Montage Sequences, Diegetic Music and Narcotics in Vince Gilligan‟S Breaking Bad
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State University of New York at New Paltz Breaking Bad and the Intersection of Critical Theory at Race, Disability, and Gender
Breaking Bad and the intersection of critical theory at race, disability, and gender Item Type Honor's Project Authors McDonough, Matthew Rights Attribution-NonCommercial-NoDerivatives 4.0 International Download date 01/10/2021 02:24:17 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/20.500.12648/1578 State University of New York at New Paltz Breaking Bad and the Intersection of Critical Theory at Race, Disability, and Gender Matthew McDonough Independent Study Honors 495-06 Professor Sarah Wyman 8 December 2020 Thesis Abstract: The television series Breaking Bad (created by Vince Gilligan) is considered by audience and critics alike as one of the greatest television series ever made. It tells the story of the rise and fall of Walter White (Bryan Cranston), a mild-mannered chemistry teacher turned meth kingpin. He turns to a life of crime after having been diagnosed with terminal cancer, and he sees meth manufacturing as the most lucrative way to provide for his family. It has been nearly a decade since the series finale, yet it endures through sequel films, spin-offs, and online streaming. My thesis investigates the series’ staying power, and I would argue that lies in its thematic content. Breaking Bad is not just a straightforward story of one man’s descent into a life of crime, but it is also a mediation on dominant, repressive power structures. The series offers a look at these structures through the lens of race, gender, and disability through the actions of characters and their interactions with one another. -
Trade Secret Protection Gone Rogue the Walter White Case Study by Anthony M
LOS ANGELES & SAN FRANCISCO www.dailyjournal.com WEDNESDAY, OCTOBER 7, 2020 Trade Secret Protection Gone Rogue The Walter White Case Study By Anthony M. Fares, Randall E. Kay and Cheryl L. O’Connor alter White perfected a recipe for cooking crystal meth that revolutionized the drug trade, and W his fictional efforts to protect his secret recipe gained worldwide attention. White’s enterprise illustrates a number of lessons for companies seeking to protect trade secrets. Under the Defend Trade Secrets grew, he needed help to produce the recipe, he held it close within Pinkman out of business for life. Act, information must meet three enough product to meet demand, his partnership with White. While Fortunately, most companies requirements to earn trade secret so he had to disclose his secret Pinkman taught the recipe to rival have more peaceful solutions to protection: (1) it derives value recipe to three others to assist cartel members, Gus Fring subse- prevent intra-company conflicts from not being generally known; with manufacturing. Businesses quently murdered them, eliminat- about trade secret ownership. (2) others can obtain economic of all types face this same dilem- ing threat of improper disclosure. For example, many businesses value from its disclosure or use; ma of maintaining secrecy while Similarly, White’s disclosure to use invention disclosure agree- and (3) the owner took reason- needing to disclose trade secrets his understudy Gale Boetticher ments, or IDAs, which assign all able measures to keep it secret. to employees or business partners. did not destroy the recipe’s secre- intellectual property created by 18 U.S.C. -
Breaking Bad | Dialogue Transcript | S5:E2
