#Emilio koyama

[swimbreak]

some of my 2022 brba stuff

[ccorinthian]

[fawrishfish]

hi I know they're not your usual subjects but I do have a request because I love them dearly... my alburquerque t squad au/headcanon.. in this picture jesse would be in the middle, jane and emilio in the front, domingo and nacho in the back.. do you see my vision?

I do!

I’ve drawn Jesse one time before, and Domingo reminds me of one of my ocs, so it wasn’t hard to draw him

Jane and Emilio I’ve never drawn ever, but they were fun to draw!

I was outside all day today, so I wasn’t as active as I usually am on here 😅

[roaldamundsen]

the albuquerque t squad gets squad memed

[colorcodedbeanies]

S1E3-"And the Bag's in the River"

The last 12 hours have been a fever dream so I feel I really understand what its like to be Domingo

TW: Racism, description of gore, Nazi mention, discussion of strangulation.

Credit to their props team or whoever that wet meat is the wettest and the meatiest.

The first time through this episode I assumed the Gretchen flashback was Walt attempting to disassociate from his actions via chemistry (in parallel to Jesse's "its just a bunch of meat!" last episode). With the context of the closing flashback though I think this entire episode is about Walt really confronting the spectre of his own mortality. This is something that influences his conversation with Krazy-8 and his confession to Skyler at the end of this episode

Notably this is probably the only time Walt thinks of Emilio as "human" even if by proxy. I find it interesting that the visual language is suggesting the gun as functionally a part of Emilio's body. When Walt thinks about calcium, he picks up a fragment of his jawbone. When he thinks about iron, he picks up the remains of the gun. Whether its the worldview of Walt or the show, the violence is so much a part of Emilio that it may as well be a part of his chemical composition

"Please don't say yo. You can't know how much I hate that." That theme of language policing is back. Sure, Skyler on a literal level is associating it with a specific bad interpersonal interaction she had. But its also a mom clamping down on how her son talks because she doesn't want him to sound like a criminal. Gonna be a bit of a theme with Junior in this episode.

This episode simultaneously establishes that everyone in the Schrader-White cluster has both used pot and is also a massive freak about it. To be clear, there might be a lens through which SOME of Marie's concern is merited. As I understand it pot is probably not good for a 17 year old. But there's a certain ritualization to the denial of using pot. Skyler used it, and yet asks Marie about it like she was the known pothead in the family. Marie sputters about MAYBE having sampled it, reflects almost nostalgically on its effects, and then immediately freaks out about Junior's proximity to it. Hank admits to indulging to deal with some unspecified childhood baggage, but still considers taking his nephew out to ogle addicts in order to scare him straight a justified tactic. Its perhaps best summed up in Marie and Hank's phonecall. "Autopsy of a pot overdose? C'mon." Deep down all of them know it doesn't have to be a big deal. But we return to that inherent suspicion and distrust. Everyone's a junkie except for me. I'm a sensible, reasonable adult who can be trusted with what substances I indulge in. After all, "I'm extremely clean". Everyone else though, might be subject to an unbecoming dependence.

We have two cases of "everyone else" humanizing themselves. The first is Domingo, who startles Walt with both his ability to reason and to connect. Krazy-8 shatters his image as benevolent by pointing out that keeping him chained up in a basement while they debate was to do with him is frankly a lot more cruel and unusual. He's also able to read Walt extremely easily, picking up his discomfort, teasing out his motivations, and even connecting with him on an interpersonal level.

