Let me know if you have any problems or questions (E-Mail address: valdezmarc56@gmail.com).
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"A Guidebook To 'Breaking Bad' Filming Locations: Including 'Better Call Saul' - Albuquerque as Physical Setting and Indispensable Character" (Sixth Edition)
Purchase book at the link. This book outlines thirty-three circuits that the avid fan can travel in order to visit up to 679 different filming locations for "Breaking Bad" and "Better Call Saul" in the Albuquerque area. Some background is provided for each site, including other movies that might have also used the site for filming.
"‘Breaking Bad’ Signs and Symbols: Reading Meaning into Sets, Props, and Filming Locations” (Second Edition)
Purchase book at the link. “‘Breaking Bad’ Signs and Symbols,” aims to understand some of the symbolism embedded in the backgrounds of “Breaking Bad” and “Better Call Saul,” in order to decode messages and stories Vince Gilligan and crew have hidden there. A series of tables are used to isolate how certain (particularly architectural) features are used: Gentle Arches, Tin Ceilings, Five-Pointed Stars, Octagons, etc. Daylighting innovations that were either pioneered or promoted in Chicago are examined: Glass Block Windows, Luxfer Prismatic Tile Windows, and Plate Glass Windows.
Certain symbols advance the plot: foreshadowing symbols like Pueblo Deco Arches, or danger symbols like bell shapes and stagger symbols. Other features, like Glass Block Windows or Parallel Beams in the Ceiling, tell stories about the legacies and corruptions of modernity, particularly those best-displayed at Chicago’s “Century of Progress” (1933-34).
To avoid unnecessary friction, I have redacted the addresses of all single-family homes in these books. (These addresses are still available at Marc Valdez Weblog, however.) The pictures in the print editions are black-and-white, in order to keep costs down.
"A Guidebook To 'Breaking Bad' Filming Locations: Including 'Better Call Saul' - Albuquerque as Physical Setting and Indispensable Character" (Sixth Edition)
Purchase book at the link. This book outlines thirty-three circuits that the avid fan can travel in order to visit up to 679 different filming locations for "Breaking Bad" and "Better Call Saul" in the Albuquerque area. Some background is provided for each site, including other movies that might have also used the site for filming.
"‘Breaking Bad’ Signs and Symbols: Reading Meaning into Sets, Props, and Filming Locations” (Second Edition)
Purchase book at the link. “‘Breaking Bad’ Signs and Symbols,” aims to understand some of the symbolism embedded in the backgrounds of “Breaking Bad” and “Better Call Saul,” in order to decode messages and stories Vince Gilligan and crew have hidden there. A series of tables are used to isolate how certain (particularly architectural) features are used: Gentle Arches, Tin Ceilings, Five-Pointed Stars, Octagons, etc. Daylighting innovations that were either pioneered or promoted in Chicago are examined: Glass Block Windows, Luxfer Prismatic Tile Windows, and Plate Glass Windows.
Certain symbols advance the plot: foreshadowing symbols like Pueblo Deco Arches, or danger symbols like bell shapes and stagger symbols. Other features, like Glass Block Windows or Parallel Beams in the Ceiling, tell stories about the legacies and corruptions of modernity, particularly those best-displayed at Chicago’s “Century of Progress” (1933-34).
In addition, a number of scenes in the show are modeled after Early Surrealist artworks. The traces of various artists can be tracked in both shows, including: Comte de Lautréamont, Giorgio De Chirico, Man Ray, Max Ernst, Leonora Carrington, René Magritte, Toyen, Yves Tanguy, Remedios Varo, Paul Klee, and in particular, Salvador Dalí.
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Extended Video
Extended Video
- - - - -
The storyline of “Breaking Bad” runs for a full year of the Hopi Ceremonial Calendar, starting at Fall Equinox, and runs until the following Fall Equinox. Note that this isn’t the timeline of the show, which runs for about two and a half years, but rather a parallel, completely-separate timeline. (See the separate post on the Hopi Ceremonial Calendar.)
The various fast-food restaurant franchises that make up Madrigal Elektromotive's Restaurant Division (BCS 507, "JMM") seem to operate in an analogous manner to how the Hopi religious center of Oraibi operated. Not every Hopi clan got permission to reside in Oraibi. The clan must have had a unique ritual beneficial to all Hopi clans to gain admittance. Similarly, each restaurant franchise must hit their financial marks in order to keep their Madrigal positions.
Walt’s departure from Gray Matter seems to resemble Machito’s departure from Shongopovi (BrBa 506, "Buyout").
Might this be the Magic Eye of the Ya Ya?
Does Badger come from the Badger Clan?
The New Fire Ceremony of Wúwuchim is equated with the custom of morning coffee (BrBa 306, "Sunset").
The use of tinkling to mark Eladio’s swimming pool flashback (BrBa 408, “Hermanos”) may come from the tinkling of Kachina Chowílawu’s belt, made of pieces of polished petrified wood, as heard during his kiva dance at Powamu.
Hopi Gothic
There is an Ancestral Puebloan analogy to Walter White’s empire. Chaco Canyon rose to power based on its religious culture and trade in turquoise, and later fell due to drought and strife.
Blue Meth.
Kachina Sotungtaka (Gambler).
Turquoise.
“Breaking Bad” is taking portions of Hopi religious culture in order to create a new art form that might be called Hopi Gothic. A religious ritual is identified, changed, and placed in a new context, creating obscurity, uncanniness, dread, and remorse, the building blocks of Gothic literature.
“Breaking Bad” has at least two inspirational film precursors. My favorite is the 1992 film “Falling Down,” starring Michael Douglas.
The film authority Angelo Restivo says that 1956 film “Bigger Than Life,” starring James Mason, is his favorite precursor for “Breaking Bad,” and he’s not wrong. Both movies are excellent models upon which to build “Breaking Bad.”
The map of the world's original laws, which the 2x2 grid of the Four Corners monument mimics. So, what is the question that Skyler poses to the I Ching? Probably something along the lines of: What should she do about her difficult situation?
Skyler tosses the coin twice, and both times, the coin lands heads up, in Colorado. Thus, there are two identical trigrams used to create the hexagram that queries the I Ching. There are eight hexagrams that feature identical trigrams (1 - Creative; 58 - Joyous; 30 - Clinging; 51 - Arousing; 57 - Gentle; 29 - Abysmal; 52 - Still; 2 - Receptive). Each hexagram has unique characteristics, but one theme common to most of them is perseverance. If Skyler can just persevere, she can survive her terrible situation.
Introduction
For example, the kitchen counter stools have backs displaying the Navajo Crystal Style (BrBa 210, "Over").
As he tries to think things through, Walt sits on a couch that sports Crystal Style patterns (BrBa 412, "End Times").
The edges of the coffee table that Walt props against the front door feature Crystal Style patterns (BrBa 412, "End Times").
