Are you ready for Sunday's premiere? Prepare your livers
Whether you're watching the old episodes for the first time to catch up or going back to refresh your memory in advance of the new season, we present rules for a "Breaking Bad" Drinking Game. Bookmark it for August 11 and the weeks that follow.
"All bad things must come to an end," tease the posters touting the return of hit TV series Breaking Bad. While the AMC show will hopefully live on in the streaming annals of Netflix, the second half of its fifth and final season starts August 11.
While each episode of the series certainly holds plenty of surprises, there are several tried-and-true tropes that recur across most episodes. Whether you're watching the old episodes for the first time to catch up or going back to refresh your memory in advance of the new season, we present rules for a Breaking Bad Drinking Game. Bookmark it for August 11 and the weeks that follow.
Some things are ultra common, but still deserve recognition. Take a sip when:
1. Someone does drugs on screen
2. Anyone says the word "meth"
3. You heard the word "Heisenberg"
4. Jesse says "bitch"
5. Marie wears purple
Other events do happen, but with slightly less regularity. Take two sips when:
1. Someone eats breakfast
2. Someone is in the hospital
3. You hear the name "Flynn"
4. Someone cries
5. Someone uses a slang term for meth (for example, "ice")
We don't want you to get too, too buzzed, so only take a shot when:
1. You see Walt's tightie whities
2. Someone gets shot
3. Someone has sex
4. Someone eats fried chicken
5. It's raining cash!
Danya Henninger, The Drink Nation
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The Breaking Bad Drinking Game
Breaking Bad Drinking Game: Season 5, Part 2
I have to admire the will of long-time Breaking Bad fans.
The cliff-hangers between seasons are devastating. Perhaps the most dramatic–when Season 3 concludes and Jesse shoots Gale in the face–left little doubt as to what, exactly, happened. But the surrounding drama put our anti-heroes in the deepest of waters. Season 5’s two-part, eight-episodes-per-half approach has been rewarding except that the wait has been brutal. It doesn’t help that this final season plays out like the closing third of Goodfellas, only you half to stop right after the montage of henchman murders.
In the last calendar year, the quality of the show has been touted from the social media mountain tops louder than ever. I’m more of a Mad Men guy, and a moody show about a methamphetamine dealer full of violent realism wasn’t of interest to me for the longest time–until last month. I fired up Netlix one stale Sunday afternoon and devoured the first season. It was great–maybe a little rushed because it was shortened by the Hollywood writer’s strike of 2007. Season 2 continued Walter White’s somewhat understandable hi-jinx until his actions all came literally crashing down and you realized what a monster he had become. Season 3 was about rooting for the gangsters because more ruthless gangsters lingered on the opposite end of the ring. Season 4 was about understanding all of the gangsters as they wiped each other out in the most thrilling manner possible until only Walter White’s black hat remained.
It took me about three weeks.
I write this because if you’re a skeptic, understand that (in my best Busta Rhymes voice) THERE ARE ONLY EIGHT WEEKS LEFT. Sit out tonight, binge on the ‘Flix, and get back in the conversation. It is possible and rewarding. When people argue that Breaking Bad is the best television show ever made, they aren’t wrong.
Plus, you can gather friends and play drinking games. And all season long, Bro Jackson’s TV guru David Kallison will be recapping the series. Son is nice.
Breaking Bad Final Season Drinking Game
It’s here! The final season of Breaking Bad is just hours away. Whether celebrating the end of the suspense or lamenting the end of the series, many are going to need a drink to get through these final weeks with Walt.
To get this party started, we have compiled a fun drinking game and an easy shot recipe to start the season right.
* We’ll start with the obvious – drink when Jesse says “Bitch”
* Every time you see Skyler smoking or drinking wine
* Walt goes all chemistry teacher
* Walt Jr. whines about not knowing what is going on
*Somebody has to call Saul
* A commercial for The Walking Dead comes on
* The duration of any music montage
* During any awkward White family meal
* Walt and Skyler’s baby makes an appearance
* Jesse says he wants out or maintains he’s done
* Every time you see Hazmat suits
Keep a bottle of bubbly in the fridge in the hopes the finale includes Jesse finally giving Walt what he deserves!
- Combine all ingredients in a cocktail shaker with ice. Shake and strain.
- Bonus – use lime juice to rim the glass with blue Pop Rocks
Here’s the entire game on a handy pic you can share with your friends:
Breaking Bad Blue Margarita (with Blue Salt and Blue Ice Chips)
With the Breaking Bad season premiere coming up this Sunday, you probably need something to sip as you and your friends gasp at the TV. If you’re looking for drink inspiration for your premiere party, it’s about time you break out those bottles and get mixing! You don’t need your chemistry set to come up with the perfect blue stuff for you and your guests to enjoy– just follow this easy recipe for Breaking Bad Blue Margaritas (with Blue Salt and Blue Ice Chips) for a cocktail worthy of the one who knocks.
Obviously the color of this cocktail was inspired by Heisenberg’s famous, ahem, product. But remember, Walter said, “No more half measures.” If you’re making these, the cocktail color isn’t enough to get the full effect– you’ve got to make the salt and the ice, too! Don’t worry, everything is so easy to put together that you really only will have to spend a few minutes prepping hours before the premiere. Then you’ll have plenty of time to prepare the rest of your Breaking Bad Menu.
I had originally thought about making Breaking Bad inspired rock candy to post here, but it’s been done many times so I figured I’d just pass on the link. Instead, I decided to make something easier that has a similar appearance– Blue Ice Chips! These ice chips will melt (obviously) if left out, but you can put them in an ice bucket to keep them intact if leaving them out for guests to make their own drinks, or simply drop them right into your glasses and fill them up. They’re such a fun and almost effortless addition to your Breaking Bad themed drinks, it’d be wrong not to make them– and I could say the same for the Blue Salt.
But most importantly, the margarita. Remember Hank’s Famous Margaritas? How about the deadly tequila? What about the scene where Walter encourages Walter Jr. to take too many shots of the stuff? It’s obvious that the agave liquor has it’s place in the show as it is based in New Mexico, so it’d be wrong to not enjoy a margarita in honor of Breaking Bad’s last season. The bright blue color of the margarita makes it even more fitting.
Pour yourself one, sit back, and complain about how you can’t believe what a jerk Walter has become. Then get in a very heated argument with your friend about whether or not Skyler is terrible. Then both agree that Marie is, in fact, the worst, and toast to your mutual despise… and enjoy the show.