CREATED BY Vince Gilligan EPISODE 5.02 “Madrigal” Walt and Jesse decide to look for a new partner to help them in their latest scheme. The DEA sifts through various leads, hoping to find something. WRITTEN BY: Vince Gilligan DIRECTED BY: Michelle MacLaren ORIGINAL BROADCAST: July 22, 2012 NOTE: This is a transcription of the spoken dialogue and audio, with time-code reference, provided without cost by 8FLiX.com for your entertainment, convenience, and study. This version may not be exactly as written in the original script; however, the intellectual property is still reserved by the original source and may be subject to copyright. MAIN EPISODE CAST Bryan Cranston ... Walter White Anna Gunn ... Skyler White Aaron Paul ... Jesse Pinkman Dean Norris ... Hank Schrader Betsy Brandt ... Marie Schrader (credit only) RJ Mitte ... Walter White, Jr. Bob Odenkirk ... Saul Goodman Jonathan Banks ... Mike Ehrmantraut Laura Fraser ... Lydia Rodarte-Quayle Steven Michael Quezada ... Steven Gomez Michael Shamus Wiles ... ASAC George Merkert Norbert Weisser ... Peter Schuler Wolf Muser ... Herr Herzog Carrington Vilmont ... Chief Food Technician James Ning ... Duane Chow Kaija Bales ... Kaylee Ehrmantraut Christopher King ... Chris Mara Norma Maldonado ... Delores Debrianna Mansini ... Fran Trine Christensen ... Ms. Tromel Mathias Kaesebier ... Lawyer Brennan Foster ... Detective Lillian Presley Leyba ... Kiira 1 00:00:01,919 --> 00:00:03,795 Honey mustard. 2 00:00:04,213 --> 00:00:06,215 As per the Research Department... 3 00:00:06,381 --> 00:00:08,091 ...this is our sweeter formulation... 4 00:00:08,258 --> 00:00:09,760 ...for the American Midwest. 5 00:00:10,344 --> 00:00:13,764 While we've upped its Brix number by 14 percent.. -
Exploring the Extent of Neoliberal Narrative and a Faux Masculine Revival in AMC’S Breaking Bad
Exploring the Extent of Neoliberal Narrative and a Faux Masculine Revival in AMC’s Breaking Bad Collin Heng-Patton Department of English Advisor: Richelle Munkhoff – English Literature Jane Garrity – English Literature Janice Peck – College of Media, Communication and Information University of Colorado, Boulder Defended April 7th, 2015 Heng-Patton 2 ABSTRACT Located within this post-recessionary period, and arguably influenced by a masculinized neoliberalism, the television show, Breaking Bad, focuses on the transformation of high school chemistry teacher, Walter White, into the drug kingpin of the southwestern United States. Yet there is more to consider than just Walt’s transformation. Because the show is situated in this era that aims to revive the masculine narrative, the show restricts non-white, non-male characters. In that sense, this project pays close attention to the relationship between Walt and Skyler in order to reveal how the show is complicit in the revival of traditional, male-centric gender roles and, most importantly, how this neoliberalized masculine narrative commodifies the nuclear family, resulting in the self-actualization of the patriarch and the oppression of the other members. Heng-Patton 3 INTRODUCTION In a mid-series episode of the overwhelmingly popular television drama, Breaking Bad, protagonist Walter White stands, mouth-agape, in the middle of a state-of-the-art meth lab, equipped with technology that average chemists can only dream of having (Más). In this scene, Walt is being offered a job that seems to good to be true – the opportunity to manufacture methamphetamine for the largest drug operation in the southwestern United States. -
Better Call Saul – S04E10 – Winner
BETTER CALL SAUL "Winner" Episode #410 Written by Peter Gould & Thomas Schnauz Directed by Adam Bernstein EMMY FINAL 5/08/18 SONY PICTURES TELEVISION INC. All Rights Reserved © 2018 No portion of this script may be performed, or reproduced by any means, or quoted, or published in any medium without prior written consent of SONY PICTURES TELEVISION INC. * 10202 West Washington Boulevard * Culver City, CA 90232* BETTER CALL SAUL "Winner" 5/08/18 Cast List JIMMY CHUCK MIKE KIM HAMLIN GUS ERNIE Non-speaking: BURT BAR ASSOCIATION VOUCHER NICK BAR ASSOC LAWYERS-TO-BE (5) ANDRE BAR ASSOC FAMILY & FRIENDS LALO BAR ASSOC JUSTICES (5) DIEGO HHM ASSISTANTS & STAFF GUS'S TWO TRACKERS WAITRESS VICTOR MIKE'S GUY SOUND GUY CUSTOMER CAMERA GUY RECEPTION LAWYERS DRAMA GIRL SCHOLARSHIP BOARD MEMBERS (5) RICH SCHWEIKART SCHOLARSHIP CANDIDATES SIR FRANCIS PARENTS JULIE VACATIONERS WERNER COMMITTEE MEMBERS (3) MILO BAR ASSOCIATION CLERK WELL-DRESSED OLDER MAN Omitted: BAR ASSOCIATION LAWYER WOMAN (WITH KRISTY) VOUCHER VOUCHER #2 MALE MOURNER FEMALE MOURNER FRED OLDER ATTORNEY FEMALE ATTORNEY CORDOVA LYNTON NOLAN DUNCAN MARCIE FRANKLYN KRISTY FEMALE BOARD MEMBER FRONT DESK WORKER CHAIRMAN TYRUS ARTHUR SAM BETTER CALL SAUL "Winner" 5/08/18 Set List Interiors: