Trade Secret Protection Gone Rogue the Walter White Case Study by Anthony M
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Breaking Bad and Cinematic Television
temp Breaking Bad and Cinematic Television ANGELO RESTIVO Breaking Bad and Cinematic Television A production of the Console- ing Passions book series Edited by Lynn Spigel Breaking Bad and Cinematic Television ANGELO RESTIVO DUKE UNIVERSITY PRESS Durham and London 2019 © 2019 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Typeset in Warnock and News Gothic by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data Names: Restivo, Angelo, [date] author. Title: Breaking bad and cinematic television / Angelo Restivo. Description: Durham : Duke University Press, 2019. | Series: Spin offs : a production of the Console-ing Passions book series | Includes bibliographical references and index. Identifiers: LCCN 2018033898 (print) LCCN 2018043471 (ebook) ISBN 9781478003441 (ebook) ISBN 9781478001935 (hardcover : alk. paper) ISBN 9781478003083 (pbk. : alk. paper) Subjects: LCSH: Breaking bad (Television program : 2008–2013) | Television series— Social aspects—United States. | Television series—United States—History and criticism. | Popular culture—United States—History—21st century. Classification: LCC PN1992.77.B74 (ebook) | LCC PN1992.77.B74 R47 2019 (print) | DDC 791.45/72—dc23 LC record available at https: // lccn.loc.gov/2018033898 Cover art: Breaking Bad, episode 103 (2008). Duke University Press gratefully acknowledges the support of Georgia State University’s College of the Arts, School of Film, Media, and Theatre, and Creative Media Industries Institute, which provided funds toward the publication of this book. Not to mention that most terrible drug—ourselves— which we take in solitude. —WALTER BENJAMIN Contents note to the reader ix acknowledgments xi Introduction 1 1 The Cinematic 25 2 The House 54 3 The Puzzle 81 4 Just Gaming 116 5 Immanence: A Life 137 notes 159 bibliography 171 index 179 Note to the Reader While this is an academic study, I have tried to write the book in such a way that it will be accessible to the generally educated reader. -
Outstanding Casting for a Drama Series
Outstanding Casting for a Drama Series Episode 511, “Confessions”: Walt, Skylar, Hank & Marie meet to discuss what's next. Trent, just doing his job, interrupts this very tense situation...more than once. Walter White … Bryan Cranston Skyler White … Anna Gunn Hank Schrader … Dean Norris Marie Schrader … Betsey Brandt Trent* … Guy Wilson Episode 515, “Granite State”: The Disappearer returns to Walt at his hideout in New Hampshire to bring him supplies. Walter White … Bryan Cranston The Disappearer* … Robert Forrester Episode 516, “Felina”: Walt returns to Elliott & Gretchen's. Our fan favorites Badger & Skinny Pete are not far behind. Walter White … Bryan Cranston Elliott … Adam Godley Gretchen … Jessica Hecht Badger … Matt Jones Skinny Pete … Charles Baker Lydia & Todd have an unexpected visit from Walt at the weekly coffee shop meeting Walter White … Bryan Cranston Lydia* … Laura Fraser Todd* … Jesse Plemons The shootout between Jack’s gang and Walter’s machine. The final good-bye. Walter White … Bryan Cranston Jesse Pinkman … Aaron Paul Todd* … Jesse Plemons Uncle Jack* … Michael Bowen Kenny* … Kevin Rankin Lester* … Tait Fletcher Jack’s Man* … Matthew T. Metzler Frankie* … Patrick Shane *Cast this season Casting Summary for Production 12-20-2012 BREAKING BAD Artist Episode # Episode Title Role Name Series Stars: BRANDT, BETSY MARIE CRANSTON, BRYAN WALTER WHITE GUNN, ANNA SKYLER WHITE MITTE, RJ WALTER, JR. NORRIS, DEAN HANK ODENKIRK, BOB SAUL GOODMAN PAUL, AARON JESSE Guest Cast: BAKER, CHARLES 509 BLOOD MONEY SKINNY PETE BRUMMETT, -
The Hero As Villain in Contemporary Televised Narratives