'Cutting Back' On My Drinking Landed Me In The Hospital. Here’s Why.
It may seem far-fetched to say I didn’t know that I was alcohol dependent until I tried to stop drinking. While I was aware I was drinking every night, I certainly didn’t think my consumption was enough to be considered alcohol dependent . As far as I was concerned, I probably ought to have a break from wine. So that’s exactly what I decided to do, by taking an impromptu period of abstinence.
Shortly afterward, on the London tube en route to a meeting, I couldn’t help but notice how under the weather I felt. It was an extremely hot day in July 2016. And even hotter underground. With the sweat dripping off me, anyone would have thought I had run a marathon.
As I stood up, I noticed my body wasn’t doing what I was telling it to do. This was the first sign something was seriously wrong. It was as if there was a disconnect between my brain, body and my ability to move.
I somehow made it off the train and onto the escalator up to street level. All I remember thinking at this moment was “I need air.”
By now, my hands were shaking uncontrollably and I was unsteady on my feet. Being a fit and healthy 29-year old with no previous health problems, it was extremely concerning. In a total panic, I found sanctuary in a coffee shop opposite the tube station.
“ Can I have some water please ?” I asked the barista. He got me a large jug of water. I tried pouring it into the cup, but the water went everywhere due to my shaky hands. Trying to hold the cup to my mouth, I kept spilling it all down me. There was a lady sitting on the table opposite me, looking at me curiously.
“ Do you need help? You look like you are in trouble ?” she said after a short while. She introduced herself and it turned out she was an off-duty nurse from a nearby hospital. “ Do you know what’s happening with you ?” she asked. I told her I had absolutely no idea.
Before I knew it, I was in an ambulance. The next minute, I was at the hospital. Despite the apparent urgency, nothing immediately concerning had shown up on my vital signs and my blood tests came back normal. As a result, the doctor didn’t think there was anything further to explore and discharged me.
“ You have probably picked up a virus ,” they said, reassuringly. Unfortunately, it would take two more hospital admissions before a pattern eventually emerged.
Over a five-month period, my mental state deteriorated dramatically. During this time, I attempted to stop drinking, or at least tried to cut down on the volume I had been drinking repeatedly. But each time, I had found myself drinking again. It was the only way I could get any relief.
One of the more serious and horrifying symptoms I had started experiencing was “visions” of creatures crawling over me at night and attacking me as I attempted to sleep. In sheer terror, I would wake up shouting and throwing things around the room. What I couldn’t understand is why I had been so physically unwell and losing it mentally all at the same time.
“ You’re over the threshold ,” were the doctor’s infamous words. Initially, I had no idea what they meant and none of it made any sense. They told me that I was alcohol dependent and that I needed to refer myself to detox via the local substance use service.
Finally getting to the bottom of my diagnosis after these mysterious episodes of illness was quite a shock. It also made me feel terrible, knowing that I was responsible for making myself ill.
What started as one to two glasses of wine at the weekend had become more than three bottles per night while working at home into the early hours. Looking back, I should’ve seen my drinking had steadily increased over time. But because I was functioning, albeit in a dysfunctional way, I had no reason to think my drinking had become a problem.
“ It’s really important you don’t stop drinking to avoid further episodes of withdrawal,” the doctor told me. Surely telling a patient to keep on drinking is the last piece of advice any doctor ought to be giving, I thought. I’ve since learned that the symptoms of alcohol withdrawal can range from mild to life-threatening. People going through it may experience a combination of physical and emotional symptoms, like I did. Some symptoms are as severe as the hallucinations I experienced or even seizures.
To my credit, I referred myself to the substance use service straightaway. Following an assessment with a specialist medic there, they deemed my alcohol dependency too serious and my withdrawals too dangerous to safely detox in the community. So the only option I had was to be admitted as an inpatient at a detoxification rehab centre in central London.
Upon my admission for detox, I finally met others like me and learned about my condition. I was told that they would gradually wean me off the booze with medication. This turned out to be far more comfortable than what I had experienced up until then. While it didn’t prevent my withdrawal symptoms, the detox made them far more manageable than the times I went cold turkey by myself.
But my fellow residents weren’t anything like me, I believed. I wasn’t an alcoholic , I told myself, and I had no history with recreational drugs either. I felt like a guest attending the wrong party and simply joining in to avoid the embarrassment of leaving.
On the final day of my detox, I was itching to leave. Without realizing it at the time, I was craving alcohol. In fact, I even gave a phony reason to leave a day early. Out of all the residents, I was one of the only people to not be going on to any sort of follow-up program.
“ If you leave today without a proper care plan in place, you’ll be back here in no time ,” the staff said. They were reluctant to allow me to leave early, but at my insistence they eventually did.
I hadn’t planned or prepared for what I would do when I got home. Going back to the same environment, same routine and same mindset, it only took a few short hours before I caved in and started drinking again later that same day.
One impulsive action led to many more visits to Accident & Emergency, including for multiple suicide attempts and subsequent psychiatric hospital admissions over the next three years. Initially, I had used drinking to numb and suppress the trauma of my past. Instead my alcohol dependency had exacerbated the trauma, making those negative feelings go from bad to even worse.
Drinking had become a cycle of relapse, detox and repeat until eventually in November 2019 I finally realized something I’d subconsciously known all along: I needed to do this for me . After having lost my livelihood and everything I had built up over many years, I had nothing more to lose. But from now on, everything to gain . It was this realization that I could have a future and that I deserved recovery that finally enabled me to make it happen.
Now 18 months into sobriety, I’m glad I went into hospital one last time to detox. Unlike all the previous times, I wanted to recover. I literally pleaded for them to admit me and detox me. There was no way I was walking out that door and coming back in this same situation ever again.
As it turned out, those next seven days I spent in hospital to detox weren’t only a game-changer but also a lifesaver. My advice to anyone reading this who thinks they may have a drinking problem, or knows someone who does, is to seek medical input before cutting back. After all, no one can truly recover on their own.
Need help with substance use disorder or mental health issues? In the U.S., call 800-662-HELP (4357) for the SAMHSA National Helpline.
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An Ex-Drug Kingpin on How Real Breaking Bad Is
Breaking Bad's bloody blend of Bunsen burners and broken bodies has already won it critical acclaim and a committed fan base, but what we wanted to know is if the series, finishing its run in a few short weeks, has also managed to remain true to its depiction of the drug trade. To find out, we decided to talk to a former drug kingpin.
