Breaking Bad series 5, episode 13: Don't skimp on family, that's what I always say

Low on dialogue, heavy on artillery.

WARNING: This blog is for people currently watching Breaking Bad series 5, part 2. It contains spoilers.

Last night’s episode of Breaking Bad was light on dialogue, heavy on artillery. In the prologue Lydia whines about the colour of the crystal meth Todd is cooking. “Blue is our brand,” she explains. After she leaves the rusty hanger where the Nazis - I’m just going to call them Nazis – have been busy getting their product up to 76 per cent purity (“That dude who looked like Wolverine, he couldn’t even crack 70”), Todd reminds us of his creepy, adolescent chivalry from “Buried” and rubs his thumb against the lipstick marks Lydia has left on her mug of tea. Yikes. Todd then receives the call from Walt that closed last week’s episode, asking for his uncle’s help: “Just one target, not currently in jail: Jesse Pinkman.”

Hank and Gomie rail at Jessie – “Timmy Dipshit” – but are intrigued by his plan to corner Walt where he really lives. First they fake Jesse’s death using a packet of gooey supermarket meat and trick Huell into thinking Walt’s been on a killing spree, and that he’s next. Using the bare information they have they trick Walt into revealing the location of his buried barrels of cash. Cue a very green-screen road race out to To’hajiilee, the Indian reservation where Walt and Jesse first cooked and where the White family treasure is buried, along with a series of dopey confessions from Walt: “Remember when I ran over those gang bangers!” etc. etc.

"You're the guy off our billboard!" Photograph: AMC.

Meanwhile Walter Jr is learning the family business, taking cash and telling people to have an A1 day. There is a priceless moment when Saul approaches the counter, battered, swollen and deflated, and Walter Jr is overwhelmed by celebrity. “You’re the guy on our billboard!” he shrieks. “Better call Saul,” Goodman obliges. Just at that moment Walter – I think purely for the comedy value – appears at the door and looks utterly flabbergasted. Saul, as ever, makes a classy exit: “Don’t drink and drive kid, but if you do, call me…”

Walter’s plan to have Jesse killed shows just how corrupted his definition of “family” has become. “Jesse is like family to me,” he says, explaining to Todd’s uncle Jack that he wants a quick and painless hit. (Great response from Jack: “Don’t skimp on family, that’s what I always say.”) Walt attempts to lure Jesse by showing up and Andrea and Brock’s house, but Hank intercepts the phonecall and puts a stop to the plan: “Nice try, asshole.”

To'hajiilee - not Breaking Bad's equivalent of yippee-ki-yay but an Indian reservation. Photograph: AMC.

The final ten minutes of the episode became a protracted showdown, first between Hank, Gomie, Jesse and Walt, then between the four of them and the Nazis, who show up despite Walt’s telling them not to come. Hank’s phone call to Marie was a klaxon call to herald his demise, but I’m not so sure... After some of the worst misses in television history, nobody has been hit and everything is to play for. I thought at least Gomie would have taken one to the shoulder, but the bullets keep flying, and Walt and Jesse are caught in the firing line.

Next week: "Ozymandias".

Walt makes an appearance at breakfast - and is rightly treated with suspicion by Brock. Photograph: AMC.

Philip Maughan is a freelance writer in Berlin and a former Assistant Editor at the New Statesman.

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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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