THE ONE WHO KNOCKS: THE HERO AS VILLAIN IN CONTEMPORARY TELEVISED NARRATIVES Maria João Brasão Marques Dissertação de Mestrado em Línguas, Literaturas e Culturas Estudos Ingleses e Norte-Americanos Março de 2016 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Línguas, Literaturas e Culturas – Estudos Ingleses e Norte-Americanos realizada sob a orientação científica da Professora Doutora Isabel Oliveira Martins. Show me a hero and I will write you a tragedy. F. Scott Fitzgerald AGRADECIMENTOS À minha orientadora, a Professora Doutora Isabel Oliveira Martins, pela confiança e pelo carinho nesta jornada e fora dela, por me fazer amar e odiar os Estados Unidos da América em igual medida (promessa feita no primeiro ano da faculdade), por me ensinar a ser cúmplice de Twain, Fitzgerald, Melville, McCarthy, Whitman, Carver, tantos outros. Agradeço principalmente a sua generosidade maior e uma paixão que contagia. Às Professoras Iolanda Ramos e Teresa Botelho, por encorajarem o meu investimento académico e por me facultarem materiais indispensáveis nesta dissertação, ao mesmo tempo que contribuíram para o meu gosto pela cultura inglesa e norte-americana. À professora Júlia Cardoso, por acreditar nesta demanda comigo e me fazer persistir até chegar a bom porto. Ao Professor João Maria Mendes, para sempre responsável pela minha paixão pelas narrativas, pelos heróis, pelo prazer de contar histórias que se mostram, pelo gosto de construir personagens que falham constantemente e que constantemente se reerguem. Aos meus pais, por me deixarem continuar a estudar. THE ONE WHO KNOCKS: THE HERO AS VILLAIN IN CONTEMPORARY TELEVISED NARRATIVES MARIA JOÃO BRASÃO MARQUES RESUMO PALAVRAS-CHAVE: herói, anti-herói, protagonista, storytelling televisivo, revolução criativa, paradigma do herói, vilão. -
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. -
Montage Sequences, Diegetic Music and Narcotics in Vince Gilligan‟S Breaking Bad
International Journal of Innovative Technology and Exploring Engineering (IJITEE) ISSN: 2278-3075, Volume-9 Issue-2, December 2019 Montage Sequences, Diegetic Music and Narcotics in Vince Gilligan‟s Breaking Bad A.Aiswarya Ramakrishna Pillai, P.V. Ramanathan In the present generation Netflix, Hotstar, Amazon Abstract: Vince Gilligan’s “Breaking Bad” is a neo-Western Prime and Hulu subscriptions very easily duplicate the television crime drama series that was broadcasted on AMC cinematic experience and are of a huge financial advantage. (American pay television channel). Crime Films can be The advancement in camera works, aesthetics, music, subtitle comprehended as a cinematic genre that was inaugurated by and several other graphical representations offered serials crime fiction in literature. The crime film is a complex and like Breaking Bad a precedence, due to the use of panoramic variegated object of study. Unlike the other existing genres, “crime film” is not defined as a cinematographic genre. This camera angles, thrilling shots from various angles and surreal genre is characterized by stories where there is an impending settings, not employed previously. Rebecca Williams crime, in some cases the crime would have already taken place and eloquently details how the creation of technical devices such is followed by the consequences. The advancement in technology as that of DVD and Blue-ray allocates a huge freedom that especially the invention of VCR,DVD and many such affordable allows the viewer to enjoy the entire series in a single sitting machines have made viewing television easy and affordable, or view it multiple times taking intervals and observing how which in turn paved the way for the success of critically acclaimed “ontological security can be felt differently when watching a serials such as “Breaking Bad” to embrace the success it deserved. -
A Monomyth Analysis of Breaking Bad