Cavario H. describes himself as a third-generation hustler and gangster. Growing up in New York City in the seventies, he had a front-row seat as heroin and crack took over the city's streets. In 1980, he made his own entry into the business, starting a crack distribution network that eventually stretched from Bridgeport, Connecticut, to Charlotte, North Carolina. In 1997, he left the life to become a writer and publisher, founding Don Diva magazine and, later, becoming senior editor of Hip Hop Weekly. His autobiography, Raised by Wolves: Inside the Life and Mind of a Guerilla Hustler, came out in 2009, and his second memoir, Old Gangsters and Young Guns, will be published this fall. In the meantime, he's catching up on Breaking Bad.
ESQUIRE.COM: Was there anything in Breaking Bad that struck you as being especially realistic?
CAVARIO H.: They really got the evolution of character. In Breaking Bad, Walter White's morality is changing, because his eyes are being opened to the way the world actually operates as opposed to the way he'd always been made to believe it operates. It was always clear for him: Bad people do bad things and good people don't do bad things, so anybody who does a bad thing is a bad person. And anything that happens to them &mdash like getting an exorbitant amount of time for their crime, or whatever &mdash they're supposed to get that because they're a bad person.
ESQ: But then he starts changing.
CH: White gets exposed to certain extreme conditions. He knows he is not inherently a bad person, but he realizes that, if the circumstances are bad enough, you will do anything. Because the first law of nature is self-preservation. In the first season, he has this conversation with Hank, his brother-in-law. They're drinking beers and he's like, "Isn't it funny, how arbitrary it is? If we were sitting here drinking this in the 1930s, we'd be breaking the law, but now we're not breaking the law. So is it bad or isn't it?"
ESQ: So morality becomes blurred?
CH: Yeah. On Breaking Bad, you see how these people, the worst of the worst, are coming to be. They're adapting. They make one choice, that puts them in a certain circumstance, that leads them to another set of options, from which they choose, that puts them in another circumstance, and provides them with another set of options, and on and on and on. And each time you move forward, the options become more extreme, but to not choose one of them is to choose death.
ESQ: And so Walter evolves.
CH: You remember when Walter steals that barrel of chemicals in the first season? The brother-in-law watches the video and he's like, "Idiots, it's a barrel. You can roll it." But that's the thing: When it comes to chemistry, Walter gets that completely. But with everything else, he's using his common sense. And in some cases, his common sense runs short. He's thought about breaking in, about the chemicals he needs to burn through the lock and all. But now he's got the barrels and he's in fight or flight. He's not the thinking person anymore. Now the idiot is really running the show. That's real. You change. You can't immerse yourself in an environment, especially an environment like that, and remain the same. You're not going to remain the same guy who was teaching chemistry to high-school kids and having little trysts with your business associate's future wife. All of a sudden, now, you're facing your mortality, and you become desperate and you find that there are aspects of your personality that you never had to entertain before.
ESQ: Did you ever see anyone like Walter White?
CH: We used to call these guys weekend warriors, these guys who say, "Man, all that money you're making! If I could just get in there and do that for a couple of days a week for a couple of months, I'll unload all that weed and I'm gone." They don't realize how, when you do one thing, that leads you to have to do another, and once you do that, you have to follow through with step three. And before you know it, you're at step ten. Because, once step one is made, there's no point in not following through, because you haven't gotten what you needed.
ESQ: In your own business, did you ever have to evolve to fit the situation?
CH: As a kid coming from gangs, I had the benefit of the people who came before me, which meant that I didn't have to go through everything and learn everything firsthand. My mom and my dad and everybody who came before me &mdash cousins, uncles &mdash were all involved in an organized criminal endeavor. My parents were what would be classified as Class One narcotic offenders. That's top-end drug dealers. And they were stone-cold killers. In order to further their business, to keep order within their organization, they killed people, if that's what became necessary. My mother taught me to plan ahead. She was an intellectual, and in our home, thinking was required. You had to look at everything from every possible angle. You had to always think about what could go wrong, and you had to think about who the opposition was, whether it was stickup kids or other dealers, or the police. You had to think about what they would do to undermine your operation. And then you had to create contingencies for those possibilities. If it never happened, fine, but if it did happen, you were ready. I followed this in my own business, especially when I expanded into new areas. Each state that I moved into had its own specific dynamics. I always adapted and adjusted my way of moving to wherever I was. But once I got comfortable in that space, I changed the program. I changed how things were done. My particular gift was organization. So wherever I went, I would set up more efficient operations.
ESQ: What were some of the biggest problems you faced?
CH: Personnel problems were the most difficult for me. It was almost instinctive for me to resort to physical force whenever I encountered personnel who wouldn't. acquiesce, you know? They'd say something like, "Why can't we go straight through the problem? Why do we have to go around it?" And I'd be like, "Look, just do what I'm telling you the way that I'm telling you because you're looking to the next point. I'm looking to the next seven points, and where I want to be those seven steps later. I'm not explaining that to you, one, because that's not for you to be concerned with. And, two, because you wouldn't understand it if I did, because you weren't trained to think in this way."
ESQ:Can you give an example?
CH: One time, I opened up in the Bronx, in 1986, and I had a guy inside this apartment. I had had guys operating inside crack apartments before, but there was a consistent problem that was happening with these guys. You'd leave them in the crack house overnight, and at a certain point, the crack prostitutes come and they'd negotiate themselves into the goddamn crack spot, circumventing the security. In a lot of cases, the girl was working for a guy who was waiting to rob the crack spot. I'd heard about this, and didn't want to wait until I experienced it myself. So this one young man that I put into an apartment, when he showed himself to be susceptible to that kind of scenario, I just said, okay, I know what I'm going to do. I told him, "When you go inside, I'm gonna lock you in." Now, at this time, many people were smoking crack in New York. They'd become strung out and wouldn't pay their bills, and the city would put them out. The only way to keep them out was to put these big padlocks on the doors, so it was common to see these big padlocks. So I went and got a big padlock and locked this guy inside, and made a slide so he could pass things in and out. Now, whenever someone came, they would knock on the door and say whatever they wanted. They would slide their money in and he would slide the crack out. When the women started with the, you know, "You in here by yourself, you in here all night, you want some company?" the guy would be like "You see that lock on the door? I can't get out of here, I can't open that door."
ESQ: Sounds like Jesse.
