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128-559: Jesse Bruce Pinkman is a fictional character in the American crime drama television series Breaking Bad , portrayed by Aaron Paul . He is a crystal meth cook and dealer who works with his former high school chemistry teacher, Walter White (played by Bryan Cranston ). Jesse is the only character besides Walter to appear in every episode of the show. Paul reprised the role for the 2019 spin-off sequel film El Camino: A Breaking Bad Movie , set after its finale, and again in 2022 for

256-621: A box cutter in a gruesome show of force. Jesse attempts to distract himself from the guilt of killing Gale by setting up a perpetual drug rave at his house. He also places a large amount of drug money in Andrea's mailbox, urging her to leave Albuquerque with her young son, Brock ( Ian Posada ). Jesse becomes increasingly indifferent to his own welfare and steals meth from the superlab to fuel his drug-laden parties. Mike informs Gus of Jesse's recklessness, but instead of ordering Jesse's death, Gus has Mike take Jesse on an errand to collect drop money. On

384-425: A "defiant gait" and the bravado of a wannabe gangster. Her opinion changed beginning with "Peekaboo". Gilligan said the writers' decision to write that episode was to get into Jesse's mind-set. Emily Nussbaum of The New Yorker noted that "Gilligan "swivel[ed] background characters into the spotlight, where they can absorb the sympathy we once extended to Walt." Critics thought " Blood Money " expanded Jesse's role as

512-416: A Hollywood feature went from $ 20,000 in 1914 to $ 300,000 in 1924. Silver and Ursini stated that the earliest crime features were by Austrian émigré director Josef von Sternberg whose films like Underworld (1927) eliminated most of the causes for criminal behavior and focused on the criminal perpetrators themselves which would anticipate the popular gangster films of the 1930s. The groundwork for

640-435: A better way to get to Walt: through his drug money. Hank interrogates Huell and deduces that Walt buried his money in the desert. Jesse calls Walt claiming that he has found the money and threatens to burn it if Walt does not show up. Walt falls for the ruse and drives into the desert to check on the cash, with Hank and Jesse in pursuit. Walt realizes Jesse has tricked him and calls Todd's uncle, Jack Welker ( Michael Bowen ),

768-403: A botched drug deal, as a plot device to plague Walt with guilt. However, Gilligan said by the second episode of the season, he was so impressed with Jesse's character and Aaron Paul's performance that "it became pretty clear early on that it would be a huge, colossal mistake to kill off Jesse". Gilligan also liked the chemistry between Paul and Bryan Cranston . The character has been said to become

896-478: A broader category called "film type", mystery and suspense as "macro-genres", and film noir as a "screenwriter's pathway" explaining that these categories are additive rather than exclusionary. Chinatown would be an example of a film that is a drama (film type) crime film (super-genre) that is also a noir (pathway) mystery (macro-genre). The definition of what constitutes a crime film is not straightforward. Criminologist Nicole Hahn Rafter in her book Shots in

1024-505: A change signaled by films like Chinatown (1974) and The Wild Bunch (1969) noting that older genres were being transformed through cultivation of nostalgia and a critique of the myths cultivated by their respective genres. Todd found that this found its way into crime films of the 1980s with films that could be labeled as post-modern , in which he felt that "genres blur, pastiche prevails, and once-fixed ideals, such as time and meaning, are subverted and destabilized". This would apply to

1152-536: A cigarette from Kim, he recognizes her as the public defender who got his friend Christian "Combo" Ortega out of trouble after he stole the Baby Jesus from a Nativity display. Jesse is there with Emilio Koyama , who decided to hire Saul based on a TV advertisement. Jesse asks Kim if Saul is a good lawyer, to which she replies, "when I knew him, he was." When Walt is diagnosed with lung cancer and considers making methamphetamine to provide for his family, he tries to learn

1280-569: A conservative era. For crime films, this led to various reactions, including political films that critiqued official policies and citizen's political apathy. These included films like Missing (1982), Silkwood (1983), and No Way Out (1987). Prison films and courtroom dramas would also be politically charged with films like Kiss of the Spider Woman (1985) and Cry Freedom (1987). While films about serial killers existed in earlier films such as M (1931) and Peeping Tom (1960),

1408-427: A contrast to Walt's and the moral conscience of the series. The Hollywood Reporter ' s Tim Goodman also noted Jesse's role and character development as a contrast to Walt's. Alyssa Rosenberg of ThinkProgress contrasts Walt with Jesse's growing moral conscience. Seth Amitin of IGN wrote of the episode: though Jesse was close to rock bottom, he still could not admit or accept his problems. Amitin called Jesse

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1536-590: A convenient way of referring to certain other offenses, but was not a term used in English law until 1968. Blackmail was originally a term from the Scottish Borders meaning payments rendered in exchange for protection from thieves and marauders. The "mail" part of blackmail derives from Middle English male meaning "rent or tribute". This tribute (male or reditus ) was paid in goods or labour ("nigri"); hence reditus nigri , or "blackmail". The word blackmail

1664-451: A crooked shell" and portrayed gangsters who showcased the "romantic mystique of the doomed criminal." The 1940s formed an ambivalence toward the criminal heroes. Leitch suggested that this shift was from the decline in high-profile organized crime, partly because of the repeal of Prohibition in 1933 and partly because of the well-publicized success of the FBI. Unlike the crime films of the 1930s,

1792-476: A feature Breaking Bad sequel film was in the works, with the logline stating that the film "tracks the escape of a kidnapped man and his quest for freedom". Many speculated that this would reveal the fate of Jesse Pinkman from immediately after the events of the Breaking Bad season finale. This sequel eventually became El Camino: A Breaking Bad Movie which focused on Jesse immediately following his escape from

1920-484: A film described as "crime/ action " or an "action/crime" or other hybrids was "only a semantic exercise" as both genres are important in the construction phase of the narrative. Mark Bould in A Companion to Film Noir stated that categorization of multiple generic genre labels was common in film reviews and rarely concerned with succinct descriptions that evoke elements of the film's form, content and make no claims beyond on how these elements combine. Leitch, stated that

2048-814: A final nod before Jesse drives off in Todd's El Camino, laughing and crying with relief. After fleeing the Brotherhood compound in Todd's El Camino , Jesse drives to the home of Skinny Pete and Badger, who hide the car and give Jesse a place to sleep. The next morning, Jesse calls Old Joe to dispose of the El Camino, but Joe leaves after finding its LoJack . Pete and Badger give Jesse the money they got from Walt, and Badger gives Jesse his Pontiac Fiero . Badger drives Pete's Ford Thunderbird several hours south to make it appear that Jesse fled to Mexico. Pete stays home and awaits police, intending to cover for Jesse by claiming he traded