Breaking Myths: A monomyth analysis of Breaking Bad. Treball de Fi de Grau Grau d’Estudis d’Anglès i Espanyol Supervised by Jéssica Faciabén Lago Iván Cirilo Ramos 2019-2020 TABLE OF CONTENTS 1. Introduction: a working definition of monomyth .................................................................... 1 2. Methodology ............................................................................................................................ 2 3. The monomyth in Literary Criticism: The Good, the Bad, the Ugly. ......................................... 4 4. Hypothesis and challenges .......................................................................................................... 7 5. Monomyth Archetypes in Breaking Bad .................................................................................... 8 5.1 Heroes ................................................................................................................................ 8 5.2 Shapeshifters .................................................................................................................... 10 5.3Trickster ............................................................................................................................ 12 5.4 Threshold Guardian ......................................................................................................... 13 5.5 Mentors ............................................................................................................................ 14 5.6 Shadows .......................................................................................................................... -
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.. -
Better Call Saul: Is You Want Discoverable Communications: the Misrepresentation of the Attorney-Client Privilege on Breaking Bad
Volume 45 Issue 2 Breaking Bad and the Law Spring 2015 Better Call Saul: Is You Want Discoverable Communications: The Misrepresentation of the Attorney-Client Privilege on Breaking Bad Armen Adzhemyan Susan M. Marcella Recommended Citation Armen Adzhemyan & Susan M. Marcella, Better Call Saul: Is You Want Discoverable Communications: The Misrepresentation of the Attorney-Client Privilege on Breaking Bad, 45 N.M. L. Rev. 477 (2015). Available at: https://digitalrepository.unm.edu/nmlr/vol45/iss2/5 This Article is brought to you for free and open access by The University of New Mexico School of Law. For more information, please visit the New Mexico Law Review website: www.lawschool.unm.edu/nmlr \\jciprod01\productn\N\NMX\45-2\NMX208.txt unknown Seq: 1 12-MAY-15 12:16 “BETTER CALL SAUL” IF YOU WANT DISCOVERABLE COMMUNICATIONS: THE MISREPRESENTATION OF THE ATTORNEY- CLIENT PRIVILEGE ON BREAKING BAD Armen Adzhemyan and Susan M. Marcella* INTRODUCTION What if Breaking Bad had an alternate ending? One where the two lead characters and co-conspirators in a large methamphetamine cooking enterprise, Walter White and Jesse Pinkman,1 are called to answer for their crimes in a court of law. Lacking hard evidence and willing (i.e., * Armen Adzhemyan is a litigation associate in the Los Angeles office of Gibson, Dunn & Crutcher LLP where he has researched and litigated numerous issues regarding the attorney-client privilege as a member of the Antitrust, Law Firm Defense, Securities Litigation, and Transnational Litigation Practice Groups. He received his J.D. in 2007 from the University of California, Berkeley School of Law, where he served as a senior editor on the Berkeley Journal of International Law. -
Midlife Leading Man Breaking Bad’S Dean Norris, a Prime-Time Stalwart
MONTAGE Left to right: An Aero L-39 Albatros (foreground) and Dassault Falcon 2000 over the Golden Gate Bridge; a World War II-era North American P-51 Mustang over New York City; an Oracle Challenger (red) and Wolfpitts (yellow); Ambats shooting from a Beechcraft A36 Bonanza photoship H BY DAVID FARR DAVID H BY P pilots,” specialists trained to fly feet higher.” Even such a small change can in close formation with other drastically alter the composition. PHOTOGRA planes: some are former Blue An- Ambats usually works from a Beech- gels or Thunderbirds. With ex- craft Bonanza with the rear doors re- posures from ranges as close as 20 moved. (She does not shoot through to 150 feet, this kind of expertise glass.) A harness holds her securely in is essential or it’s “too risky,” she place. Working with a handheld high-end says. “It takes finesse to move an digital camera, she exposes several hun- pleasure. (She rents these craft, which cost airplane exactly 10 feet.” During the shoot, dred images per flight. Lenses with image