CH: Yeah! And I had to do things like that. I had to create situations where guys just couldn't do the stupid things that they were inclined to do. And you have to contend with that kind of situation far more than you have to contend with the threat of being arrested. Far more. The people closest to you hold the greatest detriment. That's why the dynamic between Walter and Jesse on Breaking Bad is so good. Because that's just got it right. You're rarely going to find somebody you can work with who is going to have any degree of the intellectual process that you have. You have to think for everybody. You have to learn personalities and you have to constantly orchestrate situations that will not allow those personalities to create problems. Because the moment they have a problem, they look to you. Because you're the thinker. You're the boss. You're the leader. That's what Jesse does, right? Every single time, Jesse creates a situation and Mr. White has to correct it. It's almost like he's required to. It's like "Why aren't you fixing this? It's your job to fix things!" And that's a common thing, man. If everybody did what they were supposed to do, the streets would be so much more profitable than they are today.
ESQ: So the big dividing line is between people who can think and adapt, and those who can't?
CH: Yeah. I've interviewed these guys I know in prison. And, even after sitting in prison for fifteen years, they couldn't tell me how they got there. I'd be, like, "Your mom was a teacher's assistant and your dad was a mechanic. So how did the kid who used to go to Sunday school end up with a kingpin drug charge and 26 bodies, because your drugs killed people. How did that happen?" And they're like, "I don't know. I just don't know." And I'm like, "That's a damn shame, man. It cost you your life and you don't know?" If these people got out tomorrow, it wouldn't be too long before they were doing the same thing they were doing before. And ending up in exactly the same place. They never really thought about what got them there. They sat there and said, "Poor me, this is not my life. My mommy was a nurse and my daddy was a mailman. All I wanted to do was make some money. That guy over there, he killed somebody and he's going to get out of here before I do." My thing was, I could always see seven steps ahead. If I was here, I could completely see myself there, no problem. It was a natural thing for me. Most guys saw themselves in a position, and they couldn't see themselves beyond that position. And that's why they stayed at the party too long.
ESQ: You talk about how Walter White goes to a different level. Did you ever recognize when you were going to a different level?
CH: I only really recognized it when I was moving to a different monetary level. Everything else, I'd been immersed in my entire life. I'd always been around extreme violence in my home. I mean, my sister killed my mother's youngest brother when I was a little, little boy. My uncles killed people who I used to call "uncle." All of a sudden, they weren't around anymore and it was like, "What happened?" And I'd be told, "He fucked up. He gotta go. That's what happens when people fuck up. They gotta go." And I'm like, "Oh, okay. "
ESQ: Who are some movie gangsters you thought were on the mark? Who are the best?
CH:Miller's Crossing, top of the list. It spoke to that reality, man. In the world that I grew up in, everybody had a role and whatever that role was, that's what they did. There was no exception to it. It's like, "If I'm an enforcer, I enforce. Whatever you put in front of me, whoever you put in front of me, I'm going to do what I'm charged with doing." You can't afford to have favorites. In Miller's Crossing, everybody does what they do. There are no deviations. If you're a killer, you kill, and it doesn't matter who it is. We can be fine and good and dandy and all that, but if I get a contract on you, you're dead. And you knew that.
ESQ:But Gabriel Byrne's character goes against the program.
CH:Gabriel Byrne's character, he's complicated, but he's real. He survives because his place, or his part, is fluid. He's a killer if he has to be, but he's a con artist if he has to be. He's a hustler when he needs to be, and he's a politician when he needs to be. He's not locked into a rigid position. If you're locked into a rigid position, death is almost assured. You're going to end the way that people in that position end.
ESQ: So it's back to the ability to adapt.
CH:Walter White is like that, too. You remember when he went to see Tuco? That was some ballsy shit, man. He rolls up in his raggedy car and he's like, "Where's Tuco?" So he works his way up in there. Watching it, I thought that he was about to give this guy some more meth, you know? But he's learning that you don't negotiate from a position of weakness. If there's something that you need from someone, you have to be able to explain to them how, in helping you, they help themselves. Otherwise, people aren't going to help you. I figured he'd go in there and say, "Hey, I can make this stuff. Give me my money and I'll give you some more, and we'll make a lot of money." That's a rational way of thinking. But that won't work with an irrational, drugged-out motherfucker. Rationality does not work with irrational people. You have to be able to adapt to their way of thinking, their way of moving. And when Walter White did what he did, it showed that he is a very adaptable character. Whoever wrote that has a real understanding of human nature, even if he doesn't have a real understanding of how the streets work or how the drug game works. He knows how human nature works.
ESQ: Are there any other gangster movies that really hit you?
CH:There are so many, but the ones that really resonate with me aren't the most exciting or dramatic ones. Most people are drawn to the drama and to the extremes of it or whatever, but for the most part, man, it's not like that. It's pretty normal. It's like going into the office, except that, in this office, you deal with a lot of cash, and you might have to straighten out a problem over here or a problem over there. That's really what it's about. These films, the latter ones that have all the hip-hop hyperbole with the violence and the cars and the jewelry, or the older ones, like The Godfather, where they have this family dynamic, where everyone's basically trying to jockey for a new position, that's the drama aspect of it. In the real world, for the most part, people play their part. And movies that depict that, movies that show, for all intents and purposes, these people are just regular people in irregular circumstances, they resonate with me. But people don't seem to appreciate movies that show stuff like that to a real degree.
ESQ: Sounds like Donnie Brasco.
CH:Like Donnie Brasco, bro. Donnie Brasco is another movie I respect for that. For just keeping it normal, man. A lot of that shit is just normal. There are only certain circumstances&hellipWhen things get broken within the machine, the things that happen as a result &mdash the fixing &mdash the fixing is the stuff where the news and people in normal society, that's what they get exposed to. There was this extreme situation or that extreme situation, and people think that that is the bulk of the lifestyle. Like all that people in the game do is sit around and think about ways of killing people. But that's not it at all, man. It's a business, like any other business. It's about money. And killing people is not going to help the money. That's one of the first things that my mother taught me. She told me when I was about eleven years old, she said, "You can be on the street and make money and do it as long as you like. But as soon as you start killing people, that's when they're coming. Killing leads to violence. Always." Always try to avoid getting into violence. That show is just like The Wire. The Wire is the most realistic and honest depiction of that life that I've ever seen displayed on television. And I know that one for a fact firsthand because I was in Baltimore from the eighties into the mid-nineties. And the people in that show are the former associates and employees of my uncle, Little Melvin. So I know that that show. I know it's factual. It's amazing that they captured it.