2176-529: A gradual shift of the audience's sympathies from Walt to Jesse, who had received mixed reception in the first season. Aaron Paul thinks some of the major turnaround episodes for this are " Peekaboo " and " ABQ ". In his review for "Peekaboo," Erik Kain of Forbes wrote that as Walt grows increasingly less sympathetic, Jesse grows more human and complex, as evidenced by his relationship with the neglected son of two drug addicts. Emma Rosenblum of New York Magazine wrote that Jesse started as an "absurd screwup" with

2304-482: A lawful occupation and writing libelous letters or letters that provoke a breach of the peace, as well as use of intimidation for purposes of collecting an unpaid debt. In many jurisdictions, blackmail is a statutory offense, often criminal, carrying punitive sanctions for convicted perpetrators. Blackmail is the name of a statutory offense in the United States, England and Wales, and Australia, and has been used as

2432-481: A locker of the Hollywood Athletic Club. The Asphalt Jungle (1950) consolidated a tendency to define criminal subculture as a mirror of American culture. The cycle of caper films were foreshadowed by films like The Killers (1946) and Criss Cross (1949) to later examples like The Killing (1956) and Odds Against Tomorrow (1959). Leitch wrote that these films used the planning and action of

2560-401: A lucrative, albeit unstable, partnership, Walt and Jesse expand their operations by stealing a large drum of methylamine . This enables them to produce even more potent meth in larger quantities. The second season begins with Walt and Jesse delivering a fresh batch to Tuco, who senselessly beats one of his henchmen, " No Doze " (Cesar Garcia), to death as the stunned duo watch helplessly. After

2688-672: A mobster known as The Snapper Kid. Regeneration (1915) was an early feature-length film about a gangster who saved from a life of crime by a social worker. These two early films and films like Tod Browning 's Outside the Law (1920) that deal with the world of criminal activity were described by Silver and Ursini as being gangsters "constrained by a strong moral code". Stuart Kaminsky in American Film Genres (1974) stated that prior to Little Caesar (1931), gangster characters were in films were essentially romances . European films of

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2816-437: A new identity with the surname "Driscoll" and smuggles him to Haines, Alaska . Jesse hands Ed a letter for Brock and says there is no one else he wants to say goodbye to. As Jesse drives off, he has a flashback to his time with Jane. He tells her he admires what she said about going wherever the universe takes her, but she dismisses it as "metaphorical" and encourages him to make his own decisions. Jesse drives on, smiling. After

2944-452: A plan to kill the dealers with ricin that Walt had earlier created, but Jesse is forced to cancel the plan after learning the dealers work for Gus. However, after Tomas is found murdered, an enraged Jesse sets out to kill the dealers anyway. Walt intervenes at the last moment, killing the two dealers and telling Jesse to run. After Jesse goes into hiding, Gus replaces him with Gale Boetticher ( David Costabile ), Walt's previous assistant in

3072-522: A psychopathic personality." Drew Todd in Shots in the Mirror: Crime Films and Society described the character as different than films featuring rebellious characters from the 1940s and 1950s, with a character whose anger is directed against the state, mixed with fantasies of vigilante justice. Films like Dirty Harry , The French Connection and Straw Dogs (1971) that presented a violent vigilante as

3200-498: A rehabilitation clinic, observing its patients, and interviewing its director. The fourth season premiere, " Box Cutter ", showed Walt pleading with Gus to save Jesse, demonstrating Walt's paternal relationship with and loyalty to Jesse. Walt tells Gus that he refuses to continue cooking if Gus kills Jesse. Paul felt this was "the first moment that Jesse realizes that Walt's loyalty is to Jesse." The party scenes at Jesse's house in " Thirty-Eight Snub " and " Open House " were created as

3328-470: A remake of The Defiant Ones (1958). The cycle generally slowed down by the mid 1970s. Prison films closely followed the formulas of films of the past while having an increased level of profanity, violence and sex. Cool Hand Luke (1967) inaugurated the revival and was followed into the 1970s with films like Papillon (1973), Midnight Express (1978) and Escape from Alcatraz (1979). When Ronald Reagan became president in 1980, he ushered in

3456-413: A robbery todramatize the "irreducible unreasonableness of life." The themes of existential despair made the these film popular with European filmmakers, who would make their own heist films like Rififi (1955) and Il bidone (1955). Filmmakers of the coming French New Wave movement would expand on these crime films into complex mixtures of nostalgia and critique with later pictures like Elevator to

3584-420: A savior. By the mid-1970s, a traditional lead with good looks, brawn and bravery was replaced with characters who Todd described as a "pathological outcast, embittered and impulsively violent." Hollywood productions began courting films produced and marketed by white Americans for the purpose of trying to attract a new audience with blaxploitation film. These films were almost exclusively crime films following

3712-542: A struggle with Tuco; they flee the scene and watch as Hank—who has been guided to the house by the LoJack on Jesse's car, while searching for the missing Walt—kills Tuco in a firefight outside the house. Walt and Jesse, undetected by Hank, wander on foot through the desert before hitching a ride back to civilization. The DEA seizes Jesse's car and money. Realizing the authorities will track him down, Jesse seeks help from his friend, Brandon "Badger" Mayhew ( Matt Jones ). They move

3840-420: A threat to reveal or publicize either substantially true or false information about a person or people unless certain demands are met. It is often damaging information, and it may be revealed to family members or associates rather than to the general public. Acts of blackmail can also involve using threats of physical, mental or emotional harm, or of criminal prosecution, against the victim or someone close to

3968-586: A very small place in Alaska, so he doesn’t need all that much money. He knows how to work with his hands, and so he just needs to refresh those skills and become the artist that he was always meant to be." After reprising Jesse Pinkman a final time in Better Call Saul , Paul said he felt confident that this marked Jesse's final appearances and called it a farewell to his character. Jesse's character development has received universal acclaim. Alan Sepinwall noticed

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4096-427: A way for Jesse to cope with his guilt and self-hatred after murdering Gale Boetticher in the third-season finale, " Full Measure ". Gilligan said these scenes were written because he wanted to demonstrate that the actions of the characters in Breaking Bad have major consequences. The writers discussed how Jesse would react to having killed Gale, and they chose the party story arc, in part, because they felt it would be

4224-410: A wire in order to record Walt making incriminating statements. Jesse goes to the meeting, while Hank and his partner Steve Gomez ( Steven Michael Quezada ) watch in surveillance trucks. Jesse notices a suspicious man near Walt, mistakenly assuming that Walt has hired an assassin to kill him. He walks to a pay phone, calls Walt, and says he intends to end Walt's drug business. Jesse then tells Hank he has

