The Ending of Pablo Escobar: El Patrón del Mal (Episode 113/114) The definitive Colombian series Pablo Escobar: El Patrón del Mal
as a peace intermediary. It highlights the series' strength in showing the cultural and religious nuances of Colombia, which many viewers feel is missing in other adaptations like Andrés Parra's Performance: pablo escobar el patron del mal 1x104 better
Religious Symbolism and Hypocrisy
Episode 104 heavily employs Catholic imagery. As Escobar hides in safe houses, he prays before a crucifix while ordering the murders of former allies suspected of betrayal. The title — La Crucifixión de Pablo — refers not to his death (which comes much later) but to his self-perception as a martyr. Directors use low-angle shots of Escobar kneeling beneath religious icons, then cut immediately to sicarios carrying out executions. This juxtaposition is more sophisticated than typical telenovela moralizing. It echoes Escobar’s historical justification of violence as “defense of the poor,” exposing his delusion. Episode 104 thus surpasses earlier episodes by refusing to let the protagonist claim victimhood without visual contradiction. The Ending of Pablo Escobar: El Patrón del
If this article has convinced you to seek out this landmark episode, here is your guide: The title — La Crucifixión de Pablo —
In this episode, the "better" aspect comes from the utter lack of music. As Pablo lays on the corrugated roof, listening to helicopters, director Nicolás Pulido uses only diegetic sound: the buzz of a fly, the heavy rain, the crackle of a radio. It feels like a documentary. You feel the cold rain, the exhaustion, and the inevitability.
Escobar grew up in a middle-class family in Aburrá Valley, Colombia. His father, Abel de Jesús Dari Escobar, was a farmer, and his mother, Hermilda Gaviria, was a housewife. Escobar's early life was marked by poverty and hardship, which would later shape his motivations and actions. He began his career in crime at a young age, stealing cars and selling fake lottery tickets.