SMH. You call this Crystal Style, Walt? (BrBa 210, "Over").
Inside the White family home, we see a Tawa plaque on the fireplace (BrBa 205, "Breakage"). Tawa is a Hopi symbol, representing the sun and masculinity, and sometimes represented as a Kachina doll.
Kachina Tawa. What is a Kachina, exactly? “Kachinas are respected spirits and invisible forces of life. … Their chief function is to bring rain, ensuring the abundance of crops."
In the episode “Breakage,” we see a garbage-can lid that resembles the Tawa symbol when Walt tosses away a “Hope” button handed to him by the sympathetic oncology clerk who prepares his bill. Note that this isn’t just a “Hope” button - it’s a “Hop-ee” button – an announcement from the show’s creative team to those in the know that more Hopi symbolism is coming (BrBa 205, "Breakage").
Also present in this scene is the Pueblo Deco Arch of the building, which I discuss in more detail elsewhere (BrBa 205, "Breakage").
Closely-related to Tawa symbols are Zia symbols. Both are sun symbols and thus masculinity symbols. The frequently-seen New Mexico state flag uses the Zia symbol.
In the movie “El Camino,” as Jesse watches a phalanx of DEA vehicles pass through the intersection of Third St. and Santa Fe Ave. in Albuquerque, we see that a circular tire mark and the intersecting streets form a Zia symbol.
Metal Yard Art Kachina – The Visible Tip of an Iceberg-Sized Hopi Influence in “Breaking Bad”
In the episode “Fly,” Walt avoids climbing a ladder (BrBa 310, “Fly”).
Nevertheless, Walt reluctantly stabilizes a ladder as Jesse climbs to get the fly (BrBa 310, “Fly”).
Skyler too has a thing against ladders. In the episode “Green Light,” she uses an unusual adjective, ladder-climbing, when she frets to Ted that her co-workers will see her as an “evil, ladder-climbing whore.” Walt avoids career ladders, and Skyler does too.
The only time you see Walt on a ladder in "Breaking Bad" is in the humiliation episode “I.F.T.,” when he retrieves the pizza from the roof (BrBa 303, “I.F.T.”).
Walt retrieves the pizza (BrBa 303, “I.F.T.”).
Since I kept bumping into Hopi references in “Breaking Bad,” I obtained an authoritative survey on Hopi religious culture, the “Book of the Hopi,” by Frank Waters, published in 1963. This was a fortuitous find. It soon became clear that Vince Gilligan and the creative team at “Breaking Bad” also consulted THIS book.
And so, according to the Hopi, what might the fly represent? Perhaps the Kachina Mastop, the death-fly Kachina, who represents the rude forces of life, the antithesis of Walt’s forces of death. Mastop bears hand prints on his body and carries a ringed stick in his hand. The rings on the stick symbolize the rungs of ladders galore that will need to be climbed into many future worlds yet to come. Mastop represents everything Walt rejects. No wonder Walt must rid himself of the fly (BrBa 310, “Fly”)!
Kivas
The underground Superlab is very much like a Kiva, the Puebloan ceremonial chamber. Chemistry is treated with religious awe here (BrBa 305, “Más”).
Superlab Plot Plan.
The Superlab has at least three levels, and you can see a 4th level too; the platform at the top of the spiral staircase. The Superlab visually expresses the four worlds of the Hopi (BrBa 307, “One Minute”).
A useful comparison can be made to a possible Superlab prototype, the similarly-sized Great Kiva at Aztec National Monument near Farmington, NM.
The Superlab under construction in "Better Call Saul" has four levels as well: the outside, two stairway platforms, and the floor (BCS 608, “Point and Shoot”).
What can it mean that both Lalo and Howard are buried at the Place of Emergence in the Superlab? (BCS 608, “Point and Shoot”).
Ancestral Puebloan Sun Dagger Calendar
Gale Boetticher, Two Horn Priest
Hopi culture is used in strange and wondrous ways in “Breaking Bad.” In the episode “Full Measure” we see Gale at home. Gale waters two plants - a jade plant and what looks like a horsetail reed. Reeds are significant in Hopi culture. The Hopi escaped the flood that ended the Third World through a reed into the Fourth World, and survived on rafts made of reeds.
We see two masks in this view of Gale’s apartment. The mask on the wall has two horns on it. Plus, we see a large reflector telescope, indicating Gale’s interest in the cosmos.
With this broader view, we see the two-horned mask on the left. On the right we see a Krampus mask with two horns on it. On the coffee table, we see a hookah. On the bookshelf, we see two horns facing inwards towards each other, suggesting a disassembled Hopi Two-Horn Society shrine.
The members of the Two Horn Society occupy the highest niche in Hopi culture. They alone have memories of the previous three worlds and understand the original concept of Creation.
In his own way, Gale Boetticher too understands the original concept of Creation.
The little manikin on Gale’s desk is his Típoni, his badge of religious authority to conduct rituals; in his case, at the Two-Horn altar. In general, the Hopi symbols that are shown on television are not exact. In the same way that the chemical details of meth manufacture are fudged in “Breaking Bad,” the ceremonial details of Hopi religious life are fudged as well. Inexact ceremonies lack religious power, but do retain narrative power for storytelling.
Gale's Tiponi.
When Gale welcomes Gus into his apartment, we see his Típoni in the background, behind his shoulder. Ostensibly Gus is Gale’s superior, but the Típoni reveals the truth.
When Jesse arrives to kill Gale, we see that Gale bears the Kachina Mastop’s hand symbol over his heart.
In general in Hopi life, only members of religious societies smoke pipes – people who likely already have Típonis. Ordinary folks smoke cigarettes, not pipes. Many Típonis in Hopi life appear to be human statuettes. “Breaking Bad” may follow a kind of Hopi rule in this regard. Characters in the show who possess pipes or human statuettes appear to constitute a group with religious authority - a kind of chosen people. Pipes and statuettes are equivalent to one another. Gale has his hookah and statuette. Jesse and Jane have their meth pipes. Lydia has Edgar Degas’, “Little 14-Year-Old Dancer” on her desk. Todd has figurines at home. Saul displays a Típoni on his desk - a blindfolded “Lady Justice.” In contrast, Mike, Gus, and the Salamancas seem to have no pipes or statuettes.
Meth Pipes.
Skyler in anguish (BrBa 514, "Ozymandias").
Salvador Dalí’s "Angel de la Victoria"
Marie steals several objects in “Breaking Bad,” but the only one she gets to keep is her Típoni, the Chimney Sweep on a Pig. This Hummel is very compatible with Hopi symbolism. If your goal is to climb through a reed from the Third World into the Fourth World, who better to have on your team than a Chimney Sweep to clear away the obstacles?