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Picture of a younger Gale.
In 1994, after moving to the United States, Gustavo Fring established a college scholarship, known as the Max Arciniega Chemistry Scholarship, at the University of New Mexico Chemistry department. This scholarship honored Gustavo's closest friend, Maximino Arciniega. Gale was a recipient of the scholarship (perhaps one of three dozen), and this paid for his education (" Hermanos "). While at UNM, Gale received his Bachelor's degree, and graduated in 1999 (" Hermanos "). Gale had been pursuing his doctorate at the University of Colorado under an NSF grant but realized that it was not the life for him because he loves being in the lab and wanted to preserve the 'magic' he saw in chemistry. (" Sunset ")
Better Call Saul
Gus visiting Gale at his UNM chemistry lab.
After Juan Bolsa instructs him to find a drug supplier north of the border, Gus visits Gale's chemistry lab on the UNM campus. Gale presents Gus with a hidden case containing methamphetamine vials of varying chemical purity. Dismissing the samples as "dreck," Gale urges Gus to allow him to produce higher-grade meth in his lab. Gus politely declines, saying such action is not needed yet and that Gale is meant for "better things."(" Something Beautiful ")
Gus later appears to change his mind and hires Gale as his meth cook and Gale visits the excavation underneath Lavanderia Brillante. Gale is excited at the prospect of cooking in what will become a meth superlab, but Gus stresses that he won't begin work until the lab is complete (" Winner ").
Gus originally intends for Gale to be his sole meth cook. Gale excitedly uses a box cutter to unpack the machinery and assemble the new superlab. He informs Gus that a meth sample Gale had analyzed (synthesized by Walter White) was, by far, the best that he had ever seen (with a 99% pure quality). Thus, it was the urging of Gale that caused Gus to put aside his reservations and hire Walter (" Box Cutter ").
Gale with his coffee-making set-up.
Early in their collaboration, Gale impresses Walt with his résumé, his coffee brewing vacuum reflux / distillation apparatus, and his recitation by memory of Walt Whitman's "When I Heard the Learn'd Astronomer," about the exhilaration of experiencing scientific wonders first-hand. However, Gale and Walt's relationship sours abruptly. After Walter learns of Jesse Pinkman's intentions of pressing charges against Hank, Walt realizes he must fire Gale and re-hire Jesse as his partner. Walt, angling to install Jesse as his lab assistant, accuses Gale of making an error with the temperature on one of the tanks. Gale assures Walt that he was told to set it at 75 degrees as he had this written down in his notes, but Walt angrily tells him that he must have heard him wrong and that there's no room for this kind of negligence in chemistry (" One Minute ").
The next day, Gale finds out that he is being replaced and is, understandably, confused as to what he has done wrong. Walt tells him that although he sees Gale as a promising young chemist, the two of them work at different frequencies. Using music types as an analogy, he refers to himself as "classical" and Gale as "jazz," saying that although there is nothing wrong with jazz, Walt requires classical. It's at this point that Gale meets his replacement, Jesse, who enters the laboratory wearing baggy clothing and emoting in slang, further confusing and dismaying Gale (" I See You ").
Later, after the killing of two of Gus' dealers at Walt's hands to protect Jesse, Walt and Gus meet in the New Mexican desert to discuss future arrangements. Since Jesse is on the run and in hiding, Gus informs Walt that he will require a new lab partner. Walt says he can get on it right away, but Gus informs Walt that this time, he, himself, will choose. Later when Walt returns to the lab to work, he notices Gale's Subaru Outback parked outside the laundromat. Walt seems to recognize it and its owner from the recumbent bicycle that is attached to the roof of the vehicle. Gale had been appointed by Gus to replace Jesse as Walt's lab assistant. Gale has seemingly forgiven Walt for letting him go previously and the two shake hands. Gale promises that there will be no mistakes this time.
Walt and Gale, wearing their yellow coveralls and ventilation masks, are working together in the laboratory and tend to contents of a large tank. Gale punches something into a console and Walt tells him that everything is good. They remove their ventilators and Walt tells Victor, who is now supervising all activity in the laboratory, that it is safe to remove his mask as well. As they're cleaning up the floor, Gale asks Walt if Victor ever leaves and Walt tells him that his presence is something new and that there was some drama with the person Gale replaced.
Gus asking Gale to learn Walt's formula as soon as possible to prepare for the "worst case scenario."
Later, as Gale is watering plants in his apartment and singing along to music, he receives an unexpected visit from Gus, whom he addresses as Mr. Fring. Gus inquires about his knowledge regarding Walt's medical condition. When Gale reveals that he is ignorant, Gus reveals Walt's cancer diagnosis and says that they must "prepare for the worst case scenario." He tells Gale that Walt has terminal cancer, and that the meth production cannot halt for even a week because of his business' high overhead. Gus tells Gale that if push comes to shove, he will have to take over the lab as soon as possible. Gale is visibly confused and reluctant to accept the offer. Gus pressures Gale to master the cooking process as quickly as possible to learn Walt's method and formulas as fast as he can. Gale agrees to take over the lab full-time after one more "cook."
The next day at the laboratory as Walt and Gale are scrubbing out a large tank, Gale begins to ask Walt a question, but seems to hesitate as Victor appears and stands by them. After a short pause, Gale asks Walt if there is any trick to purging the catalyst bed and Walt replies that it is a quick and straightforward procedure. Gale seems perturbed by Victor's presence. The two continue scrubbing and as Victor leaves, Gale turns around and looks towards Victor's direction and then looks at Walt.
Walt, knowing that Gus needs at least one chemist who knows the "Blue Sky" formula to continue cooking, proposes to Jesse that they must kill Gale, and since Walt is under constant surveillance, Jesse has to be the one to do it. Jesse declines, but assists in the plan by tracking Gale back to his apartment and gives Walt the address so he can do the job himself. As Walt is leaving his house, he is confronted by Victor and is told that he must go to the laboratory at once, since there has been a leak. Arriving at the laundromat, he is led to the lab and encounters Mike who instructs Walt to go down and fix the problem. Walt, who by now has realized that this is a ruse to get him down into the lab where he is going to be killed, pleads with Mike and tells him that he "doesn't have to do this."