4352-582: A young boy, Drew Sharp (Samuel Webb), who was witness to the crime. Jesse is horrified and decides to quit the meth business. Mike and Jesse want to get out of the business, and arrange for rival drug lord Declan ( Louis Ferreira ) to purchase the methylamine for $ 15 million. Walt refuses to sell his share, and Declan will not buy unless he gets it all. Instead, Walt makes a deal that enables Jesse and Mike to be paid, while Walt continues to cook for Declan. Hoping to lure Jesse back as his assistant, Walt refuses to pay him, and Jesse leaves, saying he would rather give up

4480-402: Is a style of crime film that originated from two cinematic precursors: the gangster film and the gentleman thief film. The essential element in these films is the plot concentration on the commission of a single crime of great monetary significance, at least on the surface level. The narratives in these films focus on the heist being wrapped up in the execution of the crime more or at as much as

4608-475: Is alive, Walt goes to Jack's compound, claiming to have a new meth formula to sell. Jack intends to kill Walt, but Walt accuses Jack of partnering with Jesse to sell meth. Jack has Jesse brought in so he can prove Jesse is forced to work for him and is not a partner. Walt tackles Jesse to the floor just as gunfire from a machine gun Walt had hidden in his car erupts on the building, killing Jack's entire gang except for Jack and Todd. Jesse strangles Todd to death using

4736-423: Is different just as crime are different than horror, science fiction and period drama films. Rafter also suggested that Westerns could be considered crime films, but that this perception would only be "muddying conceptual waters." The history of the crime film before 1940 follows reflected the changing social attitudes toward crime and criminals. In the first twenty years of the 20th Century, American society

4864-560: Is generally defined as a crime of information, involving a threat to do something that would cause a person to suffer embarrassment or financial loss. By contrast, in the Commonwealth its definition is wider: for example the laws of England and Wales and Northern Ireland state that: A person is guilty of blackmail if, with a view to gain for himself or another or with intent to cause loss to another, he makes any unwarranted demand with menaces... In popular culture, 'blackmail' involves

4992-607: Is hospitalized, Walt—who is now working for Gus as a meth cook—persuades Gus to renew Jesse and Walt's partnership so Jesse will drop the lawsuit. Jesse and Walt cook larger amounts of meth in Gus' underground "superlab", earning considerably more money. Jesse becomes romantically involved with Andrea Cantillo ( Emily Rios ), a single mother and recovering meth addict from his Narcotics Anonymous meetings. He eventually discovers that her 11-year-old brother, Tomas (Angelo Martinez), had killed Combo on behalf of two rival dealers. Jesse concocts

5120-598: Is quickly arrested and interrogated by the APD, who then allows Hank – who now knows that Walt is "Heisenberg", the meth kingpin he has been trying to catch – to question him. Jesse does not confess anything and Saul soon posts his bail. Saul, Walt, and Jesse meet in the desert, where Walt suggests that Jesse skip town and start over with a new identity. Jesse agrees, but just as he is about to be picked up by Saul's "disappearer", he realizes that Saul's bodyguard Huell Babineaux ( Lavell Crawford ) took his ricin cigarette, meaning that Walt

5248-409: Is robbed by a pair of addicts, Walt tells Jesse to "handle it". Jesse goes to the addicts' house to confront them, but the plan goes awry when one of the addicts kills the other in front of him. While traumatic for Jesse, the incident ultimately helps his business; a rumor quickly spreads that Jesse killed the addict, giving him a fearsome reputation on the streets. Jesse is also instrumental in retaining

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5376-586: Is stealing the RV from him and goes to the junkyard as Hank follows. Walt and Jesse lock themselves inside, and Walt and Saul arrange a fake emergency phone call to Hank, which says his wife Marie ( Betsy Brandt ) is in the hospital. Hank leaves without searching the RV, giving Walt and Jesse enough time to destroy it in a vehicle compactor. A furious Hank follows Jesse home and beats him into unconsciousness. The incident leads to Hank not only getting suspended, but Jesse threatening to sue him for everything he has. While Jesse

5504-590: Is struck by its quality, calling it the purest he has ever seen. He approaches Emilio's cousin Domingo "Krazy-8" Molina ( Maximino Arciniega ), an Albuquerque meth distributor, to propose doing business with him. Krazy-8 is suspicious, so Emilio and he make Jesse bring them to meet Walt. Emilio recognizes Walt as having been with Hank during the DEA bust, and they attempt to kill Walt, but he produces phosphine gas that kills Emilio and incapacitates Krazy-8, allowing Walt to flee with

5632-400: Is that rents in the Scottish Borders were often paid in produce of the land, called " greenmail " ('green rent'), suggesting "blackmail" as a counterpart paid perforce to the reivers. Alternatively, Mackay derives it from two Scottish Gaelic words blathaich pronounced (the th silent) bla-ich (to protect) and mal (tribute, payment), cf. buttock mail . He notes that the practice

5760-531: Is upset by what happened to Brock and becomes obsessed with finding out what happened to the ricin. Jesse has Walt help him search Jesse's house for the cigarette containing the poison. Walt plants a replica of the ricin cigarette in Jesse's vacuum cleaner, which Jesse finds. Jesse then agrees to continue cooking meth with Walt. Soon afterward, Walt's manipulations of Jesse's feelings for Andrea and Brock cause him to break up with her so that Andrea and Brock will be safe from

5888-493: Is variously derived from the word for mailing (in modern terms, protection racket ) paid by English and Scottish border dwellers to Border Reivers in return for immunity from raids and other harassment. The "mail" part of blackmail derives from Middle English male , "rent, tribute". This tribute was paid in goods or labour ( reditus nigri , or "blackmail"); the opposite is blanche firmes or reditus albi , or "white rent" (denoting payment by silver). An alternative version

6016-840: The San Francisco Chronicle called the episode "an exclamation mark on the tortured journey of Jesse." Entertainment Weekly called "Full Measure" one of Jesse's best episodes and noted his killing Gale cost Jesse the last of his innocence. Quentin B. Huff of PopMatters called Jesse's story arc an "emotional rollercoaster animated by intense grief." Crime drama Screenwriter and scholar Eric R. Williams identified crime film as one of eleven super-genres in his Screenwriters Taxonomy , claiming that all feature-length narrative films can be classified by these super-genres.  The other ten super-genres are action, fantasy, horror, romance, science fiction, slice of life, sports, thriller, war and western. Williams identifies drama in

