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Its ghost was inescapable — in the antifreeze blue at the top of Walt’s windshield, in the azure of the open New Mexico sky.
It was in the pay phone Walt used when he pretended he worked for the New York Times, in Todd’s shirt, the back of a parked car, and in the last sweater you’d ever expect to see on Uncle Jack.
Maybe he can reconcile with his parents and sleep some of this off under the clean sheets of a guest bed.
If not, he’s always got the warm glow of his Heavenly Wood Shop, like a meth-addled Little Match Girl.
Paul saw his character’s resolution as a “victory” and used the word “freedom” a couple of times.
This, coupled with the idea of Jesse blowing up cars and avenging his loved ones, all seemed almost comically at odds with what I had just witnessed: a horrendously broken man with no resources and no loved ones to reunite with except for the orphaned child of his girlfriend whose death he undoubtedly feels fully responsible for.
I also happened to stay tuned to my first and last episode of to see what Vince Gilligan and Aaron Paul had to say about the finale, and I love Paul as much as the next gal, but this only reinforced my general distrust of what actors have to say about their work.
I take him too seriously as a human being to believe that a happy, normal life is waiting for him on the other side of that fence.