Failing to negotiate and fearing for his own life, Walt tells Mike that he will work for free and pleads for his life. He offers to give up Jesse in exchange for his life. Walt phones Jesse and tells Jesse that he hasn't killed Gale yet. Walt tells Jesse that he must kill Gale now or Victor and Mike will kill him and tells Jesse that he has a twenty minute head start. Mike and Victor seem puzzled and question Walt as to what the phone call meant, and Walt reveals to them Gale's address. Mike and Victor realize that Walt and Jesse know where Gale lives and that they are planning to kill Gale. Mike stays at the laundromat holding Walt at gunpoint and taking out his cell phone, and Victor is seen leaving for Gale's apartment.
On Wednesday the 23rd, at around 8:00 p.m., Gale is at his apartment when Mike calls to warn him, but Gale's loud music muffles the sound of his cellphone, which is vibrating atop a stack of CDs on a table. Gale is also preoccupied with a kettle of water on the stove which had begun to boil. Gale methodically raises an infrared thermometer to measure the surface temperature of the kettle. He removes the kettle from the stove to prepare a glass of tea when he hears a knock at his door. Gale walks towards it, not noticing that his cell phone is vibrating anxiously along the table. Gale answers the door to a distraught Jesse, who appears to have been crying. It is not immediately clear if Gale recognizes Jesse as his former replacement at the lab, since when the two had met, Jesse's face was severely swollen and bruised after being beaten by Hank Schrader.
Jesse moments before he kills Gale
He greets Jesse and asks how he can help him. Jesse reaches into his waist and pulls out a gun, aiming it at Gale's head. Gale steps backwards into his apartment, unable to speak any words at first, but finally tells Jesse to take whatever he wants. Gale begs for his life, offering Jesse his possessions and money. Jesse, who is on the verge of tears, walks towards Gale still pointing the gun at his head but doesn't reply to Gale's offers. Gale looks down and implores Jesse to not kill him, and tells him that he "doesn't have to do it". Jesse pulls the trigger as the screen fades to black (" Full Measure ").
Gale's dead body in his apartment. His Lab Notes book can be seen on the table to his right.
Gale is found dead by Victor while a group of Gale's neighbors are surveying the crime scene from the hallway. Victor enters the apartment, causing the neighbors to become suspicious. He then escorts Gale's killer, Jesse, to the lab. It is confirmed that Gale was indeed killed by a gunshot wound to the face, just below his eye and to the left of his nose (" Box Cutter "). Gus kills Victor for bringing suspicion upon himself at Gale's apartment, slicing his throat open with a box cutter in front of Jesse, Walt and Mike. When Victor's body is dissolved in hydrofluoric acid by Mike, Walt and Jesse, they also destroy the gun used in Gale's murder. Gale's Lab Notes are shown close to his body, on a table, during the crime scene investigation, at the end of the episode.
While investigating Gale's murder, the police discover Gale's notebook that provides intimate details on the superlab and Walter's meth formula. Later, an Albuquerque police detective named Tim Roberts gives Hank Schrader copies of the evidence taken from Gale's apartment so that he can provide some input, considering his previous work history regarding the blue meth (" Open House ").
Breaking Bad's Gale sings "Major Tom" (Complete Song) -HD-
After reviewing it, Hank then shows Walt and Walt Jr. a DVD amongst the evidence. The DVD shows Gale singing karaoke of the song "Major Tom (Coming Home)" by German musician Peter Schilling in front of images of rockets and wildlife while the song is captioned in Thai script (" Bullet Points ").
Walter is shocked to learn that Hank is investigating Gale's murder, Hank believing that Gale was the elusive Heisenberg and expressing regret that he was not able to arrest him. Walt assures him that Gale was just a novice, opposed to the idea of somebody other than him taking credit for his work. When asked by Hank to read about a chemical process written in Gale's lab notes, Walt notices a Walt Whitman poem and a dedication: "To W.W. My Star, My Perfect Silence."
The phrase "To W.W. My Star, My Perfect Silence" along with the Heisenberg formula.
When Hank chuckles at the initials matching Walt's, Walt jokingly admits "you got me" before explaining to Hank that "W.W." refers to the poet (" Bullet Points "). When Walt asks Hank about the investigation, he learns that the only leads are some fingerprints and an eyewitness spotted at the scene. Hearing about this evidence, Walt is spooked and worries that the police will connect Jesse to the murder. Ironically, while Hank knows Jesse is connected to the Blue Sky, he doubts Jesse murdered Gale despite the "history" between Jesse and Hank. Hank decides to close his Heisenberg investigation, content that Gale was the man he was looking for until Walt points out that he might be wrong and the real Heisenberg could still be at large, unwilling to let Gale have credit for Walt's work. (" Shotgun ")
Hank's investigation into Gale's murder starts pointing him towards Gus after he discovers a Los Pollos Hermanos napkin in Gale's apartment, (" Shotgun ") a place Gale would never eat at as he was a vegetarian. Hank determines that the numbers scribbled on the napkin were part numbers for an industrial-strength air filtration system that Gale took delivery on, a system that is perfect for "the biggest meth lab north of the border" whose manufacturer was Madrigal Electromotive. As a result, Hank comes to the correct conclusion that Gale was Heisenberg's former cook and that it all connects to Gus, having also identified Gus' fingerprints as having been in Gale's apartment. (" Problem Dog ") Though Gus is able to come up with a story about his connection to Gale that satisfies most of law enforcement, Hank is not convinced and is suspicious as to why Fring has not come forward sooner about his relationship to Gale, despite being a major law enforcement booster. As a result, focuses his attention on Gus as a potential major drug distributor. (" Hermanos ")
Throughout the season, Jesse is continually racked with guilt for murdering Gale. As he plays the incredibly violent first-person shooter video game "Rage," he is disturbed by brief, recurring glimpses of him shooting Gale as he shoots the mutants in the game (" Problem Dog "). He presses the restart button on the game, further tormenting himself. Later, in his NA meeting, Jesse euphemizes Gale's killing as taking care of a problem dog - not one who bit anybody, not one who's sick, just one whose existence was a problem - and lashing out at the group leader (and the universe) for refusing to pass judgement on him. Jesse says, "The thing is, you just do stuff and nothing happens - what's it all mean, what's the point? No matter how many dogs I kill, I just do an inventory and I accept?" (" Problem Dog ")
Hank reading Gale's inscription in Walt's copy of "Leaves of Grass"
During a lunch by the pool at the White Residence, Hank leaves to use the bathroom. Rummaging for reading material, he finds Walter's copy of Walt Whitman's Leaves of Grass under some magazines in the bathroom, the same copy given to Walter by Gale Boetticher. As he thumbs through the pages of the book, Hank finds a handwritten dedication: "To my other favorite W.W. It’s an honour working with you. Fondly, G.B." Flashing back to a much earlier conversation, in which Walter jokingly admitted to being the "W.W." found in a handwritten dedication in Gale's lab notebook, Hank becomes visibly shocked and finally realizes that Walter White may just be the elusive meth kingpin "Heisenberg" that he has been searching for all along (" Gliding Over All ").
