I know Walt is annoying and stupid and robbing the train was a bad idea in the first place. But Mike really dropped the fucking ball not telling him and Jesse that Todd was gang affiliated when they hired him. Mike would chew a person to shreds if anyone else made that big an oversight!
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Breaking Bad had its problems but it is the only piece of media I’ve ever come across that acknowledges the inherently predatory nature of toxic masculinity in relation to boyhood… how it demands the sacrifice of future generations to the alter of ego, how it’s complete eschewal of the more “feminine” virtues, such as kindness and mercy, invariably results in the perversion of innocence, in the martyrdom of young boys. Brock, Tomás, Drew Sharp, the little red haired boy in Peekaboo… but especially Tomás, not only murdered over what was essentially a glorified pissing contest, but forced to murder in kind prior to being disposed of. And especially Jesse. Because there were so few women players in the drug trade, and because traditional masculinity, despite its pretenses of bravery, requires an exhibitionist show of force over those not in a position to retaliate, he is made to be The Bitch of the drug trade, a surrogate woman to be fought over, doted on, degraded, protected, and eventually discarded, specifically because he is younger and smaller than his colleagues. It’s an insidious and considerably less fantastical inversion of the myth of predatory effeminate queerness, where instead it is traditional, toxic masculinity that pollutes the innocence of boyhood to achieve a psychological high, and it’s the reason why Jesse is so steadfastly dedicated to shielding boy children specifically from the aftershocks of drug trade politics. But his attempts to mitigate the damage done to other boys in the name of traditional masculinity are beyond futile, at least as long as he himself is still subscribed to that mindset.
I noticed a really depressing parallel in the four instances in Breaking Bad where a named character is killed by narcotraffickers and their body disposed of in acid: as each character dies, 1) their body’s destruction becomes more abstract, and 2) the effects of their loss on their loved ones become more explicit.
[tw: body horror, grief & bereavement]
First, Emilio’s fate is shown totally brazenly: Jesse stuffs him into a bathtub (ignoring Walter’s instruction to use a plastic tub), his body fumes as the hydrofluoric acid begins to do its work, then, as Jesse realizes his mistake, the floor below the bathtub caves in and a chunk of flesh that was once Emilio’s torso lands right in front of him and Walt. The scene is disturbing, sure, but it also carries plenty of comedic timing, and we don’t dwell on any of the people (e.g. parents or siblings, who Jesse may have also known since childhood) who were left behind.
Victor’s body has to be disposed of too, but this time there is no humor. He is dumped in a plastic barrel, and as the men pour acid into it, only the fumes, not his body, are visible. Later, as Walt is labeling the barrel for disposal as toxic waste, Victor’s neck dissolves completely, and his head falls into his lap, visible only in its silhouette. Later, we see a missing-person poster for him: a distraught mother or son or girlfriend or friend who will never know where he has gone.
We are not shown the moment in which Drew Sharp is discarded. Instead, we are given a proxy: Todd, Walt, and Mike tear up his motorbike with saws and blowtorches while Drew waits in a pile of sand outside. Each cut or slash to the frame of the bike anticipates violence that will be done to Drew’s body, severing his arms or legs or slashing at his neck, but we are not given the mercy of seeing the barrel sent away. Jesse makes a fevered attempt to send his drug money to the boy’s bereaved parents, but there is no making up for this atrocity.
Finally, we don’t need to see Mike’s body to understand what will become of him. All the show will give us is the sight of a barrel wheeled into place as his former colleagues stare blankly into the trunk of the car which carried his body into the compound. As Mike’s body is thrown in a pit to melt, his features mutilated beyond recognition, the legacy he wanted—financial stability for the wife and daughter of his murdered son—will also disappear.
A.V. Club - A Very Special Episode: A very special Breaking Bad pulled a train robbery, and proved the power of plot by Noel Murray
The arrival of an unexpected witness is a classic Breaking Bad twist, made all the more wicked by the way it’s set up. The episode’s cold open shows this boy, out in the desert, collecting a scorpion in a jar… and then he’s not seen again until the end. We’re meant to forget all about him after the first few minutes of “Dead Freight,” so that when he comes back and gets killed, we quickly cycle through two reactions: “Oh yeah, that kid,” followed by, “Oh no, that kid.”
But the brilliance of Breaking Bad is that this twist doesn’t exist in limbo. It’s a plot machination that serves two purposes: to jolt, and to start laying the groundwork for how the rest of the season will play out. Because Jesse’s fundamentally a sweet guy, and is so emotionally fragile, he’s going to blame himself for this murder, and start spiraling down. Meanwhile, it turns out that Todd and his equally sociopathic criminal family are poised to move in and seize control of Walt’s operation.
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