6144-617: The British Board of Film Censors or conveyed mostly through narration. Box-office receipts began to grow stronger towards the late 1960s. Hollywood's demise of the Hays Code standards would allow for further violent, risqué and gory films. As college students at the University of Berkeley and University of Columbia demonstrated against racial injustice and the Vietnam, Hollywood generally ignored

6272-496: The Federal Bureau of Investigation (FBI) in 1935), promoted bigger budgets and wider press for his organization and himself through a well-publicized crusade against such real world gangsters as Machine Gun Kelly , Pretty Boy Floyd and John Dillinger . Hoover's fictionalized exploits were glorified in future films such as G Men (1935). Through the 1930s, American films view of criminals were predominantly glamorized, but as

6400-1031: The Western film as they lack both the instantly recognizable or the unique intent of other genres such as parody films. Leitch and Rafter both write that it would be impractical to call every film in which a crime produces the central dramatic situation a crime film. Leitch gave an example that most Westerns from The Great Train Robbery (1903) to Unforgiven (1992) often have narratives about crime and punishment, but are not generally described as crime films. Films with crime-and-punishment themes like Winchester 73 (1950) and Rancho Notorious (1952) are classified as Westerns rather than crime films because their setting takes precedence over their story. Alain Silver and James Ursini argued in A Companion to Crime Fiction (2020) that "unquestionably most Western films are crime films" but that that their overriding generic identification

6528-490: The gangster film as both a genre on its own terms and a subgenre of the crime film. In these films, the gangster and their values have been imbedded through decades of reiteration and revision, generally with a masculine style where an elaboration on a codes of behavior by acts of decisive violence are central concerns. The archetypal gangster film was the Hollywood production Little Caesar (1931). A moral panic followed

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6656-528: The sixth and final season of the spin-off prequel sequel series Better Call Saul , being one of the few characters to appear across both shows and the movie. Despite initial plans to kill off the character at the end of the first season, Paul's performance convinced the showrunner and head writer Vince Gilligan to keep Jesse in the show. The character and Paul's performance received acclaim from critics and fans. Critics especially praised Jesse's character development from an unsympathetic drug dealer to

6784-436: The "coward in all of us in tough situations". Amitin was, nonetheless, sympathetic to Jesse's pain, misery, and feelings of meaninglessness, in part because of Paul's "fantastic acting". In his review for "Breakage," Amitin wrote that the episode "rehumaniz[ed] Jesse". He noted that though Jesse is rebuilding his life, he has not learned from his mistakes. Jesse's role in " Full Measure " garnered positive reviews. Tim Goodman of

6912-418: The "flawed moral center" to Walter White in later seasons. Paul has said that he initially saw the character as "black-and-white", but that over time it had become evident that Jesse "has a huge heart; it just got messed up". Paul felt that he had a "lock" onto who the character was when making the episode " Cancer Man " in which Jesse's family is introduced. Paul also noted how after Jesse's parents disown him,

7040-602: The 1940s films were based more on fictional tales with gangsters played by Paul Muni in Angel on My Shoulder (1946) and Cagney in White Heat (1949) were self-consciously anachronistic. Filmmakers from this period were fleeing Europe due to the rise of Nazism. These directors such as Fritz Lang , Robert Siodmak , and Billy Wilder would make crime films in the late 1930s and 1940s that were later described as film noir by French critics. Several films from 1944 like The Woman in

7168-676: The 1980s had an emphasis on the serial nature of their crimes with a larger number of films focusing on the repetitive nature of some murders. While many of these films were teen-oriented pictures, they also included films like Dressed to Kill (1980) and Henry: Portrait of a Serial Killer (1986) and continued into the 2000s with films like Seven (1995), Kiss the Girls (1997), and American Psycho (2000). In an article by John G. Cawelti titled " Chinatown and Generic Transformations in Recent American Films" (1979), Cawleti noticed

7296-638: The 1990s with films like Wild at Heart (1990). Quentin Tarantino would continue this trend in the 1990s with films where violence and crime is treated lightly such as Reservoir Dogs (1992), Pulp Fiction (1994) and Natural Born Killers (1994) while Lynch and the Coens would continue with Fargo (1996) and Lost Highway (1997). Other directors such as Martin Scorsese and Sidney Lumet would continue to more traditional crime films Goodfellas , Prince of

7424-442: The American crime film which began rejecting linear storytelling and distinctions between right and wrong with works from directors like Brian de Palma with Dressed to Kill and Scarface and works from The Coen Brothers and David Lynch whose had Todd described as having "stylized yet gritty and dryly humorous pictures evoking dream states" with films like Blood Simple (1984) and Blue Velvet (1986) and would continue into

7552-518: The City (1980), Q & A (1990), and Casino (1995). Other trends of the 1990s extended boundaries of crime films, ranging from main characters who were female or minorities with films like Thelma and Louise (1991), Swoon (1991), Devil in a Blue Dress (1995), Bound (1996) and Dolores Claiborne (1996). Every genre is a subgenre of a wider genre from whose contexts its own conventions take their meaning, it makes sense to think of

7680-495: The DEA conducts a raid on his Albuquerque operations, the increasingly paranoid Tuco believes that Walt and Jesse are about to betray him. Tuco kidnaps the pair and takes them to a remote house in the desert, where he cares for his paralyzed uncle, Hector Salamanca . There, Walt and Jesse are held against their will for several days, with Tuco stating his intention to take them to a "superlab" in Mexico. However, Walt and Jesse escape after

7808-488: The DEA following a threat on Hank's life, Gus uses the information to portray Walt as an informant, further attempting to widen the gap between Walt and Jesse. Walt goes to Jesse's house to plead for help, but Jesse throws him off his property. Shortly afterward, Brock falls deathly ill. Jesse guesses that Brock has been poisoned by ricin and immediately assumes Walt is responsible. Jesse shows up at Walt's house and confronts him at gunpoint. However, Walt convinces Jesse that it

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7936-779: The Gallows (1958), Breathless (1960) and Shoot the Piano Player (1960). Following the classical noir period of 1940 to 1958, a return to the violence of the two previous decades. By 1960, film was losing popularity to television as the mass form of media entertainment. Despite To The crime film countered this by providing material no acceptable for television, first with a higher level of onscreen violence. Films like Psycho (1960) and Black Sunday (1960) marked an increase in onscreen violence in film. Prior to these films, violence and gorier scenes were cut in Hammer film productions by