The Hopi influence surfaces when unusual adjectives like “ladder-climbing” are used. Another example occurs when Saul Goodman first meets Walter White in the guise of Mr. Mayhew, and explains why he uses the name Saul. “The Jew thing I just do for the homeboys; they all want a pipe-hitting member of the tribe, so to speak.” Saul pretends to be a Jew, one of the chosen people, in order to curry favor with Jewish clients. Pipe-hitting emphasizes the extra authority that Saul carries by possessing a Típoni – two times over, a chosen person!
"Breaking Bad" Adopts Hopi Structure
“Breaking Bad” is all about change, and the Hopi religion anticipates change. “Breaking Bad” adopts the fourfold structure of the Hopi mindset. “Breaking Bad” has four seasons, each with its own characteristic Kiva: the RV, the Superlab, the hospital tents, and Uncle Jack’s compound. The RV dominates the first season - S1: BrBa 101-213 (Transition BrBa 301-306).
The Superlab dominates Season Two - S2: BrBa 307 – 413.
The Tents dominate Season Three - S3: BrBa 501-508 (Transition BrBa 509-513).
Uncle Jack's Compound dominates Season Four - S4: BrBa 514-516; plus "El Camino: A Breaking Bad Movie."
Each of the Hopi four worlds has particular properties, such as a color, a direction, and a mineral. The creative team of “Breaking Bad” might think of the different seasons of the show as being different worlds.
El Camino, which means the road in Spanish, means specifically The Road of Life of the Hopi. The sun travels across the sky on the Road of Life. When the sun sets in the west in the world above, it rises in the west in the Underworld, the land of the dead. The sun travels east in the Underworld and sets, rising again in the east of the world above. Of particular importance is Summer Solstice, when the Kachinas return to the Underworld, celebrated in a ceremony called Niman Kachina.
There are a number of Native American representations in “Breaking Bad,” not least, because the television series was filmed on various reservation lands, such as the Navajo Reservation (To’hajiilee, plus the main reservation in “El Camino”) and several Pueblo Reservations (particularly Santa Ana, aka Tamaya, and Zia). Still, the most interesting Native American representations in the show are Hopi in nature. The Hopi have the most intricate religious ceremonies in the Southwest.
The White family home is the locus of “Breaking Bad,” and a number of Southwestern Native American representations are located there. I am curious what symbols are used.
[UPDATE: Note that in my March 2025 update I am making changes to the presentation. I am adding several topics, and removing Hopi Ceremonial Calendar references into a separate post. The video posted above is not being updated, however. It's faithful to the original February 2024 presentation.]
Bear Symbols
I'm interested in the presence of bear images in the background of "Breaking Bad." Southwestern tribes seem to be in broad harmony regarding the meaning of bears. Among Zuni hunting fetishes, for example, bears symbolize healing and protection ("Zuni Fetishes," Frank Hamilton Cushing, 1883, ninth printing, 1990).
We see a bear in the immediate background when Walt’s surgeon, Dr. Bravenec, discusses medical options with him. The doctor is optimistic about Walt’s prospects in surgery (BrBa 211, “Mandala”).
White bears are the most powerful of the bear protectors. We see a white bear statue on a shelf in the Staycation hotel room when Skyler suggests to Walt that Jesse be terminated. Walt’s protectiveness towards Jesse is on full display here (BrBa 512 “Rabid Dog”).
White bears and pale bears are used mostly in regards to children. Maximum protection is extended to these children. For example, Holly has a white Teddy Bear in her bassinet (BrBa 305, “Más”).
Kiira, Lydia’s daughter, is protected by a pale Teddy Bear, seen here in the foreground (BrBa 502, “Madrigal”).
We see the white Koala Care Bear when Walt changes Holly’s diaper after he kidnaps her (BrBa 514, “Ozymandias”).
Kokopelli
We see a bear in the immediate background when Walt’s surgeon, Dr. Bravenec, discusses medical options with him. The doctor is optimistic about Walt’s prospects in surgery (BrBa 211, “Mandala”).
White bears are the most powerful of the bear protectors. We see a white bear statue on a shelf in the Staycation hotel room when Skyler suggests to Walt that Jesse be terminated. Walt’s protectiveness towards Jesse is on full display here (BrBa 512 “Rabid Dog”).
White bears and pale bears are used mostly in regards to children. Maximum protection is extended to these children. For example, Holly has a white Teddy Bear in her bassinet (BrBa 305, “Más”).
Kiira, Lydia’s daughter, is protected by a pale Teddy Bear, seen here in the foreground (BrBa 502, “Madrigal”).
We see the white Koala Care Bear when Walt changes Holly’s diaper after he kidnaps her (BrBa 514, “Ozymandias”).
I'm also curious about the metal yard art present in the White family’s back yard. For example, we see Kokopelli symbols, which are Puebloan symbols that represent fertility, in the backgrounds of scenes during fierce arguments. It is an odd pairing, fertility and conflict, but dramas advance through conflict. These are the arguments that are particularly fertile in advancing the plot of “Breaking Bad.” 
When we see a standoff develop between Walt and Hank over Walt Jr., we see Kokopelli symbols (BrBa 210, “Over”).
Kokopelli – A Confrontation over Walt, Jr. (BrBa 210, “Over”).
We see more Kokopelli symbols at other times when there is conflict (BrBa 104, “Cancer Man”).
Walt and Jesse argue (BrBa 104, “Cancer Man”).
When Skyler confronts Walt, we see a Kokopelli symbol (BrBa 201, “Seven Thirty-Seven”).
When Walt prepares to confront Jesse, he leans directly against the Kokopelli art (BrBa 512, “Rabid Dog”).
Lizards
When we see a standoff develop between Walt and Hank over Walt Jr., we see Kokopelli symbols (BrBa 210, “Over”).
Kokopelli – A Confrontation over Walt, Jr. (BrBa 210, “Over”).
We see more Kokopelli symbols at other times when there is conflict (BrBa 104, “Cancer Man”).
Walt and Jesse argue (BrBa 104, “Cancer Man”).
When Skyler confronts Walt, we see a Kokopelli symbol (BrBa 201, “Seven Thirty-Seven”).
When Walt prepares to confront Jesse, he leans directly against the Kokopelli art (BrBa 512, “Rabid Dog”).
We also see lizards in the White family's back yard. Lizards are esteemed in Native American culture because they can lose and regenerate tails. Lizards represent healing and protection and in the show act almost like Band-Aids.
We see a lizard on the wall when Hank tries to protect Walt, Jr. by preventing Walt from pouring more alcohol (BrBa 210, “Over”).
These lizard Band-Aids are called upon to cover very deep wounds, for example, when Walt’s lung cancer is revealed (BrBa 104, “Cancer Man”).
When the pink Teddy Bear's eyeball is seen floating in the pool after the mid-air collision, we see a lizard on the wall (BrBa 213, “ABQ”).
Spirals
We see a lizard on the wall when Hank tries to protect Walt, Jr. by preventing Walt from pouring more alcohol (BrBa 210, “Over”).
