, I’m not sure if you know what the Internet is, so you’re probably not reading this article.
Here are the main parts of the finale that I want to talk about. I’m going to assume that you have seen all of the seasons and not overly explain the back story.
1. Walt having Gretchen and Elliott Schwartz act as benefactors for Walter, Jr./Flynn/whatever he’s calling himself these days was absolutely perfect. In the very first season of Breaking Bad – episode 5 “Gray Matter” – Walt refuses the Schwartzes’ proposition to pay for his cancer treatment. Walt is completely offended by their offer, continuously bitter about their success from Gray Matter and too prideful to accept their charity. I mean, he would rather cook meth than receive anything from these people.
Throughout the seasons, this is a continuing theme. Walt’s never-ending resentment of the Schwartzes’ fortune becomes his pace car, and he continues to measure his own success by how close he is to building an empire that competes financially with theirs.
In addition to his inability to accept charity is his arrogant need to get credit for earning this money for his family, which makes money laundering pretty tough. He refuses Saul Goodman’s advice to just filter his money through Walt, Jr.’s donation website, SaveWalterWhite.com, unable to accept the credit for their income going to an “anonymous donor.”
In the end, however, the story comes full circle. Walt goes to Gretchen (who is wearing a fabulous jacket) and Elliott’s house and forces them to take what is left of his money (a mere nine million dollars…chump change) and donate it in the form of a trust to Walter, Jr. on his 18th birthday, knowing that any other way he tried to get it to his family would result in it being confiscated by the government.
So, basically, after all of the five seasons worth of corruption and destruction and death that Walt was willing to cause in order to keep his ego and pride in tact, Gretchen and Elliott still get credit for saving the White family out of charity. Which means that this was pretty much all for nothing. Well played, Gilligan…well played.
2. I was super pumped to get to see Badger and Skinny Pete one last time. I love those dudes. And I totally called the whole laser pointer thing…just saying.
3. Walt’s goodbye to Skyler made me tear up. When Walt came back to say “a proper goodbye” to Skyler and finally admit to her that all that he did was not, in fact, for his family as he had claimed for so long but was, in fact, for him…dude, that was so raw. Skyler finally hears the truth from him, and we see a glimpse of the old Walter White.
4. The way Walt died was brilliant. He had to die…he just had to. For a few seasons now, I have rooted for Jesse to be the one to kill Walt in the end. But when it finally came down to it, I’m glad he didn’t kill Walt in some final face-off where Walt was still fighting. This end was much more real and heartbreaking. It was perfect and fitting that Walt’s final act took him out. He got himself in that room as Heisenberg, and he took himself out along with all of the other scumbags in there. Everyone in that room deserved to die except for Jesse, and he got them all…including himself (except for Todd. Todd was a truly despicable character, and Jesse deserved the satisfaction of taking him out). Jesse is free, and he drives off…into the sunset? To go find and raise Brock? We don’t know, but we do know that he’s going to be okay.
5. Walt shooting Jack mid-sentence when he is trying to offer Walt his money back was, again, brilliant. Heisenberg is dead, and along with him, his greed. It’s not about that money anymore. Jack is just too stupid to realize it.
6. Lydia had to drink that ricin. I hated Lydia. From her shakiness to her ruthlessness to her stupid camomile and stevia habit. I hated her. That woman needed to go. I’m so happy that she’s the one who got the ricin and that it was in her tea -that was just elegant. Maybe that will teach you to use regular sugar like a normal person, Lydia. Oh wait, you can’t – you’re dead.
The finale of Breaking Bad was badass, yes. But it was also heartbreaking. The entire series is honestly heartbreaking. Witnessing the continuous corruption and destruction of a man who was at one point decent and then seeing him get what is coming to him takes a toll. It is less satisfying to see Walt reduced to nothing – having lost his family and everything he ever cared about – than expected, as you have been rooting for his comeuppance for so long. You are reminded that he is a flesh and blood human being, not just some raving monster that you love to hate. Bryan Cranston’s genius and pure talent really come through here, making the viewer surprisingly sympathetic to Walt, even with all that we know about him. But still, you know that Walt has to die.
All in all, “Felina” was a perfect ending to a brilliant show. Now excuse me while I go rewatch all of the seasons on Netflix.