8064-649: The Mirror: Crime Films and Society (2006) found that film scholars had a traditional reluctance to examine the topic of crime films in their entirety due to complex nature of the topic. Carlos Clarens in his book Crime Movies (1980), described the crime film as a symbolic representation of criminals, law, and society. Clarens continued that they describe what is culturally and morally abnormal and differ from thriller films which he wrote as being more concerned with psychological and private situations. Thomas Schatz in Hollywood Genres: Formulas, Filmmaking, and

8192-503: The Pinkman house. Jesse enters unseen and takes two pistols from his father's safe. Jesse drives to Neil's shop. He asks for $ 1,800, but Neil refuses. Seeing the pistol in Jesse's waistband, Neil, high on cocaine , challenges him to a duel for his share of the cash. Jesse agrees, and in the ensuing gunfight kills both Neil and Casey. Jesse recovers Neil's cash and departs after setting an explosion to cover his tracks. Ed provides Jesse with

8320-630: The RV to Jesse's basement. Their product becomes a big enough presence in Albuquerque's drug scene that it becomes the focus of Hank's investigation. Dissatisfied with the amount of money Jesse is making as a low-level dealer, Walt convinces him to find a high-end distributor. Skinny Pete ( Charles Baker ), one of Jesse's friends, puts him in contact with Tuco Salamanca ( Raymond Cruz ), a powerful Mexican drug kingpin operating in Albuquerque. At their first meeting, Tuco beats Jesse badly enough that he has to be hospitalized. After Walt strong-arms Tuco into

8448-418: The RV. Resolving to get his life back together, Jesse buys an inconspicuous Toyota Tercel and finds a new apartment. The landlord, Jane Margolis ( Krysten Ritter ), is a part-time tattoo artist and a recovering heroin addict. She and Jesse soon become romantically involved. Jane, however, tries to hide this relationship from her father, Donald ( John de Lancie ), who owns their building. When Skinny Pete

8576-509: The Studio System (1981) does not refer to the concept of crime film as a genre, and says that "such seemingly similar "urban crime" formulas" such as the gangster film and detective film were their own unique forms. Thomas Leitch, author of Crime Films (2004) stated that the crime film presents their defining subject as a crime culture that normalizes a place where crime is both shockingly disruptive and completely normal. Rafter suggested

8704-475: The Thunderbird for the El Camino. Jesse sneaks into Todd's apartment and searches for the rest of the drug money. He finds it after several hours, but Brotherhood henchmen Neil Kandy ( Scott MacArthur ) and Casey ( Scott Sheperd ) arrive, disguised as police, and search for the money as well. Neil disarms Jesse, who reveals he found the cash and offers to split it with him. As they depart, Jesse recognizes Neil as

8832-457: The Window , Laura , Murder, My Sweet and Double Indemnity ushered in this film cycle. These works continued into the mid-1950s. A reaction to film noir came with films with a more semi-documentary approach pioneered by the thriller The House on 92nd Street (1945). This led to crime films taking a more realistic approach like Kiss of Death (1947) and The Naked City (1948). By

8960-486: The best way to skirt complexities of various films that may be defined as crime films as works that focus primarily on crime and its consequences, and that they should be viewed as a category that encompasses a number genres, ranging from caper films , detective films, gangster films, cop and prison films and courtroom dramas. She said that like drama and romance film, they are umbrella terms that cover several smaller more coherent groups. The criminal acts in every film in

9088-596: The box office. The success of the film and its sequel The Godfather Part II (1974) reinforced the stature of the gangster film genre, which continued into the 1990s with films Scarface (1983), Once Upon a Time in America (1984), The Untouchables (1987), Goodfellas (1990) and Donnie Brasco (1997). Dirty Harry (1971) create a new form of police film, where Clint Eastwood 's performance as Inspector Callahan which critic Pauline Kael described as an "emotionless hero, who lives and kills as affectlessly as

9216-419: The cartel's leadership, including its chieftain, Don Eladio Vuente ( Steven Bauer ). Jesse saves Mike, who is shot during the chaos, and Gus, who purposely drank the poisoned tequila to get the cartel to do the same. Afterward, Gus offers to hire Jesse as his full-time cook. Jesse accepts on the condition that Gus spares Walt's life. When Walt's wife Skyler ( Anna Gunn ) and his children receive protection from

9344-448: The chain from his shackles, then takes the key from Todd's pocket and frees himself. After shooting Jack dead, Walt hands Jesse the gun and asks Jesse to kill him. Noticing that Walt has been mortally wounded by the gunfire, Jesse tells Walt that if he wants to die, he should kill himself. Before Jesse leaves, Walt answers a call from Lydia on Todd's phone and tells her she will soon be dead because he poisoned her with ricin. Walt gives Jesse

9472-548: The character looks for a father figure in Walt and Mike. The writers wrestled with the question of how long Jesse's innocence would survive Walt's influence. Gilligan has said that Jesse's naïveté makes him a better man than Walt. Paul found it difficult to play Jesse sober in the third season. Paul says it "really threw me for a loop. It was hard to nail him. I had no idea where they were going with this character. He's so numb and cut off from everything." Paul prepared by spending time at

9600-431: The character of Jimmy "Popeye" Doyle who Leitch described as a "tireless, brutal, vicious and indifferent" in terms of constraints of the law and his commanding officers. The film won several Academy Awards and was successful in the box office. This was followed in critical and commercial success of The Godfather (1972) which also won a Best Picture Academy Award and performed even better than The French Connection in

9728-478: The compound. Regarding Pinkman's new life after the events of the film in Haines, Alaska , Gilligan speculated that Pinkman "would enjoy the brewery and maybe get a job with the ski manufacturer ... the very nice people of Alaska would welcome him into the community." Paul believed that Jesse is "going to keep his nose clean. He has quite a bit of cash on hand. And he’s going to live a very modest lifestyle. He’s moving to

9856-429: The continual breakdown and re-establishment of borders among criminals, crime solvers and victims, concluding that "this paradox is at the heart of all crime films." Rafter echoed these statements, saying crime films should be defined on the basis of their relationship with society. Leitch writes that crime films reinforce popular social beliefs of their audience, such as the road to hell is paved with good intentions ,

9984-488: The counselor's advice and accepted himself as the "bad guy". Jesse leaves rehab clean and sober and decides to settle unfinished business. First, with help from Saul, Jesse dupes his parents into selling him his aunt's house, at a drastically reduced price. Hank correctly deduces that Jesse's RV is the rolling meth lab he has been looking for and tracks it down to a local junkyard, where Walt has brought it so it can be destroyed before Hank searches it. Jesse believes that Walt

10112-412: The crime film was following changing attitudes towards the law and the social order that criminals metaphorically reflect while most film were also no more explicitly violent or explicitly sexual than those of 1934. White Heat (1949) inaugurated a cycle of crime films that would deal with the omnipresent danger of the nuclear bomb with its theme of when being threatened with technological nightmares,