These lizard Band-Aids are called upon to cover very deep wounds, for example, when Walt’s lung cancer is revealed (BrBa 104, “Cancer Man”).
When the pink Teddy Bear's eyeball is seen floating in the pool after the mid-air collision, we see a lizard on the wall (BrBa 213, “ABQ”).
Spirals, which are common in Native American petroglyphs, are surprisingly common in the White family’s back yard, particularly as seen in the various ominous openings of Season 2. For example, we see a spiral in a wrapped hose, and the end of the hose itself. We also see spirals in a bird feeder, a mobile, and a spiral dreamcatcher on the north wall of the yard. Even a snail on the yard wall has its spiral shell.
The spiral end of the spiraled hose (BrBa 213, "ABQ").
The clay-built, spiraled bird feeder (BrBa 213, "ABQ").
The spiral mobile (BrBa 213, "ABQ").
The snail, with its spiral shell (BrBa 213, "ABQ").
The spiral dreamcatcher on the north wall of the yard (BrBa 104, "Cancer Man").
Navajo Crystal Style
The spiral end of the spiraled hose (BrBa 213, "ABQ").
The clay-built, spiraled bird feeder (BrBa 213, "ABQ").
The spiral mobile (BrBa 213, "ABQ").
The snail, with its spiral shell (BrBa 213, "ABQ").
The spiral dreamcatcher on the north wall of the yard (BrBa 104, "Cancer Man").
There are several examples in the White family home of a pattern that derives from the Crystal Style of Navajo weaving. The Crystal Style comes into play when Walt does, or is about to do, something cool or clever, or sometimes as ironic commentary when Walt instead does something dorky.
For example, the kitchen counter stools have backs displaying the Navajo Crystal Style (BrBa 210, "Over").
As he tries to think things through, Walt sits on a couch that sports Crystal Style patterns (BrBa 412, "End Times").
The edges of the coffee table that Walt props against the front door feature Crystal Style patterns (BrBa 412, "End Times").
SMH. You call this Crystal Style, Walt? (BrBa 210, "Over").
Tawa and Zia Symbols
Inside the White family home, we see a Tawa plaque on the fireplace (BrBa 205, "Breakage"). Tawa is a Hopi symbol, representing the sun and masculinity, and sometimes represented as a Kachina doll.
Kachina Tawa. What is a Kachina, exactly? “Kachinas are respected spirits and invisible forces of life. … Their chief function is to bring rain, ensuring the abundance of crops."
In the episode “Breakage,” we see a garbage-can lid that resembles the Tawa symbol when Walt tosses away a “Hope” button handed to him by the sympathetic oncology clerk who prepares his bill. Note that this isn’t just a “Hope” button - it’s a “Hop-ee” button – an announcement from the show’s creative team to those in the know that more Hopi symbolism is coming (BrBa 205, "Breakage").
Also present in this scene is the Pueblo Deco Arch of the building, which I discuss in more detail elsewhere (BrBa 205, "Breakage").
Closely-related to Tawa symbols are Zia symbols. Both are sun symbols and thus masculinity symbols. The frequently-seen New Mexico state flag uses the Zia symbol.
In the movie “El Camino,” as Jesse watches a phalanx of DEA vehicles pass through the intersection of Third St. and Santa Fe Ave. in Albuquerque, we see that a circular tire mark and the intersecting streets form a Zia symbol.
Other Native American symbols are present in the metal yard art near the White family’s pool.
A Kachina looms over Walt, Jr. when he gets sick after drinking too much alcohol. Schematic feathers across the head and a robe indicate this is a warrior Kachina. There are about 300 to 400 Kachinas overall, of whom about six are warrior Kachinas.
After reviewing the candidates for cinematic potential, I conclude that this is probably the Nakiachop Kachina, who is best-known for the Ladder Dance. Dancers leap back and forth between two poles at the edge of a cliff.
Actually, it is the exact opposite. Walt is very clumsy around ladders and avoids ladders at all times. In "Caballo sin Nombre," after emerging from a sipápuni-like entrance from the crawl space, Walt knocks over a ladder onto himself (BrBa 302, “Caballo sin Nombre”). Sipápunis are symbolic orifices between worlds. Ladders are the means by which to travel between worlds.
As Skyler interrogates Walt in the Staycation Hotel room, a ladder in the photograph on the wall haunts Walt. Interestingly, the ladder may be associated with a kiva (BrBa 512, “Rabid Dog”).
A Kachina looms over Walt, Jr. when he gets sick after drinking too much alcohol. Schematic feathers across the head and a robe indicate this is a warrior Kachina. There are about 300 to 400 Kachinas overall, of whom about six are warrior Kachinas.
After reviewing the candidates for cinematic potential, I conclude that this is probably the Nakiachop Kachina, who is best-known for the Ladder Dance. Dancers leap back and forth between two poles at the edge of a cliff.
Because it is so dangerous the Hopi don’t do the Ladder Dance anymore. The risky Ladder Dance sounds like it might fit Walt, however. I wondered, is there an affinity between Walt and ladders?
Actually, it is the exact opposite. Walt is very clumsy around ladders and avoids ladders at all times. In "Caballo sin Nombre," after emerging from a sipápuni-like entrance from the crawl space, Walt knocks over a ladder onto himself (BrBa 302, “Caballo sin Nombre”). Sipápunis are symbolic orifices between worlds. Ladders are the means by which to travel between worlds.
As Skyler interrogates Walt in the Staycation Hotel room, a ladder in the photograph on the wall haunts Walt. Interestingly, the ladder may be associated with a kiva (BrBa 512, “Rabid Dog”).
In contrast to Walt, Jesse goes up and down ladders all the time. No doubt Walt wants Jesse to take all the risks.
In the episode “Fly,” Walt avoids climbing a ladder (BrBa 310, “Fly”).
Nevertheless, Walt reluctantly stabilizes a ladder as Jesse climbs to get the fly (BrBa 310, “Fly”).
The only time you see Walt on a ladder in "Breaking Bad" is in the humiliation episode “I.F.T.,” when he retrieves the pizza from the roof (BrBa 303, “I.F.T.”).
Walt retrieves the pizza (BrBa 303, “I.F.T.”).
Since I kept bumping into Hopi references in “Breaking Bad,” I obtained an authoritative survey on Hopi religious culture, the “Book of the Hopi,” by Frank Waters, published in 1963. This was a fortuitous find. It soon became clear that Vince Gilligan and the creative team at “Breaking Bad” also consulted THIS book.
And so, according to the Hopi, what might the fly represent? Perhaps the Kachina Mastop, the death-fly Kachina, who represents the rude forces of life, the antithesis of Walt’s forces of death. Mastop bears hand prints on his body and carries a ringed stick in his hand. The rings on the stick symbolize the rungs of ladders galore that will need to be climbed into many future worlds yet to come. Mastop represents everything Walt rejects. No wonder Walt must rid himself of the fly (BrBa 310, “Fly”)!