BAR ASSOCIATION MULTI-PURPOSE ROOM KARAOKE BAR JIMMY'S ONE BEDROOM APARTMENT LIVING ROOM BEDROOM TRAILER WERNER'S BEDROOM TRAVEL WIRE OFFICE EMPLOYEE AREA UNIVERSITY LIBRARY HALL HHM CONFERENCE ROOM PARKING STRUCTURE ELEVATOR BANK KIM'S CONDO LIVING ROOM/KITCHEN BEDROOM POLLOS HERMANOS GUS'S OFFICE SUPERLAB CONSTRUCTION SITE STATE BAR BUILDING HALLWAY HEARING ROOM OUTSIDE HEARING ROOM SUV MIKE'S CAR LALO'S CAR Exteriors: CEMETERY ANONYMOUS WAREHOUSE FACTORY FARM TRAVEL WIRE OFFICE UNIVERSITY LIBRARY CONVENTION CENTER PARKING LOT ENTRANCE INTERSECTION HHM DULCE VEGA HOT SPRINGS HOTEL & SPA FRONT AREA REMOTE HIGHWAY ABANDONED SPEEDWAY DESERT STATE BAR BUILDING TEASER 1 INT. -
Breaking Bad Filming Locations. This Is a List of Different Locations Where They Filmed AMC's Hit Series 3 "Breaking Bad"
Albuquerque Breaking Bad Filming Locations. This is a list of different locations where they filmed AMC's hit series 3 "Breaking Bad". This tour starts 2 east & travels across the entire city. 4 1 Enjoy! Feb 2017 14 5 6 Adeo Breaux 7 jauntful.com/HeyAdeo 13 11 9 8 12 10 15 ©OpenStreetMap contributors, ©Mapbox, ©Foursquare Hank & Marie's House 1 John B. Robert Dam 2 Saul Goodman's Office 3 Walt & Skyler's Home 4 Entertainment Other Outdoors Entertainment Residence I don't know anything about the tenants, Where Jesse & Walt meet the Vacuum BETTER CALL SAUL! The Tenants will let you throw a pizza on but it is a beautiful, scenic view. Repair Man who will help them vanish. the roof, if you ask & clean up when you're done. 4901 Cumbre del Sur Ct NE, Albuquerque 9800 Montgomery Blvd NE, Albuquerque 3832 Piermont Dr NE, Bernalillo Taco Sal 5 Mister Car Wash 6 Gus Fring Residence 7 De Anza Motor Lodge 8 Mexican Car Washes Residential Motel Where Walt tells Jesse he's beat lung A1 Car Wash. I don't know anything about the tenants, One of Walt's drop locations. cancer. but don't be afraid to knock. 9621 Menaul Blvd NE, Albuquerque 9516 Snowheights Cir NE, Albuquerque (505) 298-2210 tacosal.com (505) 298-8833 mistercarwash.com 1213 Jefferson St NE, Albuquerque 4301 Central Ave NE, Albuquerque Jesse & Jane's Apartment 9 Crossroads Motel 10 Civic Plaza 11 Dog House Drive In 12 Residence Motel Plaza Hot Dogs People live here, I don't know anything Take pictures from across the street, or This is where Jesse wears a wire to meet Where Jesse peddles his meth. -
“I Am the One Who Knocks!”: What It Means to Be a Man in Breaking Bad. by Stephanie Wille Submitted to the Graduate Degree P
“I am the one who knocks!”: What It Means to Be a Man in Breaking Bad. By Stephanie Wille Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John C. Tibbetts ________________________________ Dr. Ron Wilson ________________________________ Dr. Germaine Halegoua Date Defended: August 18, 2014 ii The Dissertation Committee for Stephanie Wille certifies that this is the approved version of the following dissertation: “I am the one who knocks!”: What It Means to Be a Man in Breaking Bad. ________________________________ Chairperson Dr. John C. Tibbetts Date approved: October 30, 2014 iii Abstract Breaking Bad (AMC, 2008-2013) dramatizes the rise and fall of Walter White, a mild- mannered high school chemistry teacher who, through a series of misfortunes and freak opportunities, is transformed into a notorious, brutal drug kingpin -- a trajectory described as "Mr. Chips" to "Scarface." I contextualize and conduct a textual analysis of this acclaimed television series as a case study that demonstrates the increasingly complex construction of masculine identity in contemporary television. This study examines the reception of specific characters among critics and audiences, as well as investigates the ways in which the setting and depiction of ethnicities influence representations of masculinity. Calling for attention to the apparent lack in masculinity studies on television, the complex male representation in Breaking Bad suggests that men are not merely experiencing a crisis of their masculinity in contemporary society, but demonstrates that there is a problem with uniform white, hetero-normative representation of masculinity on TV. -
Recovering Lost Moral Ground: Can Walt Make Amends?
