Predestination has nothing to do with it. It's the festering of feelings that inevitably set motions into play. Walt's inciting point was Gray Matter. While Jimmy's was his days as Slippin' Jimmy, and the potential he felt as a scorer. Without these, neither of their arcs make sense.

Walter White was always Heisenberg, in a way. His extreme intelligence went hand in hand with his pride and his ego. All it took to wake him from the coma that was his life was the most extreme scenario: death. Faced with nothing, he finally began to embrace who he really was, with each season marking new developments…

My respect for the club just increased ten-fold for their love of Otis Redding.

It was very much filmed as if it was Marco's last trip through Vegas. A Vegas of scams. So just Vegas..

That very much comes into play with both WW and Slippin' Jimmy. They were both told to either play the suburban husband or go straight, when they believed themselves capable of much more.

While Breaking Bad was all about a person embracing who they really are (for better or worse), Better Call Saul provides a much more despondent, but ultimately just as grounded of a philosophy about the human condition; you can never turn away from the person you have already become.

It is very influential, but you don't really hear about it that much. Thus underrated.

Any scene with Mike near Kaylee reminds of the ending that pissed me off the most about Breaking Bad; the death of Mike. Sure, he was a criminal, but if any person deserved to leave behind their life's work to their family, it was definitely Mike and more so than Walter White. Then again, the White's are always gonna…

SPOILAH ALEWT.

Anchorman 2 and The Spoils of Babylon excepted, of course. And his Broadway special of acting as Geroge W again.

Somewhere in that three percent of DNA that separates us from monkeys, an exec confused Will Ferrell for still having the same potency as he did three or so movies ago. He/she also thought Kevin Hart was funny to begin with.

The theater I work at is getting this instead of Home. If it had been the other way around, we still probably would have been fucked.

I'd also say that Rectify is the more artistically inclined of the two stories, visually speaking. While a lot of Bloodline's underwater sequences are fantastic, I'm a little underwhelmed with how it composes everything else. Seems very standard and unmotivated, and some of the desaturation of the Keys' many vistas…

My feelings on the narration and the timeline jumps are mixed. In this episode it was leaning more toward wishing there wasn't any time jumps at all. It would have worked better thematically if they showed Danny save his Dad instead of keeping it a big secret until the end because then it completely objectifies his…

That still is so well lit in regards to atmosphere, and the eye line and expressions from all of the actors says a lot about what their characters feel about one another. It reminds me of stills from the White family table on Breaking Bad.

I'll probably look into it then. First assumptions was that Netflix was trying to jump on the wagon train of small town, dark morality dramas. But given that the Club's reception of it seems to be favorable, I reckoned it might deserve a chance. Plus, Ben Mendelsohn.. I mean, come on. The dude is great.

After dedicating an entire day to catching up on season two of Rectify, is it fair to say that this is the next series that I should start?

And just when the loss seemed to throb no more, I was reminded of Terriers..

Maybe he'll pull a Garrett Dillahunt from Deadwood and play a completely different character.

Scroll, scroll, scroll.