The other example of this is poor Wendy. Everything about that scene is skin-crawling. Hank dehumanizes her in every way a person can be dehumanized, sexualizing her in a way that doesn't read even slightly as a joke and functionally treating her like an animal. He barks at her to come, to stay, to speak, and then has Junior ogle her teeth before battering her with questions. She's not a passive recipient of his abuse (though who could blame her if she was). While she's clearly used to a fair amount of rough treatment, she still reacts when something crosses a line ("hey I'm not doing him, he's a kid!") and even gets a little of her own back ("why, you got some?"). Wendy isn't doing anything remotely criminal that Hank can see. She's not soliciting, not holding drugs on her, not anything. She's just going about her day. However, for people in her class crime is no longer something you do, its what you are. Hank clearly feels entitled to harass her and threaten her even off the clock. But Wendy lets them know she can see them as much as they can see her, calling out both the inappropriateness of Junior's presence and Hank's fishing. Hank doesn't get the neat horror story about a fall from grace that he wants ("Tell my friend here how you got started. Probably used to be, what? Like a Girl Scout, or sang in the church choir?"). Instead he gets an interaction that not only exposes what a dickbag he is, but that will come back to bite him later.

After a looney tunes ass chase through the house we get the first connection of Walt with Nazis with Jesse's heil Hitler bitch. Primarily I bring it up only because its going to get freakishly poignant in a few seasons but I do think it's worth noting: Jesse's not a good arguer even when he's in the right. He's too inexperienced to understand what's actually wrong with Walt and it enables Walt to perpetually paint him as just an immature child throwing tantrums.

One last note about the Wendy scene before I dive into Domingo's last moments. Hank jumps in to "defend" Junior from the accusation of being disabled. The smile he gives him feels like its meant to be inclusive. Don't worry buddy I won't let this lesser than try to pull you out of the in-group. Have to wonder how much of Junior's childhood he spent with polite euphemisms about his condition.

The pro/con list functionally is its own analysis. The con side is all phrased in absolutes. "Murder is wrong", and more specifically, "YOU are not a murderer". This is factually inaccurate (by this point Walt has killed Emilio and attempted to kill Domingo), but it returns to that idea of criminal as a class rather than an action that I talked about. The Schrader-Whites aren't junkies, they're nice normal people who have once or twice indulged. Walt isn't a murderer, he's a man who's only ever done what he has to for his family! There's a resistance to seeing actions as a reflection of identity, because to do so is to admit the separation between Walt, Jesse, and Domingo is a matter of degrees, not some fundamental aspect of their character.

Domingo plays into this as well, reassuring Walt that he's not cut out for this. HE'S not a cold blooded murderer...he's just a good man, a family man caught way over his head. Its fitting his name means Sunday, because in essence he offers as Walt's confessional priest. He hears his sins, his fears, his secrets, and then offers him the path to redemption.

Walt's mistake here is underestimating how little reason Krazy-8 has to sincerely believe this of him. The plate that give Domingo his weapon is broken over Emilio's bloodstain. He's been held hostage, sick and in pain from the toxic gasses, stuck shitting in a bucket for days on end while Walt quibbles about his mortal soul. I don't want to posture Krazy-8 as some innocent. But the lie works because it feeds Walt's self-perception as the good normal man caught up in all this, and because Walt is very bad at imagining the inner worlds of the people he works with. Whether as a cashier at his father's furniture store or as the gunwielding drug lord or the captive in the basement, to Walt Domingo is a background element to be ignored and puzzled over, not a thinking person with intentions.

He majored in Business Administration at UNM. This surprises Walt, another challenge to his equivocating between education and moral character.

I like that its left a little ambiguous as to whether Domingo was still planning to stab Walter when he came down, or if he reached for it after noticing Walt's strange behavior. The man with lung cancer chokes his first hands on victim.

Final somewhat anti-climactic note: "Its a culture in decline...you people used to be conquistadores" NO HANK THEY DIDN'T.

Fascinating that I can do all this analysis and then it just spells itself out with "It looks like meth but its too damn white."

[ladybug023]

Marco and Maria WIP With No Context

Warning: nothing graphic. Also i know Marco mostly speaks Spanish but I’m too lazy for subtitles tonight. Maria dumps Marco’s ass. Can you dump someone in a situationship?

Marco's tender gesture was met with an uncharacteristic brush-off from Maria, leaving him momentarily taken aback by her sudden change in demeanor. As he watched, she pulled a heavy duffel bag into view, its contents spilling out onto the surface. The sight of stacks of money filling the bag to the brim stirred a mix of curiosity and bewilderment within him.