10240-554: The criminal psychology and are characterized by and emphasis on the crime unfolding often though montage and extended sequences. The genre is sometimes used interchangeable with the term "caper". The term was used for the more dramatic films of the 1950s, while in the 1960s, it had stronger elements of romantic comedy with more playful elements as seen in films like The Thomas Crown Affair (1968) and Topkapi (1964). Leitch described combining genres as problematic. Screenwriter and academic Jule Selbo expanded on this, describing

10368-671: The decade ended, the attitudes Hollywood productions had towards fictional criminals grew less straightforward and more conflicted. In 1935, Humphrey Bogart played Duke Mantee in The Petrified Forest (1936), a role Leitch described as the "first of Hollywood's overtly metaphorical gangsters." Bogart would appear in films in the later thirties: Angels with Dirty Faces (1938) and The Roaring Twenties (1939). Unlike actor James Cagney , whose appeal as described by Leitch "direct, physical, and extroverted", Bogart characters and acting suggested "depths of worldly disillusionment beneath

10496-432: The effects of his involvement in selling drugs. He and Walt join forces with Mike to establish their own meth operation. After their supplier, Lydia Rodarte-Quayle ( Laura Fraser ), is unable to continue stealing methylamine precursor by the barrel, she puts them onto a way to steal 1,000 gallons from a train traveling through New Mexico. During the heist, their accomplice, Todd Alquist ( Jesse Plemons ), shoots and kills

10624-401: The end of the decade, American critics such as Parker Tyler and Robert Warshow regarded Hollywood itself as a stage for repressed American cultural anxieties following World War II. This can be seen in films such as Brute Force , a prison film where the prison is an existential social metaphor for a what Leitch described as a "meaningless, tragically unjust round of activities." By 1950,

10752-484: The events of El Camino , Francesca Liddy ( Tina Parker ) uses a payphone to receive a call from Saul Goodman, who had been hiding under the name Gene Takavic in Omaha, Nebraska . As Walt and Jesse had done, Saul used Ed Galbraith to disappear to a new location under an assumed identity. Francesca tells him that everyone connected to Walt is either dead or cooperating with the authorities, and that both Saul and Jesse Pinkman are

10880-588: The gang tortures Jesse until he reveals all he knows, and then locks him in a cell. Todd escorts the chained Jesse to a meth lab, where Jesse notices a photograph of Andrea and Brock before Todd tells him he must cook meth for the gang. Jesse escapes but is quickly recaptured. As punishment, Todd takes Jesse to Andrea's house and kills her right in front of him. Jack threatens to kill Brock if he attempts to escape again. A few months later, Walt returns from his hiding place in New Hampshire. After discovering that Jesse

11008-536: The gangster films of the early 1930s were influenced by the early 1920s when cheap wood-pulp paper stocks led to an explosion in mass-market publishing. Newspapers would make folk heroes of bootleggers like Al Capone , while pulp magazines like Black Mask (1920) helped support more highbrow magazines such as The Smart Set which published stories of hard-edged detetives like Carroll John Daly 's Race Williams. The early wave of gangster films borrowed liberally from stories for early Hollywood productions that defined

11136-521: The genre has been popular since the dawn of the sound era of film. Ursini and Silver said that unlike the Western, the horror film, or the war film, the popularity of crime cinema has never waned. Blackmail Blackmail is a criminal act of coercion using a threat . As a criminal offense, blackmail is defined in various ways in common law jurisdictions. In the United States , blackmail

11264-412: The genre represents a larger critique of either social or institutional order from the perspective of a character or from the film's narrative at large. The films also depend on the audience ambivalence towards crime. Master criminals are portrayed as immoral but glamourous while maverick police officers break the law to capture criminals. Leitch defined this as a critical to the film as the films are about

11392-566: The genre with films like Little Caesar (1931), The Public Enemy (1931), and Scarface (1932). In comparison to much earlier films of the silent era, Leitch described the 1930s cycle as turning "the bighearted crook silent films had considered ripe for redemption into a remorseless killer." Hollywood Studio heads were under such constant pressure from public-interest groups to tone down their portrayal of professional criminals that as early as 1931. Jack L. Warner announced that Warner Bros. would stop producing such films. Scarface itself

11520-518: The growing rage against the establishment spilled into portrayal police themselves with films like Bullitt (1968) about a police officer caught between mob killers and ruthless politicians while In the Heat of the Night (1967) which called for racial equality and became the first crime film to win an Academy Award for Best Picture . The French Connection (1971) dispensed Bullitt ' s noble hero for

11648-614: The head of a biker gang with ties to the Aryan Brotherhood , with a request to come to the site and kill Jesse. Walt calls it off when he sees Hank and Gomez are accompanying Jesse, and Walt surrenders to Hank. Walt is arrested and Jesse spits in his face. Jack's crew then arrive despite being told not to, and a gunfight ensues in which Hank and Gomez are killed. Jesse hides under Walt's car, but Walt gives away Jesse's location. Just before Jack's gang takes Jesse away, Walt spitefully tells Jesse that he watched Jane die. At Todd's headquarters,

11776-507: The illegal drug business by accompanying his brother-in-law Hank Schrader ( Dean Norris ), a Drug Enforcement Administration (DEA) agent, on a ridealong . During a drug bust, he spots Jesse running away from the scene, but Jesse's partner Emilio Koyama (John Koyama) is arrested. Walt subsequently realizes that Jesse is "Cap'n Cook", a meth cook Hank is investigating. Walt uses student records to track down Jesse, his former pupil, and blackmails him into partnering up and letting Walt "cook" in

11904-504: The lab from Jesse's house back to the RV. The RV is subsequently towed away by Badger's cousin, Clovis ( Tom Kiesche ) and stored on his lot for a $ 1,000 storage fee, for which Jesse can only pay half of upfront. The next day, Jesse's parents evict him from his home after discovering he had been cooking meth in the basement. He cannot find a friend to stay with, and his remaining few belongings and his motorcycle are stolen. With nowhere else to go, Jesse breaks into Clovis' lot and passes out in

12032-418: The last pickup, Jesse sees a man with a shotgun approaching the car and attempts to run him over, then rams the man's car and drives away. It is revealed that the man with the shotgun was working for Mike, and this was designed to test Jesse's loyalty. Walt correctly guesses that Gus is trying to drive a wedge into their partnership, but Jesse dismisses him. During Jesse's next assignment with Mike, which involves