Hank takes the book home with him and compares the handwriting from the dedication to Gale's handwriting in his lab notes and confirms that W.W. indeed stands for Walter White. Later, while checking old evidence boxes, Hank comes across some pictures of Gale, including some of his corpse (" Blood Money "). Gale's murder is part of the confession tape Jesse makes for Hank and Steven Gomez though he is not mentioned by name in their discussion of the tape. (" Rabid Dog ")
9 Treats for Your Breaking Bad Party
There are probably dozens of cocktail recipes based on the show by now, but Flavorwire’s Blue Ice and the Avalon of Beverly Hills’ Blue Crystal both seem like appropriate and delicious choices. Blue Ice is made with vodka, blue Curacao and lime juice, while Blue Crystal is a little more complex, featuring clear corn whiskey, Malibu, pineapple juice and blue Curacao.
Alternatively, if you just want a quick way to get hammered in true Jesse Pinkman style, try combining blue Curacao and vodka and serving shots of the mixture in test tubes.
For those who prefer more classic cocktails with a simple Breaking Bad twist, A Pinch Here, A Dash There’s Blue Crystal margarita sounds like a great option. It’s essentially a classic margarita with blue Curacao in place of sweet and sour and crushed blue rock candy on the rim in place of salt.
Obviously you don’t have time to run out and brew your own Breaking Bad beer before the premiere—but don’t worry, Albuquerque’s Marble Brewery already has you covered with their Heisenberg Dark. Unfortunately, you’ll probably have to make it to the brewery in person to get a hold of this one.
4. Blue Raspberry Pineapple Slush
While you probably shouldn’t have any kids at a Breaking Bad party, you might have a few people under 21 or designated drivers. For those refraining from the drink, Bakin’ Bit’s blue raspberry pineapple slush is a great blue beverage option.
Of course, if you’re looking for an easier non-alcoholic beverage option, try some blue Gatorade, but make sure no one gets a bottle without first repeating Jesse’s line of “Yo, Gatorade me b*tch.”
5. Los Pollos Hermanos
The commercials for Los Pollos Hermanos indicate that the chicken has a little bit of a kick, so you can always grab some spicy chicken from your local Popeye’s. But if you prefer the DIY approach, try the tasty recipe from The Hungry Bunnie. This tasty treat features a breading with sourdough bread crumbs, garlic powder, salt and chili powder (Jesse’s secret ingredient). Serve with a little dyed rock salt for that authentic Gus Fring feel.
If you really want to go all out, print out some labels for your Los Pollos Hermanos food. This cup design by LPF user great1 is a good place to start.
6. Rock Candy
Let’s face it—when it comes to Breaking Bad, there’s no more iconic food than blue rock candy. In fact, Alberqurque’s The Candy Lady creates the crystal blue sugar rocks you actually see on the show, and in real life, and Aaron Paul is a big fan of pushing the sweet "drugs" on people who stop by the studio. You can even buy some of the official Breaking Bad candy on The Candy Lady’s site.
While it’s too late to order official Breaking Bad crystals before the premiere, there are plenty of recipes to make your own online. If you want a fairly traditional rock candy, Sugar Hero has a pretty straight forward recipe, but I recommend The Glut Life’s recipe. Not only are the pictures and instructions perfectly in line with the show, but the rock candy itself sounds fantastic as it includes blue Curacao for flavoring and a pink of the Jesse Pinkman secret ingredient—chili powder.
If you happen to live in Albuquerque, you can always swing by Rebel Donut and grab a few Blue Sky donuts. Not only were these beauties inspired by the show, but they are also a favorite of those working on the program, including Aaron Paul (pictured above).
Of course, if you don’t live near Rebel Donut, you can always buy some donuts at your local chain and adorn them with your rock candy as a suitable substitute.
It takes a lot of skill to reproduce the amazing details the Breaking Bad cookies by Semi Sweet, but if you fancy yourself a great cookie or cake decorator, you can always try. If worse comes to worst, you can always just claim your failed attempt at decoration shows how you think Walter White will end up at the end of the series (once he’s been hit with a bomb).
For those with more skills in old-school cake decorating methods, this cake that resembles the teddy bear from the plane crash in season three. Again, you might not do as great of a decorating job as Redditor hollyicing, but the bear was refuse from a plane crash, so no one should expect it to be perfect.
If you still don’t think you have enough snacks, feel free to run down to your local 7-11 and grab some Funyuns, because “Funyuns are awesome.” If you aren’t big on Los Pollos Hermanos, you can always try making some of Gus’ paella or Tuco’s Burritos. Or you can have a breakfast buffet in honor of Walt Jr. With so many great options, there’s no excuse to have a half-assed menu at your Breaking Bad party.
5 Ways You Can Use Your Phone to Improve Your Mental Health
Those with a creative eye know firsthand that inspiration is all around us. Whether you're energized by the earth tones of nature, a color-filled walk through a local farmer's market, or even by a quick scroll through Instagram, you never know what might spark a new creative project.
In the spirit of inspiring your next masterpiece, we're excited to partner with Bounty to fuel the next generation of artists and designers forward by launching a national design competition. We're calling on graphic designers to apply for a chance to see their work featured on a new Brit + Co and Bounty paper towel collection, set to launch in 2022.
Aside from the incredible exposure of having your illustrations on paper towels that'll be in stores across America next year, you'll also receive $5,000 for your art a scholarship for Selfmade, our 10-week entrepreneurship accelerator to take your design career to the next level (valued at $2,000) and a stand alone feature on Brit + Co spotlighting your artistry as a creator.
The Creatively You Design Competition launches Friday, May 21, 2021 and will be accepting submissions through Monday, June 7, 2021.
Who Should Apply: Women-identifying graphic designers and illustrators. (Due to medium limitations, we're not currently accepting design submissions from photographers or painters.)
What We're Looking For: Digital print and pattern designs that reflect your design aesthetic. Think optimistic, hopeful, bright — something you'd want to see inside your home.