The underground Superlab is very much like a Kiva, the Puebloan ceremonial chamber. Chemistry is treated with religious awe here (BrBa 305, “Más”).
Superlab Plot Plan.
The Superlab has at least three levels, and you can see a 4th level too; the platform at the top of the spiral staircase. The Superlab visually expresses the four worlds of the Hopi (BrBa 307, “One Minute”).
A useful comparison can be made to a possible Superlab prototype, the similarly-sized Great Kiva at Aztec National Monument near Farmington, NM.
The Hopi believe we are currently in the fourth world of the third universe. Each of the previous three worlds ended in a disaster, and the fourth world will someday end in a disaster too. Other southwestern Native American tribes have similar beliefs. The Navajo believe we are already in the fifth world. The Great Kiva at Aztec has four noticeable levels in its interior, plus a small hole in the floor representing the Place of Emergence, called the sipápuni (not pictured above; but is called a sipapu in the Tewa language of Taos).
The Superlab under construction in "Better Call Saul" has four levels as well: the outside, two stairway platforms, and the floor (BCS 608, “Point and Shoot”).
What can it mean that both Lalo and Howard are buried at the Place of Emergence in the Superlab? (BCS 608, “Point and Shoot”).
I have moved this discussion into a separate post on the Hopi Ceremonial Calendar. Suffice here to say that "Breaking Bad" (and "Better Call Saul" too) follows a timeline of a full year of the Hopi Ceremonial Calendar, using symbolism suggested by the Ancestral Puebloan Sun Dagger in Chaco Canyon.
Gale and Lydia Used To Be Normal People
In "Better Call Saul," Gale and Lydia are portrayed as normal people, albeit criminals. Something happens with the transition to "Breaking Bad," however. Both start acting out in Hopi ways.
Hopi culture is used in strange and wondrous ways in “Breaking Bad.” In the episode “Full Measure” we see Gale at home. Gale waters two plants - a jade plant and what looks like a horsetail reed. Reeds are significant in Hopi culture. The Hopi escaped the flood that ended the Third World through a reed into the Fourth World, and survived on rafts made of reeds.
We see two masks in this view of Gale’s apartment. The mask on the wall has two horns on it. Plus, we see a large reflector telescope, indicating Gale’s interest in the cosmos.
With this broader view, we see the two-horned mask on the left. On the right we see a Krampus mask with two horns on it. On the coffee table, we see a hookah. On the bookshelf, we see two horns facing inwards towards each other, suggesting a disassembled Hopi Two-Horn Society shrine.
The members of the Two Horn Society occupy the highest niche in Hopi culture. They alone have memories of the previous three worlds and understand the original concept of Creation.
In his own way, Gale Boetticher too understands the original concept of Creation.
The little manikin on Gale’s desk is his Típoni, his badge of religious authority to conduct rituals; in his case, at the Two-Horn altar. In general, the Hopi symbols that are shown on television are not exact. In the same way that the chemical details of meth manufacture are fudged in “Breaking Bad,” the ceremonial details of Hopi religious life are fudged as well. Inexact ceremonies lack religious power, but do retain narrative power for storytelling.
Gale's Tiponi.
When Gale welcomes Gus into his apartment, we see his Típoni in the background, behind his shoulder. Ostensibly Gus is Gale’s superior, but the Típoni reveals the truth.
When Jesse arrives to kill Gale, we see that Gale bears the Kachina Mastop’s hand symbol over his heart.
Pipes and Figurines
In general in Hopi life, only members of religious societies smoke pipes – people who likely already have Típonis. Ordinary folks smoke cigarettes, not pipes. Many Típonis in Hopi life appear to be human statuettes. “Breaking Bad” may follow a kind of Hopi rule in this regard. Characters in the show who possess pipes or human statuettes appear to constitute a group with religious authority - a kind of chosen people. Pipes and statuettes are equivalent to one another. Gale has his hookah and statuette. Jesse and Jane have their meth pipes. Lydia has Edgar Degas’, “Little 14-Year-Old Dancer” on her desk. Todd has figurines at home. Saul displays a Típoni on his desk - a blindfolded “Lady Justice.” In contrast, Mike, Gus, and the Salamancas seem to have no pipes or statuettes.
Meth Pipes.
Lady Justice
Hank, Skyler, and even Marie dabble with human figurines – their Típonis. For example, Hank obtains a Jesús Malverde figurine and eventually gifts it to Gomey. In a flashback scene in “Ozymandias” we see Skyler packing up the “Hideous Crying Clown” for an online sale. Skyler becomes something of a statuette herself. After Holly’s kidnapping, Skyler falls to her knees in the street outside the White family home in the pose of a statuette called “Angel de la Victoria” by Salvador Dalí.
Skyler in anguish (BrBa 514, "Ozymandias").
Salvador Dalí’s "Angel de la Victoria"
Marie steals several objects in “Breaking Bad,” but the only one she gets to keep is her Típoni, the Chimney Sweep on a Pig. This Hummel is very compatible with Hopi symbolism. If your goal is to climb through a reed from the Third World into the Fourth World, who better to have on your team than a Chimney Sweep to clear away the obstacles?
The Hopi influence surfaces when unusual adjectives like “ladder-climbing” are used. Another example occurs when Saul Goodman first meets Walter White in the guise of Mr. Mayhew, and explains why he uses the name Saul. “The Jew thing I just do for the homeboys; they all want a pipe-hitting member of the tribe, so to speak.” Saul pretends to be a Jew, one of the chosen people, in order to curry favor with Jewish clients. Pipe-hitting emphasizes the extra authority that Saul carries by possessing a Típoni – two times over, a chosen person!
“Breaking Bad” is all about change, and the Hopi religion anticipates change. “Breaking Bad” adopts the fourfold structure of the Hopi mindset. “Breaking Bad” has four seasons, each with its own characteristic Kiva: the RV, the Superlab, the hospital tents, and Uncle Jack’s compound. The RV dominates the first season - S1: BrBa 101-213 (Transition BrBa 301-306).
The Superlab dominates Season Two - S2: BrBa 307 – 413.
The Tents dominate Season Three - S3: BrBa 501-508 (Transition BrBa 509-513).
Uncle Jack's Compound dominates Season Four - S4: BrBa 514-516; plus "El Camino: A Breaking Bad Movie."
Each of the Hopi four worlds has particular properties, such as a color, a direction, and a mineral. The creative team of “Breaking Bad” might think of the different seasons of the show as being different worlds.
Each season does seem to have a characteristic direction; from Albuquerque, in order, west to To’hajiilee, south to Mexico, north to the train-robbery location, and east to New Hampshire, and maybe a characteristic mineral as well. If there is a characteristic mineral for the entire show, it would be sapphire – the namesake for the bluish tequila Zafiro Añejo: Aged Sapphire. Minerals have importance in “Breaking Bad” because the Hopi give them importance.