Confusion played across Marco's features as he pondered the reasons behind Maria dealing so much in such a short amount of time. Her explanation about leaving town with Emilio for a couple of weeks seemed at odds with the reality he knew. "Emilio and I are leaving town for a couple of weeks. This should be more than enough to meet our quota for this week and next week. You can give it to Tuco when you see him later," she explained, her tone casual despite the weight of her words.

"Why?" The question escaped his lips, the confusion evident in his voice.

"Why do you care?" Maria's retort carried a hint of annoyance, her guarded demeanor starting to grate on his nerves. He wasn't entirely certain why he cared, but her abrupt shift in behavior bothered him. He asked himself why was she was being like this? He’d already forgave her for the incident that happened the night before.

Despite his silent annoyance, he pressed on, his tone growing firmer with the second query. “Why?”

An exasperated sigh escaped her lips as she turned her back on him, the situation escalating with each passing moment. Marco's hand shot out, grabbing her elbow and tugging her back around to face him.

“Why?” The tension in the room was palpable as he demanded an answer, his voice had taken on a growling edge.

His grip on her elbow was fleeting as Maria yanked herself free, her frustration equally evident. The verbal exchange between them intensified as Marco continued to question her motives.

"It's a business trip, okay! Jesus fucking Christ!" she finally snapped, the expletive punctuating her frustration.

"Stop," Marco's voice cut through the tension, commanding silence. He wasn't used to being in situations like this, where emotions flared and he had to navigate through the complexities of human interaction.

"Stop what?!" Maria's retort was sharp, filled with defiance.

"Enough," Marco's response was curt, his tone leaving no room for further argument.

"No! I am not your little whore you can boss around, Marco!" Maria's words were charged, her anger taking center stage.

Silence descended between them, heavy and charged, until Maria let out a tired sigh, her tone shifting. "This isn't good anymore..."

Marco's expression remained a mix of stoicism and confusion as he attempted to process her words. Her declaration that whatever existed between them wasn't good for business hit him with a weight he didn't expect. She moved to sit on the couch, a blunt in her hand as she continued to speak.

"Why?" he finally managed to ask, his voice softer this time.

"Why? Because you and your brother humiliated me, you fucked with my reputation, that's why," Maria glowered at him, her frustration palpable. "Do you know how hard I worked for my reputation? Do you know how hard it is as a woman to earn a decent reputation in this business?"Of course he doesn’t. He could never in a million years understand. Marco was born with the privilege of having his last name be Salamanca.

“Now, people call me your dumb little whore.” She grumbled, resentfully.

"Who?" Marco's voice held a dangerous edge as he inquired, his protectiveness flaring. But Maria seemed unfazed by his concern.

"Two men who are currently in the ICU sucking food down through a straw. I can take care of myself," Maria stated matter-of-factly, her exhale carrying with it a sense of indifference.

Marco felt some guilt and shame creep into him. His sweet Maria looked so angry and hurt. He didn’t want her to feel those things. A good, humble man would have apologized but Marco was anything but a good man, and that machismo pride that was beaten into him since he childhood kept him from saying sorry.

"You don't want company?"It was the most words Marco has said in awhile, an attempt to linger and mend the strained atmosphere.

"Not your company, Marco," Maria's response was curt, tone definite, and her words cut deeper than Marco’s axe.

He grudgingly picked up the duffel bag, his mind warring between his usual cold detachment, and the unfamiliar pang of losing her. With a final glance, he left her house, she’d call him again and things would go back to as they were before Saturday night. He ignored the daunting, alien fear that she wouldn’t, and he would lose her. She was never really his to begin with but the idea of Maria hating him and not getting to hold her again unnerved the cold hearted assassin.

[spockvarietyhour]

Emilio! un-vatted-in-acid I see

[theqhreator42]

Preacher’s Daughter fancast

There’s been a lot of talk about the three films planned to cover Ethel Cain’s story, so I wanted to share my personal vision for its main characters!