12160-445: The law is above individuals, and that crime does not pay. The genre also generally has endings that confirm the moral absolutes that an innocent victim, a menacing criminal, and detective and their own morals that inspire them by questioning their heroic or pathetic status, their moral authority of the justice system, or by presenting innocent characters who seem guilty and vice-versa. Crime films includes all films that focus on any of

12288-498: The main gangster Jody Jarrett fights fire with fire. These themes extended into two other major crime films by bring the issues down from global to the subcultural level: The Big Heat (1953) and Kiss Me Deadly (1955) which use apocalyptical imagery to indicate danger with the first film which the film persistently links to images of catastrophically uncontrolled power and the "traumatic consequences" of nuclear holocaust and Kiss Me Deadly literally features an atom bomb waiting in

12416-517: The money than continue in the drug business. When Walt decides to stop cooking, he goes to Jesse's house and pays him his share of the buyout. Overwhelmed with guilt for Drew's death, and correctly guessing that Mike is dead, Jesse tries to give his money to Saul with instructions to give half to Drew's parents and the other half to Mike's granddaughter. When Saul refuses because doing so will draw too much attention, Jesse drives around town randomly tossing bundles of cash onto sidewalks and front lawns. He

12544-427: The money until he enters rehab . When Jane learns about the money, she blackmails Walt into giving Jesse his share, hoping to use the money to escape to New Zealand . Walt later returns to Jesse's apartment hoping to reconcile and finds Jesse and Jane asleep after getting high. He accidentally rolls Jane onto her back, and when she starts to choke on her vomit, Walt allows her to die. When Jesse discovers her dead body

12672-465: The moral compass of the show as he becomes increasingly guilty and remorseful for his and Walter White's actions while involved in the drug trade. For his portrayal, Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series in 2010, 2012, and 2014, making him the first actor to win the category three times since its separation into drama and comedy. Jesse Bruce Pinkman

12800-428: The most unexpected for the audience. Bryan Cranston says of those scenes, "I thought it was a great way to show a person going through a private hell. That everybody suffers, deals with their own personal loss in many different ways." The party scenes continued in the next episode, " Open House ," though the party was darker and more decrepit in this episode. In "Open House," Jesse goes go-karting by himself. The idea

12928-444: The next morning, he blames himself and goes on another drug binge. Walt rescues him from a crack house and checks him into a rehabilitation clinic. While in rehab, Jesse is told by a drug counselor to accept himself for who he is. At this point, Jesse has learned that Jane's father, an air traffic controller , was so distraught over her death that he inadvertently caused a deadly mid-air collision . Jesse tells Walt that he has taken

13056-421: The night before. Walt confronts Jesse, leading to a physical fight. Jesse gains the upper hand and commands Walt to leave and never come back. Gus and Mike take Jesse on a trip to Mexico to have him teach Walt's formula to the cartel's chemists. Impressed with Jesse's skill, Gus seemingly arranges to have Jesse become their permanent cook. However, during a party, Gus uses a poisoned bottle of tequila to kill off

13184-405: The only or first gangster film following the fall of the production code, The Godfather (1972) was the most popular and launched a major revival of the style. The film followed the themes of the genres past while adding new emphasis on the intricate world of the mafia and its scale and seriousness that established new parameters for the genre. The heist film, also known as the "big caper" film

13312-465: The production side of Jesse's illegal drug trade. Walt plans to use his knowledge of chemistry to cook potent meth that Jesse will distribute, and he gives Jesse $ 7,000 to purchase a recreational vehicle (RV) which will be used as a rolling meth lab . Jesse wastes most of the money while partying at a strip club , but one of his friends, Combo ( Rodney Rush ), lets Jesse purchase his family's RV for $ 1,400. After Walt cooks his first batch of meth, Jesse

13440-434: The release of the early gangster films following Little Caesar , which led to the 1935 Production Code Administration in 1935 ending its first major cycle. As early as 1939, the traditional gangster was already a nostalgic figure as seen in films like The Roaring Twenties (1939). American productions about career criminals became possible through the relaxation of the code in the 1950s and its abolition in 1966. While not

13568-443: The retrieval of stolen meth from two addicts, Jesse gets one addict fixated on digging a hole in the yard and disarms the other, which impresses Gus. Shortly afterward, Jesse resumes his relationship with Andrea and becomes a father figure to Brock. Walt tasks Jesse with killing Gus with a vial of ricin , which Jesse hides in a cigarette. Later on, when Gus is meeting with members of the cartel, Jesse considers spiking Gus' coffee with

13696-434: The ricin but refrains from doing so upon realizing that he could poison the third parties present (and might end up drinking the coffee himself). Walt pushes Jesse to try to set up a meeting when Walt learns Hank is investigating Gus, but Walt backs off when he sees a text message implying that Jesse has been lying about not meeting Gus. Walt puts a tracking device on Jesse's vehicle and learns that Jesse had dinner at Gus' house

13824-421: The services of corrupt lawyer Saul Goodman ( Bob Odenkirk ) to help him and Walt launder their money and get out of legal trouble. After Combo is murdered by rival dealers, Jesse starts using heroin with Jane to cope with his grief. His behavior nearly costs Walt a $ 1.2 million drug transaction with the powerful meth distributor Gus Fring ( Giancarlo Esposito ). Angered, Walt refuses to give Jesse his half of

13952-532: The silent era differed radically from the Hollywood productions, reflecting the post-World War I continental culture. Drew Todd wrote that with this, Europeans tended to create darker stories and the audiences of these films were readier to accept these narratives. Several European silent films go much further in exploring the mystique of the criminal figures. These followed the success in France of Louis Feuillade 's film serial Fantômas (1913). The average budget for

14080-410: The success of Shaft (1971) which led to studios rushing to follow it's popularity with films like Super Fly (1972), Black Caesar (1973), Coffy (1973) and The Black Godfather (1974) The films were often derivations of earlier films such as Cool Breeze (1972), a remake of The Asphalt Jungle , Hit Man (1972) a remake of Get Carter (1971), and Black Mama, White Mama (1973)

14208-555: The superlab and rescues Jesse from Gus' men. After they destroy the superlab, Jesse reveals that Brock was not poisoned by ricin, but by lily-of-the-valley berries. Jesse realizes that Gus could not have poisoned Brock, but Walt assures him that killing Gus was the only course of action they could have taken. The final scene of the fourth season shows a potted lily-of-the-valley plant in Walt's backyard, revealing that Walt had poisoned Brock in order to regain Jesse's loyalty and spur him into action as part of Walt's plan to kill Gus. Jesse