El Camino, which means the road in Spanish, means specifically The Road of Life of the Hopi. The sun travels across the sky on the Road of Life. When the sun sets in the west in the world above, it rises in the west in the Underworld, the land of the dead. The sun travels east in the Underworld and sets, rising again in the east of the world above. Of particular importance is Summer Solstice, when the Kachinas return to the Underworld, celebrated in a ceremony called Niman Kachina.
Hopi Ceremonial Calendar
The storyline of “Breaking Bad” runs for a full year of the Hopi Ceremonial Calendar, starting at Fall Equinox, and runs until the following Fall Equinox. Note that this isn’t the timeline of the show, which runs for about two and a half years, but rather a parallel, completely-separate timeline. (See the separate post on the Hopi Ceremonial Calendar.)
Lydia Rodarte-Quayle, a Young Woman Looking For The Husband of Her Dreams
Religious rituals sure look strange when unexplained. The Hopi have a ceremony called Márawu, or Leg Decoration, that encourages very young women to find the husbands of their dreams. Leg Decoration refers to stripes painted on the legs of the young Máraw women. After a night-long ceremony in a Kiva, the young women are slowly brought out into the sunlight, but their climb is impaired. They have to climb up the ladder only by holding hands with each other, not by using their hands on the rungs of the ladder. Their slow climb is a reminder of the halting progress of the ancient Hopi when they climbed the reed from the collapsing Third World into today’s Fourth World.
In “Breaking Bad,” Lydia is presented in Hopi terms as a young woman looking for the husband of her dreams.
In the episode “Buried,” Lydia visits Declan’s Kiva in the Arizona desert in advance of Uncle Jack’s attack (BrBa 510, “Buried”).
Similar to the young Máraw women, Lydia impairs her own progress, which she does by covering her eyes. Lydia requires Todd’s assistance in order to exit the Kiva and stumble across the killing field. The creative team gives her a cover story, that she is too squeamish to view her victims (BrBa 510, “Buried”).
Lydia’s Leg Decorations aren’t painted stripes but rather red-bottom Christian Louboutin shoes. By altering Hopi ceremonies, Vince Gilligan and company are able to create a fresh vision of hell in Season 5b of “Breaking Bad" (BrBa 510, “Buried”).
Lydia's shoes, with victim.
Lydia, the Snake Maiden, marries Todd, the Antelope Youth (BrBa 515, "Granite State").
The path, the sushumna, between the Quonset hut where the drugs are manufactured (the tail) and Uncle Jack’s clubhouse in the distance, where the decisions are made (the head), as seen on September 28, 2013 (BrBa 513, “To’hajiilee”). Jesse’s pit of doom lies next to the Quonset hut, just out of sight and to the left of the path.
The sushumna.
So, if the path at Uncle Jack’s compound represents the sushumna, what does Jesse’s Pit represent?
There is a little Hopi touch in Lydia’s last scene, where we see her on the phone with Walt. On the left, we see her vaporizer at work to ease her respiratory discomfort. According to the "Book of the Hopi," all Hopi women know that young Máraw women have in their possession the best herbs for vaporizers. Lydia therefore already possesses the best herbs. She thought she was well-prepared for riding out her illness (BrBa 516, “Felina”).
There may be other Hopi influences on “Breaking Bad,” as listed in the "Book of the Hopi." These influences might come from other sources, though. It's hard to say with certainty whether they derive from Hopi influences.
In the episode “Buried,” Lydia visits Declan’s Kiva in the Arizona desert in advance of Uncle Jack’s attack (BrBa 510, “Buried”).
Similar to the young Máraw women, Lydia impairs her own progress, which she does by covering her eyes. Lydia requires Todd’s assistance in order to exit the Kiva and stumble across the killing field. The creative team gives her a cover story, that she is too squeamish to view her victims (BrBa 510, “Buried”).
Lydia’s Leg Decorations aren’t painted stripes but rather red-bottom Christian Louboutin shoes. By altering Hopi ceremonies, Vince Gilligan and company are able to create a fresh vision of hell in Season 5b of “Breaking Bad" (BrBa 510, “Buried”).
Lydia's shoes, with victim.
Lydia's Wedding
Weddings can offer some of the most compelling symbolism that society has to offer. “The Book of the Hopi” focuses on a ritual wedding that bonds the Snake and Antelope clans together. It would be tempting for the “Breaking Bad” creative team to use Hopi wedding symbolism despite the fact that no weddings occur in “Breaking Bad.” They do so by creating two wedding ceremonies – one failed, and one more-or-less successful.
Lydia Rodarte-Quayle is a successful Euro businesswoman, but in the shadow world of Hopi symbolism, Lydia is obsessed with finding the husband of her dreams. The thoughts of such a woman turn, as they must, to the wedding ceremony.
Hopi wedding wedding ceremonies require ten days, in which there are many intimate family celebrations, but little that matches the high drama of Western weddings. Still, an important moment in the Hopi wedding ceremony occurs when the bride and groom kneel together for the ritual hair-washing. A modified form of that special moment appears in “Breaking Bad” as Lydia’s spy-movie-style restaurant meetings. The oppositional seating arrangement of the meetings becomes an Overt-Rendezvous Trope, where participants can conspire openly in public, and is played as such to comedic effect.
Lydia, the Snake Maiden, marries Todd, the Antelope Youth (BrBa 515, "Granite State").
What I couldn’t account for was, why do the bride and groom face away from each other? Such a seating arrangement doesn’t square with the wedding description in the “Book of the Hopi” or with modern Hopi weddings. There is a solution, however. Actor Sam Shepard’s 1970 play “Operation Sidewinder,” which also takes inspiration from “The Book of the Hopi,” climaxes with a Hopi-style wedding, where Snake and Antelope dancers enter on opposite sides of the stage (unlike actual Hopi practice) and the bride and groom face away from each other for the ritual hair washing (Shepard, 1980). The couple are brought together for the show's dramatic conclusion. For dramatic effect, “Breaking Bad” adopts Sam Shepard’s oppositional staging.
What I like is that the comedy of the moment works well both for the spy-movie trope and for Lydia’s impulse to convert every public meeting with a single man into a wedding ceremony. I’m reminded of Rose Marie from the early-60s “Dick Van Dyke Show”: someone who might bring a bridal veil on a date. Mike quickly bails from the wedding ceremony she arranges in Loyola's Restaurant (BrBa 502, "Madrigal"), as he must. Mike is all wrong for Lydia – he hates her, after all - but Todd shares Lydia’s interest in meth purity and is a much better match. And the idea of the Sidewinder lingers too. Music from the Lee Morgan’s jazz album “The Sidewinder” shows up in “Better Call Saul.”
