Spoiler Warning for all both of you who haven’t yet seen Breaking Bad‘s finale. There’s something a little bit curious about a series that gave us one of cable’s most definitive male anti-heroes seeking absolute resolution and closure upon its final hour. But that’s exactly what Breaking Bad did Sunday night, with Vince Gilligan repeatedly pronouncing The Sopranos’ ambiguous ending as its prototype-for-opposition. It’s telling that, amongst all the finales of comparably beloved 21st century cable dramas, Gilligan steered the conversation about the end of Walter White so directly through the terms of David Chase’s game-changer. Sure, both shows have clear points of comparison, as each are violent, regionally specific contemporary tales of a paterfamilias’ less-than-legitimate business tooled toward the visage of a “normal” domestic life, and both shows carried some debated expectations that their respective underworld kingpins would find their demise by the last musical cue (be it provided by Bad Finger or Journey). But more appropriately, these two shows can be seen as bookends to the same greater phenomenon: the golden age of cable’s repeated focus on male anti-heroes to drive their narratives. As many have noted, this trope has brought us some great – or, at least, compelling – shows, but now with the calculated (and certain) death of one of its most celebrated manifestations, it’s time to give this trope a rest and see what else television can do.