1. Aaron Paul as Ethel Cain

Jesse Pinkman has this perfect haunted expression at all times, like he’s carrying the ghosts in his mother’s blood, like he truly cannot escape what he’s made up of. Even more importantly, he is canonically transmasc AND transfem (Vince and Peter personally confirmed it to me in a conference), so there could not be a better cast here!

2. Bryan Cranston as Isaiah

Breaking Bad is the story of a traumatized transgender person being manipulated by a cruel remorseless narcotrafficker into living in the American Southwest, so the parallels are truly stark.

3. Charles Baker as Willoughby

Granted, his house is in Albuquerque, not Nebraska, but “New Mexico” and “Nebraska” both begin with the letter <n> so it’s totally viable, frankly.

4. John Koyama as Logan

idk this is a shitpost I didn’t think very far but Emilio does get wiped out early

[theqhreator42]

Thinking about which distraught relatives put up missing posters for Victor or Emilio in the hours and days after Walt and Jesse destroyed what was left of their bodies. Emilio was Jesse's childhood friend, and their respective parents could have been close family friends...

never not thinking about the friends and family and associates, everyone that was left picking up the pieces. ernie and the film students, hearing about saul goodman’s involvement in the largest drug empire this nation’s ever seen. or that he laundered walt’s money and covered up murders, helped poison a child. kaylee and stacey, never knowing what became of their pop pop, only that he’d lived a life much darker than anything they could have conceived of. forever without closure. david and lyle, hearing that the man they looked up to and cared for was a kingpin and a murderer, that they’d hadn’t known him at all. the ripple effects of these atrocities all across albuquerque, hardly a soul left unscathed.

[malhare-archive]

OC lore posting 😏👍(<- deranged)

Rivera Molina is Domingo Molina's younger brother. Growing up, he was acquainted with his brother's friend Nacho Varga though he was personally closer with Jesse Pinkman (who he knew through his cousin, Emilio Koyama).

Rivera was a directionless adult; Like with his brother, his father shot down his future aspirations in favor of encouraging him to take over the family business. When Domingo quit working at Tampico Furniture so did Rivera, who opted to work at Los Pollos Hermanos instead to make ends meet. When Domingo got involved in the cartel drug trade Rivera followed suit, becoming a low level seller.

Rivera developed a nasty meth addiction which worsened his already existing paranoia and caused him to often dip into the stock he was supposed to be selling for Tuco. Just by coincidence, another dealer entered the bathroom before closing time as Rivera was cleaning it and Rivera, in a panic because he thought he was about to be shaken down or attacked for the missing money, stabbed him to death.

Seeing an opportunity to get a new pawn on his board, Gus Fring stepped in: With his connections it was easy to make the body disappear and erase any connections to Rivera. Gus also gave him enough cash to make up for the missing drugs. From then on Rivera acted under Gus' will as a mole within the Salamanca's drug trade, being forcibly weaned off drugs and becoming more deeply entrenched in the criminal world.

It's kind of hilarious that both Rivera and Domingo become moles, family trait

I was gonna go a bit into Gus' manipulation of Rivera and how he reacts to and changes as a result but this is ALREADY too long. Maybe another time.....

[undeal]

NOTES FROM THE AUTHOR.

OUTLINE. i will be crafting a new narrative arc for jesse  —  one that delves into the implications surrounding his character before the events of breaking bad, the aftershocks of an emotionally neglectful childhood, the pervasive stigma around addiction, and the search for self-actualization in a hostile, unforgiving environment.

SYNOPSIS. following the arrest of his partner-in-crime, emilio koyama, jesse does not get approached  (  and blackmailed  )  by walter white. instead, he’s confronted with a nasty choice:  a prison cell or a court-mandated stint in rehab. he settles on the latter. while fulfilling the terms of his probation, jesse is subjected to a form of correctional control that offers nothing in the way of tangible support. after desperately knocking at every available door, he circles back to his regular hustle. guided by the helping hand of a recent associate, jesse abandons the cap’n cook approach and invests his energy into a better cover, operating under the guise of art dealership and distribution. what could possibly go wrong?