The “Book of the Hopi” is important because it provides the general structure of “Breaking Bad” and "Better Call Saul." There are likely other inspirational texts for these shows. A variety of Asian mystical influences are present in the show. These Asian influences work together with the Hopi influence. Psychologist Carl Gustav Jung helped popularize various Asian approaches to self-knowledge, including the ancient Taoist oracle known as the I Ching, “The Book of Changes.” That interaction between influences is fascinating!
Hopi Snake Dance is a Mask for Kundalini Yoga
An interesting observation from “The Book of the Hopi” is that there’s a close analogy between some of rituals associated with the Hopi Snake-Antelope Ceremony and Tantric Yoga’s understanding of Kundalini, despite coming from societies located on opposite sides of the globe. The analogy is so close that both expressions may be an example of the “collective unconscious” that Carl Jung posits the entire human race shares.
The “Breaking Bad” creative team may have decided that they wanted to follow the story of Jesse’s end-game liberation as being analogous to the release found in Kundalini Yoga.
Hopi rituals can provide a mask for Kundalini. Why would such a mask be necessary, or desirable? Nothing is more important for a satisfying conclusion to a television show than crafting an ending no one can anticipate, but that’s hard to do. Almost all stories have been told before in one way or another, and their endings are familiar. For example, stories based on Old or New Testament tales are familiar to the audience, and thus can’t provide much surprise. If Yogic symbols are used directly, various people in the audience will be able to “read” the plot in advance, since many people practice yoga. Analogous Hopi symbolism can convey Tantric Yoga thought without once using symbols from the subcontinent of India, however. Even practitioners of Yoga might not be able to see the end game coming.
Prior to the Hopi Snake Dance, which concludes the Snake-Antelope Ceremony, snakes are removed from a kiva where they’ve been gathered and kept and taken to the public plaza and placed in a temporary storage location called a kísi, which is (from "Book of the Hopi," p. 227):
[A] bower of green cottonwood branches over whose opening is hung a blanket or strip of canvas. Into this … early in the afternoon … of the great day of the celebrated Snake Dance, are carried all the snakes from the kiva.
The Snake Dance kísi anticipates Todd’s terrariums and snow globes, where dangerous creatures can be kept for a time (“El Camino: A Breaking Bad Movie”).
Todd’s and Lydia’s quasi-romance is anticipated by the Snake and Antelope Clans’ symbolic marriage prior to the Snake Dance. Todd plays the role of Antelope Youth and Lydia plays the role of Snake Maiden. The marriage is not a love match, however, so there is no obligation that Antelope Youth and Snake Maiden like or even know one another – just that they perform the ritual well (from "Book of the Hopi," p. 223):
The obvious meaning of the ritual is the union of the two societies which jointly carry out the Snake-Antelope ceremony. But as the immediate purpose of the ceremony … is to bring rain for the final maturity of the crops, the marriage also signifies the fruition of all life. The snake is a symbol of the mother earth from which all life is born. The antelope, because it usually bears two offspring, symbolizes for the Hopis fruitful reproduction and increase in population. Hence the union of the two is symbolic of creation, the reproduction of life.Looked at more closely, it has a still deeper meaning. For as the bodies of man and the world are similar in structure, the deep bowels of the earth in which the snake makes its home are equated with the lowest of man’s vibratory centers, which controls his generative organs. The antelope, conversely, is associated with the highest center in man, for its horn is located at the top or crown of the head, the kópavi, which in man is the place of coming in and going out of life, the “open door” through which he spiritually communicates with his Creator. The two then symbolize the opposite polarities of man’s lifeline, the gross or physical and the psychical or spiritual which supersedes or controls the functions of the former, just as the Antelope Society supersedes and controls all functions of the Snake Society. Their mystic marriage is thus a fusing of man’s dual forces within the body of their common ceremonial for the one constructive purpose of creation.
Something similar to a mystic marriage occurs with the alliance between Uncle Jack’s crew and Madrigal Electromotive. Despite Todd’s evident affection for Lydia and Lydia’s willingness to play along, it’s clear Lydia sees the alliance as purely transactional in nature.
A Snake Race and an Antelope Race are held to celebrate the occasion of the Snake-Antelope Ceremony, followed by the Snake Dance. The path on which the races are held runs uphill, from tail to head (from "Book of the Hopi," p. 225):
But what is the path between them, and how can they be made to fuse?
The channel, as explained by Eastern mysticism, is the main median nerve, known as the sushumna, extending through the center of the spinal column. Around it, crossing to the left and right at intervals, are two other psychic nerve channels coiled like snakes, forming the symbol of the caduceus of Mercury. That on the left, Ida, is regarded as “feminine,” being the conduit of the negative lunar current; Pingala on the right, as “masculine,” and the conduit of the positive solar current of universal energy residual in man. Up these subtle channels flow and fuse the life forces of man when aroused.The analogy presented by the Snake-Antelope races is at once apparent. The long racetrack, a mere trail ascending from far out on the desert to the kiva on the crown of the cliff, is the median nerve. It is crossed and recrossed at intervals where prayer sticks are planted and other priests are stationed. These mark the successive centers vitalized by the ascending life force when it is called up.
And “Breaking Bad” has a path too, which lies between the Quonset hut where Jesse manufactures blue meth and Uncle Jack’s clubhouse, where plots are hatched.
The path, the sushumna, between the Quonset hut where the drugs are manufactured (the tail) and Uncle Jack’s clubhouse in the distance, where the decisions are made (the head), as seen on September 28, 2013 (BrBa 513, “To’hajiilee”). Jesse’s pit of doom lies next to the Quonset hut, just out of sight and to the left of the path.
The sushumna.
When the spirit of Kundalini has been aroused, but the path to liberation is blocked, Kundalini Syndrome can occur. Kundalini Syndrome is explained simply at this website:
Kundalini (also referred to as Kundalini Shakti) is all about moving energy. This energy, or prana, lies dormant at the base of the spine in the root chakra, coiled up like a snake, just waiting for awakening.Generally, this beautiful life force is awakened through physical yoga postures, meditation techniques, kriya, and pranayama breathing exercises....For those with a Kundalini practice, awakening can be an extremely spiritual experience, but sometimes symptoms of a Kundalini awakening can happen when we’re least expecting it and we are totally unprepared.This can lead to a traumatic Kundalini awakening experience, or what many refer to as Kundalini syndrome or Kundalini psychosis....Many people can experience negative side effects and symptoms similar to mental illness or even physical pain after a Kundalini awakening....This can happen when you come face to face with stressful life situations like a near-death experience, loss of a job, break up, tragic accident, or unexpected news.Negative side effects and symptoms can include … an over-all feeling of an unpleasant nature. 9In severe cases, Kundalini syndrome can cause you to part from reality….…The best way to deal with symptoms of Kundalini rising is awareness paired with balancing out your chakra system and grounding yourself.…Awareness of these syndrome symptoms is the first step towards healing, but if they intensify or become gradually worse seek out help from a seasoned practitioner or spiritual healer for both mental and physical stability.
