The first verses that Finn sings on that endless loop are quite similar, certainly. After that the song carries on its own, but now I can't think of one without thinking on the other. It would be interesting to know if the guy who made the music really used it as an inspiration/parody/gimmick.

"DROP YOUR WEAPONS NOW!!"

OMG I've never thought the Adventure Time could outdo themselves music-wise, but DAT SONG:

The "she" is the zombie Carl trapped in a room on the mid-season premiere, I guess.

I said boo… arns.

I think the writing on this episode isn't getting its due credit. What gives this incredible ending such an impact is all the "normalness" that precedes it. It looks like a normal, run-of-the-mill episode, but it keeps getting more fucked up as time progresses and when you think everything's gonna be fixed with the…

So, an apple is better than an orange, is what you're saying.

As always, coming late to the party, but there's one thing that most of the comments (if not all) have missed until now. What if the Nazis were just destroying the cars and forcing Hank and Gomie to empty their clips so they all can be captured? I mean, they might be intelligent enough to not kill two DEA agents and…

I know I'm arriving late to the party but I'm a little sick of all the comments about "Jesse putting the pieces together" being far-fetched. As a lot of people have commented already, there's a lot of information that was dumped from End Times to this episode about Jesse starting to feel that Walt could have done that…

Spain's far worse, I can fuckin' tell ya.

I think you're posting on the wrong series' thread. This is Breaking Bad, where the main character lies to himself to make the whole adventure about caring for the family (us knowing that's a lie doesn't mean the character doesn't believe that), not The Sopranos, where people says it's for the family but they are…

Guys, you're really not paying attention sometimes. They've carefully established last episode that Jr. might have a girlfriend, or he's finally having a proper social life. Also, there's only two scenes in the White's house, and one might be at late afternoon (so Jr.'s out) and the other one is at night, with Skylar…

You're forgetting the series WILL BE over. As InspectorLongfellow has said, it's perfectly motivated from Skylar's perspective that she doesn't want to rush into turning in Walt to the police, knowing both that he doesn't have that much time left (and therefore she and her family will keep the money) and that Hank…

I think they wouldn't be smart enough to even consider the option to give Hank a three-dimensional stature to keep building him for a final face-off. He would still be doing stupid impressions of the random DEA agent as he did on the pilot.

It was one of these mise-en-scene resources to create tension via diegetic sound. The radio car serves two purposes: cutting from the last scene in a weird, unpredictable way, and to have a buzzing sound while Hank and Walt have their tête-á-tête. That's my two cents.

I'm begging for one of the Car Wash workers to quit abruptly and then saying to Walt: "Fuck you! And your bald head!"

He's Kirby!

It's funny the way you people think of Heisenberg as someone different than Walt and then you use comic book analogies, when in comic books they usually bring up the "they think they're two different personalities but they're really just one person" thematic so often.

And I really love the contrast between that bright, sunny, all-white Car Wash business and then, at night, an all-dark/this is full of pain and suffering dinner lighting at home.

Yeah, even more obvious when remembering the shot of the dog barking when Jesse did his Paperboy/Santa Claus route in this episode. He's definitely going to take action against Walt, pronto.