14336-405: The superlab, he calls Jesse and tells him that he will have to kill Gale. Jesse shows up at Gale's apartment and, after a moment's hesitation, shoots him dead. Immediately after Gale's murder, Walt and Jesse are brought back to the superlab. Stuck with Walt and Jesse because he does not have Gale, and angry at Victor for being recognized at the scene of Gale's murder, Gus slices Victor's throat with

14464-414: The superlab. Walt realizes Gus is plotting to have Gale master his and Jesse's meth formula as part of a larger plan to be rid of him. To prevent this, Walt plots to have Jesse pre-emptively kill Gale. Jesse begs Walt to go to the police instead, insisting that he does not have it in him to kill someone. When Walt is cornered by Gus' men Mike Ehrmantraut ( Jonathan Banks ) and Victor ( Jeremiah Bitsui ) at

14592-407: The three parties to a crime: criminal, victims, and avengers and explores what one party's relation to the other two. This allows the crime film to encompass films as wide as Wall Street (1987); caper films like The Asphalt Jungle (1950); and prison films ranging from Brute Force (1947) to The Shawshank Redemption (1994). Crime films are not definable by their mise-en-scene such as

14720-451: The two biggest targets remaining. However, she also says that Jesse's car was found "near the border", implying that Skinny Pete's plan to throw the authorities off Jesse's trail worked. In the original pilot script for Breaking Bad , Jesse's name was Marion Alan Dupree. Series creator Vince Gilligan originally intended for Jesse Pinkman's character to be killed at the end of Breaking Bad 's first season . Gilligan wanted Jesse to die in

14848-516: The unconscious Jesse. Once back in town, Walt has Jesse shop for a plastic container in which he plans to dissolve Emilio's body with hydrofluoric acid . Jesse cannot find a container big enough, so he dissolves the body in the upstairs bathtub of Ginny's house, which burns a hole through the bathroom floor and spills the remains into the downstairs hallway. After cleaning up the scene and killing Krazy-8, Walt and Jesse attempt to carry out meth distribution on their own. Walt and Jesse move their lab from

14976-417: The victim. It is normally carried out for personal gain, most commonly of position, money, or property. Blackmail may also be considered a form of extortion and may be covered in the same statutory provision as extortion. Although the two are generally synonymous, extortion is the taking of personal property by threat of future harm. Blackmail is the use of threat to prevent another from engaging in

15104-450: The war in narratives, with exceptions of film like The Green Berets (1968). The crime film Bonnie and Clyde (1967) revived the gangster film genre and captured the antiestablishment tone and set new standards for onscreen violence in film with its themes of demonizing American institution to attack the moral injustice of draft. This increase of violence was reflected in other crime films such as Point Blank (1967). Leitch found

15232-418: The welder who built the tether he was fastened to while forced to cook meth for the Brotherhood. Jesse finds Saul's "disappearer", Ed Galbraith ( Robert Forster ), who wants $ 250,000 to help Jesse leave town. Jesse is $ 1,800 short and Ed refuses to help until he is paid in full. Knowing they are being surveilled, Jesse calls his parents and feigns willingness to surrender, drawing them and the police away from

15360-452: Was Gus who poisoned Brock, reminding him of Gus' willingness to kill children. Jesse eventually tells Saul about Gus' visits to cartel enforcer Hector Salamanca ( Mark Margolis ) at the latter's nursing home, leading Walt to visit Hector himself and talk him into luring Gus to the location. Gus is subsequently killed when Walt sets up a pipe bomb beneath Hector's wheelchair, which the latter activates. After learning of Gus' death, Walt storms

15488-554: Was allowed to stay in her home, the ownership of which fell to Jesse's parents. Jesse was a poor student in high school and preferred hanging out with his friends and smoking marijuana to studying. Walter White , whom Jesse almost always calls "Mr. White", was his chemistry teacher and gave Jesse a failing grade in his class. Walt himself later says that he never thought Jesse would amount to much, although Jesse's mother Diane ( Tess Harper ) recalls that Walt "must have seen some potential in Jesse; he really tried to motivate him. He

15616-465: Was born into a middle-class family in Albuquerque, New Mexico . At the time the series starts, he has long been estranged from his parents due to his drug addiction and lifestyle as a drug dealer. After being forced to leave his parents' residence, Jesse moved in with his Aunt Ginny, for whom he cared until her death from cancer; as a result, he became very knowledgeable about the disease. Afterward, he

15744-683: Was common in the Scottish Highlands as well as the Borders . In the Irish language , the term cíos dubh , meaning " black rent ", was used for similar exactions. Some scholars have argued that blackmail should not be a crime. Objections to the criminalization of blackmail often rest on what legal scholars call "the paradox of blackmail": it takes two separate actions that, in many cases, people are legally and morally entitled to do, and criminalizes them if done together. One American legal scholar uses

15872-518: Was delayed for over a year as its director Howard Hughes talked with the Motion Picture Producers and Distributors of America 's Production Code Office over the films violence and overtones of incest. A new wave of crime films that began in 1934 were made that had law enforcers as glamourous and as charismatic as the criminals. J. Edgar Hoover , director the Bureau of Investigation (renamed

16000-435: Was inspired by Paul and other crew members going kart racing between filming episodes. The idea for Jesse to have his head shaved in " Bullet Points " was also Paul's, as he felt it was appropriate for Jesse's inner struggle. Gilligan has said that he deliberately left Jesse's ultimate fate ambiguous at the end of "Felina" , preferring to let the viewer decide what happens to him. However, on November 6, 2018, rumors began that

16128-485: Was one of the few teachers who cared." Despite his poor academic standing, Jesse was able to graduate, with Walt present on stage when he received his diploma . In his first chronological appearance, which took place in 2004 during the Better Call Saul episode " Waterworks ", Jesse is outside of Saul Goodman 's office when Kim Wexler ( Rhea Seehorn ) emerges after having signed their divorce papers. As Jesse takes

16256-468: Was the one who orchestrated Brock's poisoning. Jesse goes back to Saul's office and beats him up until he admits that Walt told him to steal the ricin. Jesse then goes to Walt's house and douses it in gasoline, intending to burn it down. Before Jesse can light the fire, Hank arrives and convinces him that the best way to get Walt is for them to work together. Hank allows Jesse to stay at his house so he can tape Jesse's confession. Hank plans to have Jesse wear

16384-400: Was under intense social reform with cities rapidly expanding and leading to social unrest and street crime rising and some people forming criminal gangs. In this early silent film period, criminals were more prominent on film screens than enforcers of the law. Among these early films from the period is D.W. Griffith 's The Musketeers of Pig Alley (1912) involving a young woman hounded by

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