CHAPTER 10 Recovering Lost Moral Ground: Can Walt Make Amends? James Edwin Mahon and Joseph Mahon Is it possible to recover lost moral ground? In the closing episodes of Breaking Bad it becomes clear that Walter White believes that the correct answer to this question is an affi rmative one. Walt believes that he can, and that he has, recov- ered lost moral ground. Breaking Bad may be said to explore two distinct and incompatible ways of attempting to recover lost moral ground. The fi rst way is revisionist . This is to rewrite the script of what, morally speaking, has occurred, so that it appears that nothing wrong was done. Since no moral ground has been lost, there is no moral ground to recover. The second way is restorative . This is to admit to morally wrongful behavior, but to attempt to make amends for it. While we concede that it is possible to recover lost moral ground in both of these ways, we deny that Walt is able to do so in both of these ways. At best, Walt can only hope to recover lost moral ground by attempting to make amends for his past misdeeds. Before looking at these two kinds of attempts to recover lost moral ground in Walt’s case, however, two defenses against accusations of moral wrongdoing will fi rst be considered, since Walt also avails of these defenses. The fi rst is the justifi catory defense, that of seeking to justify the moral wrongdoing, so that it is no longer morally wrong. The second is the mitigatory defense, that of seek- ing to excuse the moral wrongdoing, so that the person is no longer respon- sible for the moral wrongdoing. -
Walter White, Heisenberg, and the Dark Revenge of Science J
Georgia State University ScholarWorks @ Georgia State University Middle and Secondary Education Faculty Department of Middle and Secondary Education Publications 2018 A Teacher Goes Gothic: Walter White, Heisenberg, and the Dark Revenge of Science J. Patrick McGrail Jacksonville State University, [email protected] Ewa McGrail Georgia State University, [email protected] Alicja Rieger [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/mse_facpub Part of the Curriculum and Instruction Commons, and the Junior High, Intermediate, Middle School Education and Teaching Commons Recommended Citation McGrail, J. Patrick; McGrail, Ewa; and Rieger, Alicja, "A Teacher Goes Gothic: Walter White, Heisenberg, and the Dark Revenge of Science" (2018). Middle and Secondary Education Faculty Publications. 136. https://scholarworks.gsu.edu/mse_facpub/136 This Article is brought to you for free and open access by the Department of Middle and Secondary Education at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Middle and Secondary Education Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. A TEACHER GOES GOTHIC A Teacher Goes Gothic: Walter White, Heisenberg and the Dark Revenge of Science J. Patrick McGrail, Ewa McGrail, Alicja Rieger Abstract Much has been written on the natures and personalities of teachers in educational research and publications (Carter, 2009; Beck, 2012; Bulman, 2015; Dalton, 2013; Gillard, 2012; Kelly & Caughlan, 2011). However, mass media can have a powerful influence on how people see teachers. The television series Breaking Bad (Gilligan, 2007-2013) and its representation of teachers, has contributed a unique – if warped -perspective on the subject of teachers and teaching in America. -
Breaking Bad Como Reinterpretación Del Mito Quijotesco. Jesus Alberto Garcia Bonilla University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 “De hidalgo a narcotraficante”: Breaking Bad como reinterpretación del Mito Quijotesco. Jesus Alberto Garcia Bonilla University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Comparative Literature Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Garcia Bonilla, Jesus Alberto, "“De hidalgo a narcotraficante”: Breaking Bad como reinterpretación del Mito Quijotesco." (2018). Theses and Dissertations. 