Jesse experienced the awakening of Kundalini, but he is trapped in his Pit and locked in his chakra (perhaps the heart chakra, anahata, where Jung felt the process of individuation starts), and he suffers mightily. Jesse needs help, which he finally receives when Walter White, his guru, helps free him.
But Jesse’s liberation may be only temporary. He is still a wanted man. Jesse is likely two chakras short of complete liberation. The psychologist Carl Jung had reservations about the top two chakras because they require the psyche to be absorbed in the one – Brahman – and thus experience the loss of identity, something that he felt would be at odds with the Western experience.
Still, Jesse requires more help, which he finally receives from another guru, the Disappearer, the Vacuum-sales fellow, who crafts a new identity and a new life for Jesse, in Alaska (“El Camino: A Breaking Bad Movie”).
Hopi symbolism ultimately ends up as Kundalini Yoga.
A Hopi Touch
There is a little Hopi touch in Lydia’s last scene, where we see her on the phone with Walt. On the left, we see her vaporizer at work to ease her respiratory discomfort. According to the "Book of the Hopi," all Hopi women know that young Máraw women have in their possession the best herbs for vaporizers. Lydia therefore already possesses the best herbs. She thought she was well-prepared for riding out her illness (BrBa 516, “Felina”).
Other Hopi Influences?
The various fast-food restaurant franchises that make up Madrigal Elektromotive's Restaurant Division (BCS 507, "JMM") seem to operate in an analogous manner to how the Hopi religious center of Oraibi operated. Not every Hopi clan got permission to reside in Oraibi. The clan must have had a unique ritual beneficial to all Hopi clans to gain admittance. Similarly, each restaurant franchise must hit their financial marks in order to keep their Madrigal positions.
Walt’s departure from Gray Matter seems to resemble Machito’s departure from Shongopovi (BrBa 506, "Buyout").
Might this be the Magic Eye of the Ya Ya?
Does Badger come from the Badger Clan?
The New Fire Ceremony of Wúwuchim is equated with the custom of morning coffee (BrBa 306, "Sunset").
The use of tinkling to mark Eladio’s swimming pool flashback (BrBa 408, “Hermanos”) may come from the tinkling of Kachina Chowílawu’s belt, made of pieces of polished petrified wood, as heard during his kiva dance at Powamu.
There is an Ancestral Puebloan analogy to Walter White’s empire. Chaco Canyon rose to power based on its religious culture and trade in turquoise, and later fell due to drought and strife.
The Hopi don’t talk much about Chaco Canyon, at least to outsiders, but the Navajo have a story about an outsider called The Gambler, who enslaved people with addictive games and then built Chaco’s Great Houses with the stolen labor. The Gambler was eventually overthrown. Gambling was Walt’s cover story in the show. Walt is The Gambler.
Blue Meth.
Kachina Sotungtaka (Gambler).
Turquoise.
“Breaking Bad” is taking portions of Hopi religious culture in order to create a new art form that might be called Hopi Gothic. A religious ritual is identified, changed, and placed in a new context, creating obscurity, uncanniness, dread, and remorse, the building blocks of Gothic literature.
"Breaking Bad" Precursors
“Breaking Bad” has at least two inspirational film precursors. My favorite is the 1992 film “Falling Down,” starring Michael Douglas.
The film authority Angelo Restivo says that 1956 film “Bigger Than Life,” starring James Mason, is his favorite precursor for “Breaking Bad,” and he’s not wrong. Both movies are excellent models upon which to build “Breaking Bad.”
I Ching
“The Book of the Hopi” is important because it provides the general structure of “Breaking Bad,” plus at least two character sketches used in the show: Gale Boetticher and Lydia Rodarte-Quayle. There are likely other inspirational texts for “Breaking Bad.” A variety of Asian mystical influences on the show needs to be explored further, in particular, the Mandala, the Circle of Life. These Asian influences blend with the Hopi influence in an intricate way.
Skyler's visit to the Four Corners Monument is an example of a query to the Taoist I Ching (BrBa 406, "Cornered"). The Four Corners Monument is built in the shape of a Mandala.
Drawing yarrow stalks from a container is the original method of submitting queries to the I Ching, but people soon worked out a variety of other ways, generally using tossed coins.
The 2x2 grid at the center of the Four Corners monument mimics the origin of the Mandala: a diagram, "which is known as the map of the world's original laws." "Breaking Bad" concerns itself with grids, and it's notable that a grid is brought directly into its understanding of the Mandala.
"Breaking Bad" has its own unique way of submitting queries to the I Ching. There are eight possible outcomes resulting from tossing one coin at the center of the monument (heads or tails, falling in one of four possible states). Thus, just one tossed coin can refer to any one of eight possible outcomes, referring to the eight possible trigrams that are used to query the I Ching.
I don't know the key used for determining which outcome refers to which trigram - clearly the "Breaking Bad" creative team has such a key. Nevertheless, two tossed coins on the grid are sufficient for determining any one of the 64 hexagrams used in the I Ching. A query can be thus answered with fewer coin tosses than usually used.
The "Breaking Bad" method isn't commonly used - it's too easy to bias the results by moving the toss - but for cinematic economy it can't be beat.
For example, without going into detail, Skyler’s visit to the Four Corners monument may be a query to the Taoist I Ching (BrBa 406, “Cornered”).
For example, without going into detail, Skyler’s visit to the Four Corners monument may be a query to the Taoist I Ching (BrBa 406, “Cornered”).
The map of the world's original laws, which the 2x2 grid of the Four Corners monument mimics. So, what is the question that Skyler poses to the I Ching? Probably something along the lines of: What should she do about her difficult situation?
And so, Skyler decides to return home and persevere, secure in the knowledge she will eventually prevail. And so, she waits - and waits for Walt's cancer to return.
Conclusion
In a sense, we haven’t really seen the true “Breaking Bad” yet, because so much of it remains well-hidden in plain sight. I hope we can eventually reveal the show in all its glory.
Fans have responded to “Breaking Bad” with cult-like reverence - not surprising, given that actual religion is woven into the show.
References
- “Book of the Hopi,” Frank Waters, 1963.
- “Chaco Astronomy: An Ancient American Cosmology,” Anna Sofaer and others, 2008.
- “The Chaco Meridian: Centers of Political Power in the Ancient Southwest,” Stephen H. Lekson, 1999.
- “Hopi Kachinas: The Complete Guide to Collecting Kachina Dolls,” Barton Wright, 1977.
- “Jung and Eastern Thought: A Dialogue with the Orient,” J.J. Clarke, 1994.
- "Zuni Fetishes," Frank Hamilton Cushing, 1883, ninth printing, 1990.