INSPIRATIONS. cidade de deus. enter the void. all the beauty and the bloodshed. the pusher trilogy. the discographies of my life with the thrill kill kult, death grips, atari teenage riot, and freddie gibbs.

[fawrishfish]

sorry feel free to ignore me but it's the albuquerque t squad again. nacho/domingo in the first one. then jesse. and then emilio.

I can’t draw backgrounds aaaaa

[bunny-kisser]

I finally sat down and did the timeline math, girl Gus is almost twice Rivera's age 😭

At the time of BCS season one Rivera is 24 and Gus is 46. At the time of Gus' canon death Rivera is 29 and Gus is 51.

Some other little notes about age: Rivera is 4 years older than Jesse, 7 years younger than Domingo, 6 years younger than Nacho, and the same age as his cousin Emilio Koyama (headcanon, Emilio does not have a canon age)

Me: They do not even have that large of an age gap

Gus: [Literally became a general of a dictatorial regime before Rivera was even born]

[roaldamundsen]

the albuquerque t squad gets squad memed AGAIN

base template by former tumblr user lavalamp-of-epicness (it was the only url I could find) (genuinely couldn't find an author for the connect 4 one)

[colorcodedbeanies]

S1E2-"The Cat's in the Bag"

That's right two in one day I'm in a hormones induced fugue. If i focus might knock out a third tonight. This one shorter

TW: Violence, racism, gore description

also note: I use Native American and Indigenous as the general term because they're what I've been led to believe is acceptable but let me know if there's something else I could be using/some grammar hink going on here.

Indigenous people in Breaking Bad are a background element I'm hoping to also make clearer to myself in this watchthrough, especially since it's a throughline that gets picked up again with Better Call Saul and the Kettlemans. There are no major Native American characters in the series, and yet they keep popping up in a way that reads as both prop-like and intended as thematic. This episode in particular opens with a Native American man towing Walt and Jesse's RV out of the ditch, and ends with two Indigenous children playing in the wreckage left behind by their cook. The ABQ area is home to a couple of different tribes. The only reservation that I believe is named in the show is To’Hajiilee, which is occupied by the Cañoncito Band of Navajos. Until provided with other information I'll assume that's the nation to which these unnamed characters belong. Again, I do want to drill in on how badly these characters are props. None of them even have speaking lines. Additionally, its part of the running theme where most brown characters are positioned in opposition to law enforcement. The man who tows them out accepts their bribe to keep silent about anything he's seen. However, given the work the previous episode has done to establish law enforcement as a. deeply racist and b. wildly destructive. There's an argument to be made that this is one of the most human things these characters could do. Rather than concern themselves with something that's not their problem to begin with, they instead keep their mouths shut and profit where they can. I don't want to go too far down this as a overarching read, both because it risks extending the show too much credit and because I think there's a tendency to sanitize the legacy of colonialism into just. White people being corny and Indigenous people giving knowing eyerolls, rather than a system of routine violence. But still, given that this is an analysis focused on race and law enforcement, its worthwhile to me to bring up instances where this is even glanced on.

There's an entitlement to Jesse's space which Walt perpetually demonstrates that really starts to rear its head here. Jesse's just going to have to be ok with Walt storing two dead bodies and a wrecked meth lab in his driveway, because after all, he can't very well bring it back to his nice normal house with his nice normal family can he? Jesse is also expected to take responsibility for whatever happens to the bodies, despite them both being Walt's kills This is played for a joke (resulting in at least one Tiktok audio) but it does have lasting impact on Jesse as he navigates dealing with Emilio's body and Domingo as a hostage. It makes him so uncomfortable that he feels the need to get high just to stay in his own house. All of this is something that either doesn't occur to Walt, or that he just doesn't care about. This is an entitlement that's reflected in Skyler later when she goes to confront Jesse. She barges in his front gate before yelling at him about having the audacity to touch her. The Whites don't understand themselves as criminals. Again, they're nice normal people, not like this "druggie burnout". He isn't protected by things like legality and decency, and anything they say or do to him should be considered reasonable frustration or concern. This culminates in Skyler's line "not that it's any of my business, but you might want to consider a new line of work". This line isn't just ironic, but deeply telling about how the American middle class views drug dealing. A choice, and perhaps even a waste of talent that needs to be scolded back into the fold, or locked away where decent people don't have to see it.