1804. https://dc.uwm.edu/etd/1804 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. “DE HIDALGO A NARCOTRAFICANTE”: BREAKING BAD COMO REINTERPRETACIÓN DEL MITO QUIJOTESCO. by Jesús Alberto García Bonilla A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Spanish at The University of Wisconsin-Milwaukee May 2018 i ABSTRACT “DE HIDALGO A NARCOTRAFICANTE”: BREAKING BAD COMO REINTERPRETACIÓN DEL MITO QUIJOTESCO. by Jesus Alberto García Bonilla The University of Wisconsin Milwaukee, 2018 Under the Supervision of Professor R. John McCaw El presente estudio pretende analizar las conexiones existentes entre la serie Breaking Bad y la novela Don Quijote de la Mancha, con el objetivo de demostrar que dicha serie puede ser entendida como una reformulación de la novela. Para llevar a cabo este objetivo, primero se expondrán algunas de las características que nos permiten considerar ambas obras como textos que reflejan la ruptura de sus respectivas sociedades. -
The Normative Dimension of the Underworld in the Television Series “Breaking Bad” and “Better Call Saul”
Florida International University College of Law eCollections Faculty Publications Faculty Scholarship 2017 Outside but Within: The Normative Dimension of the Underworld in the Television Series “Breaking Bad” and “Better Call Saul” Manuel A. Gomez Florida International University College of Law Follow this and additional works at: https://ecollections.law.fiu.edu/faculty_publications Part of the Criminal Law Commons Recommended Citation Manuel A. Gomez, Outside but Within: The Normative Dimension of the Underworld in the television series “Breaking Bad” and “Better Call Saul”, JOxCSLS 2 Special Issue: Law and Popular Culture (2017). This Article is brought to you for free and open access by the Faculty Scholarship at eCollections. It has been accepted for inclusion in Faculty Publications by an authorized administrator of eCollections. For more information, please contact [email protected]. Journal of the Oxford Centre for Socio-Legal Studies | Issue 2, 2017 Outside but Within: The Normative Dimension of the Underworld in the television series “Breaking Bad” and “Better Call Saul”1 Manuel A. Gomez I. The portrayal of the legal system in popular media he fascination of popular media with the operation of the legal system is not new. For many years, novelists, playwrights, and screenwriters have produced an endless T catalogue of works focused on crime and punishment, trials, lawyers, judges, and other pieces of the intricate puzzle that comprises the legal system.2 The universe of such works is so vast that it has led to the development of many sub-genres, which have persevered throughout the evolution of the different artistic and intellectual forms of written, oral, and audiovisual expression. -
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00:00:00 Music Transition Gentle, trilling music with a steady drumbeat plays under the dialogue. 00:00:01 Promo Promo Speaker: Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. [Music fades out.] 00:00:12 Music Transition “Huddle Formation” from the album Thunder, Lightning, Strike by The Go! Team. A fast, upbeat, peppy song. Music plays as Linda speaks, then fades out. 00:00:20 Linda Host Coming to you from my home office, it’s Bullseye. I’m Linda Holmes Holmes, in for Jesse Thorn. Giancarlo Esposito was born in Copenhagen. The son of an Italian stagehand and an American singer. He and his family moved to New York City when he was six years old. And before long, he took up acting, performing on Broadway at first, then—as he grew up—movies. He appeared in many of Spike Lee’s early films. And if you remember him for one role, back then, it’s probably as Buggin Out—the guy who organizes a boycott of Sal’s pizzeria in Do the Right Thing. He’s appeared in dozens of other movies and TV shows. Recently, he’s gotten a lot of acclaim for playing Gus Fring. Gus first appeared in Breaking Bad—a mild-mannered but intense owner of a restaurant franchise who moonlights as a massively influential drug kingpin. Giancarlo reprises his role in Better Call Saul, which just wrapped up its 5th season on AMC. The role has earned Giancarlo two Emmy nominations. And you’re about to hear why.