How To Enter: Apply here, where you'll be asked to submit 2x original design files you own the rights to for consideration. Acceptable file formats include: .PNG, .JPG, .GIF, .SVG, .PSD, and .TIFF. Max file size 5GB. We'll also ask about your design inspiration and your personal info so we can keep in touch.
Artist Selection Process: Panelists from Brit + Co and P&G Bounty's creative teams will judge the submissions and select 50 finalists on June 11, 2021 who will receive a Selfmade scholarship for our summer 2021 session. Then, up to 8 artists will be selected from the finalists and notified on June 18, 2021. The chosen designers will be announced publicly in 2022 ahead of the product launch.
For any outstanding contest Qs, please see our main competition page. Good luck & happy creating!
The Greek symposium was a key Hellenic social institution. It was a forum for men of respected families to debate, plot, boast, or simply to revel with others. They were frequently held to celebrate the introduction of young men into aristocratic society. Symposia were also held by aristocrats to celebrate other special occasions, such as victories in athletic and poetic contests. They were a source of pride for them.
Symposia were usually held in the andrōn (ἀνδρών), the men's quarters of the household. The participants, or "symposiasts", would recline on pillowed couches arrayed against the three walls of the room away from the door. Due to space limitations, the couches would number between seven and nine, limiting the total number of participants to somewhere between fourteen and twenty seven  (Oswyn Murray gives a figure of between seven and fifteen couches and reckons fourteen to thirty participants a "standard size for a drinking group").  If any young men took part, they did not recline but sat up.  However, in Macedonian symposia, the focus was not only on drinking but hunting, and young men were allowed to recline only after they had killed their first wild boar.
Food and wine were served. Entertainment was provided, and depending on the occasion could include games, songs, flute-girls or boys, slaves performing various acts, and hired entertainment.
Symposia often were held for specific occasions. The most famous symposium of all, described in Plato's dialogue of that name (and rather differently in Xenophon's) was hosted by the poet Agathon on the occasion of his first victory at the theater contest of the 416 BC Dionysia. According to Plato's account, the celebration was upstaged by the unexpected entrance of the toast of the town, the young Alcibiades, dropping in drunken and nearly naked, having just left another symposium.
The men at the symposium would discuss a multitude of topics—often philosophical, such as love and the differences between genders.
A symposium would be overseen by a "symposiarch" who would decide how strong the wine for the evening would be, depending on whether serious discussions or sensual indulgence were in the offing. The Greeks and Romans customarily served their wine mixed with water, as the drinking of pure wine was considered a habit of uncivilized peoples. However, there were major differences between the Roman and Greek symposia. A Roman symposium (convivium) served wine before, with and after food, and women were allowed to join. In a Greek symposium, wine was only drunk after dinner, and women were not allowed to attend.  The wine was drawn from a krater, a large jar designed to be carried by two men, and served from pitchers (oenochoe). Determined by the Master of Ceremonies, the wine was diluted to a specific strength and was then mixed. Slave boys would manage the krater, and transfer the wine into pitchers. They then attended to each man in the symposium with the pitchers and filled their cups with wine.  Certain formalities were observed, most important among which were libations, the pouring of a small amount of wine in honour of various deities or the mourned dead. In a fragment from his c. 375 BC play Semele or Dionysus, Eubulus has the god of wine Dionysos describe proper and improper drinking:
For sensible men I prepare only three kraters: one for health (which they drink first), the second for love and pleasure, and the third for sleep. After the third one is drained, wise men go home. The fourth krater is not mine any more – it belongs to bad behaviour the fifth is for shouting the sixth is for rudeness and insults the seventh is for fights the eighth is for breaking the furniture the ninth is for depression the tenth is for madness and unconsciousness.
In keeping with the Greek virtue of moderation, the symposiarch should have prevented festivities from getting out of hand, but Greek literature and art often indicate that the third-krater limit was not observed. 
Symposiums are often featured on Attic pottery and Richard Neer has argued that the chief function of Attic pottery was for use in the symposium.  An amphora was used as a jug to hold the wine and usually one single cup was passed amongst the men.  Cups used at symposiums were not as nearly intricate as amphoras. Pottery used at symposiums often featured painted scenes of the god Dionysus, satyrs, and other mythical scenes related to drinking and celebration. 
Poetry and music were central to the pleasures of the symposium. Although free women of status did not attend symposia, high-class female prostitutes (hetairai) and entertainers were hired to perform, consort, and converse with the guests. Among the instruments, women might play was the aulos, a Greek woodwind instrument sometimes compared to an oboe. When string instruments were played, the barbiton was the traditional instrument.  Slaves and boys also provided service and entertainment.
The guests also participated actively in competitive entertainments. A game sometimes played at symposia was kottabos, in which players swirled the dregs of their wine in a kylix, a platter-like stemmed drinking vessel, and flung them at a target. Another feature of the symposia were skolia, drinking songs of a patriotic or bawdy nature, performed competitively with one symposiast reciting the first part of a song and another expected to improvise the end of it. Symposiasts might also compete in rhetorical contests, for which reason the word "symposium" has come to refer in English to any event where multiple speeches are made.
Etruscan art shows scenes of banqueting that recall aspects of the Greek symposia however, one major difference is that women of status participated more fully in this as in other realms of Etruscan society. Women were allowed to drink wine and recline with men at feasts. Some Etruscan women were even considered "expert drinkers".  Additionally, Etruscan women were often buried with drinking and feasting paraphernalia, suggesting that they partook in these activities.  The most apparent distinctions between Greek and Etruscan drinking parties appear in Etruscan art. Etruscan paintings show men and women drinking wine together and reclining on the same cushions.  The Sarcophagus of the Married Couple,  found in the Etruscan region dating to 520–530 BC, depicts a man and women lounging together in the context of a banquet,  which is a stark contrast with gendered Greek drinking parties.
As with many other Greek customs, the aesthetic framework of the symposium was adopted by the Romans under the name of comissatio. These revels also involved the drinking of assigned quantities of wine, and the oversight of a master of the ceremonies appointed for the occasion from among the guests. Another Roman version of the symposium was the convivium. Women's role differed in Roman symposia as well. Roman women were legally prohibited from drinking wine as a matter of public morality.  Men were expected to control their own wine consumption, but women were not given this authority. Women seemed to have a greater presence at drinking parties in the early years of the Roman Empire, until they were prohibited from drinking wine during the Republic Period.