In general Walt's not great at predicting human behavior. He's admittedly having to learn as he goes, but it doesn't even occur to him that his wife might check the call history. Or that she might even notice when he's scream whispering at the phone in the middle of their living room.

This is drilled down on further in the "chiral" scene. Two chemical compounds, seemingly identical, that yet behave very differently. This I believe is meant to be understood as Walt attempting to pitch his joint identity as both druglord and loving father. Can't I be both? And yet the bleedthrough is evident. "Is this going to be on the murder/midterm?" This is also a duality Walt struggles to grant anyone else. After blustering a bit about drug dealers having any kind of administrative structure he asks Jesse if Domingo's "capable" of listening to reason. As a distributor, a "business man", "he should be capable of mutual self-interest". There's a lot you can say here about how white suburbia conceptualizes capitalism, how it should be a system that prevents rash acts of temper, because after all, doesn't trade serve everyone better? Suffice to say this is going to come up again when Domingo talks about majoring in business, and yet again with Tuco.

Final note on the classroom scene, Walt blurting out knowledge is power is a funny little whimper to tack onto his floundering, but its also emblematic of how he attempts to hold onto control of his reality. I think its notable Walt's dialogue becomes more jargon heavy when he's stressed, not less.

No natural transition in or out of this so I'm just going to reproduce this line from Jesse's website in its entirety. "Ethnicity: I'm totally cool with ethnics-Black, Mexican, whatever...as long as you're SMOKIN' HOT, YO!" 0_0. I guess. earmark race as a commodity and move on.

Despite the inherent goofiness of the scene where Walt recaptures Domingo I think its important to remember what a horror show this is from Domingo's perspective. Nearly died in a chemical attack, woke up next to the body of his cousin, dragged himself out, only to be recaptured and locked in a basement for days, barely able to breath the whole time. On some level Walt seems cognizant of that, and it only becomes more apparent the longer he spends with him. Domingo may be a drug dealer who will bring down vengeance on them if he gets away...but he also likes the crusts off his sandwich and asks after his cousin. Again, Walt can't cope with the duality. It doesn't match his image of what a criminal should be.

Enough so that he does exactly what he told Jesse not to do last episode and smokes up. Granted, he uses weed, not meth, but to a post war on drugs America this was pretty similar severity. Walt wastes a good chunk of Jesse's weed attempting to roll the WORST joint I've seen in my life, flaunts his partaking in Skyler's face as a sign of his independence, and then sneers and scowls at Jesse for indulging to cope with melting a childhood friend into meaty chunks. After all, Walt's not a junkie. Walt can be trusted to keep his head even if he loosens up from time to time. Jesse, on the other hand, has an unmanly dependence, and needs to grow up. After all, this kind of thing should be routine for him, right. He's a Criminal.

Walt has a habit of setting Jesse up to fail and then scolding him for it. When Jesse's uncertain if plastic can stand up to acid, Walt refuses to explain. Just barks at him later for not following instructions unthinkingly. When Walt expresses doubt, Jesse attempts empathy, attempts to come up with a paradigm where Walt can make himself ok witih it. I struggle to call it a MORAL impulse but its definitely a kind one.

Skyler asks Walt about Jesse at the doctor's office, a place he where he can't leave and also can't sex her quiet. She's learning to anticipate his resistance to openness. She also frames the information as transactional, "don't you think you OWE me this", in a way I can't help but see in connection to the baby. I'm your homemaker ergo you owe me honesty. Walt responds with a veiled threat. "I love you, and that won't change, so back off". To his mind the only thing his family should concern themselves with is his emotional state. Anything beyond that is outside their purview.

Nice wet meat effect.