around $480,000 each; private jets fall in she constantly feeds both pilots directions stabilization can help, and at times she the $3-million to $10-million range.) to line up the planes properly with each deploys a gyroscopic camera stabilizer, “if For shoots, she hires only “formation other and the background: “Biplane, 15 it’s a bumpy flight.” Midlife Leading Man Breaking Bad’s Dean Norris, a prime-time stalwart ean norris ’85 is headed home on a Stephen King science by limousine after finishing a fiction novel, was anchored photo shoot with—he kids— by Norris as “Big Jim” Ren- D “a few underlings from the net- nie, a power-hungry lo- work”: CBS Entertainment president Nina cal politician in a town Tassler and CBS Television Studios presi- suddenly cut off from the dent David Stapf. -
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. -
IMTA ALUM AARON PAUL SHINES in TWO NEW FILMS IMTA Press Release October 3, 2019 the Parts You Lose Is in Select Theatres and VOD Friday, October 4
IMTA ALUM AARON PAUL SHINES IN TWO NEW FILMS IMTA Press Release October 3, 2019 The Parts You Lose is in select theatres and VOD Friday, October 4. El Camino: A Breaking Bad Movie arrives on Netflix on October 11th and is set for a limited theatrical release from October 11th to 13th. “I really loved Jesse. I knew him better than anyone, but it was a big weight off of my shoulders to hang up the cleats and walk away. I thought it was goodbye, and I was OK with that.” — Aaron Paul on the “Breaking Bad” series finale Since the iconic series “Breaking Bad” ended in 2013, IMTA alum Aaron Paul has taken on a variety of roles in feature films such as Need for Speed, Exodus: Gods and Kings, Eye in the Sky and Central Intelligence, as well as TV series that include Hulu’s “The Path” and Netflix’s adult animated “Bojack Horseman,” on which he also serves as an Executive Producer. He had just completed the independent feature The Parts You Lose in early 2018 when “Breaking Bad” creator Vince Gilligan secretly contacted him to see if he would be interested in an idea he had for a movie about Jesse Pinkman, Paul’s character in the series about a high school chemistry teacher diagnosed with inoperable lung cancer who turns to manufacturing and selling methamphetamine in order to secure his family's future. Skip forward 18 months to August 2019. The Samuel Goldwyn Company reveals the trailer and October 4 release date for The Parts You Lose. -
Why We Should Spare Walter White: Breaking Bad and the True Power of Mitigation
Volume 45 Issue 2 Breaking Bad and the Law Spring 2015 Why We Should Spare Walter White: Breaking Bad and the True Power of Mitigation Bidish J. Sarma Recommended Citation Bidish J. Sarma, Why We Should Spare Walter White: Breaking Bad and the True Power of Mitigation, 45 N.M. L. Rev. 429 (2015). Available at: https://digitalrepository.unm.edu/nmlr/vol45/iss2/4 This Article is brought to you for free and open access by The University of New Mexico School of Law. For more information, please visit the New Mexico Law Review website: www.lawschool.unm.edu/nmlr \\jciprod01\productn\N\NMX\45-2\NMX207.txt unknown Seq: 1 7-MAY-15 13:45 WHY WE WOULD SPARE WALTER WHITE: BREAKING BAD AND THE TRUE POWER OF MITIGATION Bidish J. Sarma* INTRODUCTION What if federal authorities captured Walter White? Considering that he committed the murders of many individuals and orchestrated many more in the course of building and running his global meth trade, the prosecution would be able to seek the ultimate punishment against him. But, would a jury give him the death penalty? Walter’s gripping journey stirred within viewers a range of complex emotions, but even those re- volted by his actions must concede that it is extraordinarily difficult to envision a random collection of twelve people unanimously agreeing that he deserves a state-sanctioned execution. Indeed, it seems that many of us actually rooted for Walter throughout the series, even when we strug- gled to understand why. This Essay explores the answer to the question of why we would spare Walter White from the death penalty.