TV Episode Review: “Breaking Bad” “Ozymandias” (05.14, 2013)

Written by Moira Walley-Beckett (Previous Episodes: “Breakage,” “Over,” “Más,” “Fly,” “Bullet Points,” “Bug,” “End Times,” and “Gliding over All”)

Directed by Rian Johnson (Previous Episodes: “Fly” and “Fifty-One”)

Back when I reviewed the first episode of this half-season, “Blood Money,” I wrote that, “My guess is that [Heisenberg] is able to buy enough time from Hank to get to use the disappearer but doesn’t kill Hank, leaving the case hanging over Walt as he escapes. However, Lydia is unhappy about the quality she is getting and forces Jesse into the business. Walt somehow finds out about Jesse’s position and goes back to save Jesse, hoping that it will be a final act of redemption.” As has been the case many times in this show’s history, it did end up where I thought it was obvious that it would, but the narrative took surprising twists and turns at every opportunity before getting there. Just as an example, we knew that Walt would have to get Gus out of the way back in season four and I knew it would require him to embrace the evil in himself somehow to do it, but I didn’t expect that embrace to allow him to manipulate Jesse into helping him, let alone the specifics of his poisoning of Brock and so on. This time, I was right that he was going to end up at the disappearer and that Jesse would be forced back into cooking, but I got everything that led to that state of affairs wrong.

This episode, unsurprisingly, opens with a teaser set in a different time, a teaser that is imbued with tension because we are all waiting for the outcome of the shootout from the last episode. Cleverly, the teaser actually foreshadows later events with Holly by showing us a conversation between Walt and Skyler from back when Walt first cooked with Jesse where they decide the girl’s name. It’s an interesting technique, because it should make it obvious that something is going to happen with Holly later but because we don’t really care about this conversation while we’re waiting to find out who exactly dies in the shootout, it’s not really obvious. As with all of these flashbacks, it also reminds us just how much things have changed, with the dumbass meth-head Jesse refusing to listen to the nerdy science teacher explaining the meth production process before we cut to the end of the shootout and watch hardened criminal Walt plead for Hank’s life and then Heisenberg order a sniveling Jesse’s death.

At the scene of the shootout, we see Walt pleading for Hank’s life, appealing to the idea that Hank is “family” and refusing to admit, as Hank says, that Jack has already made up his mind. It looks like the death of Heisenberg, as it is Walter White who pleads (unsurprisingly, unsuccessfully) for Hank, thinking that he has Heisenberg’s manipulative powers. However, Heisenberg returns to order Jesse Pinkman’s death, finding Jesse hiding underneath a car, just after a handshake agreement where we see Jack’s swastika tattoo featured prominently.

Then, Todd interrupts, claiming that they just want to find out what Jesse told the DEA before they kill him, though at least I immediately thought that he was taking Jesse to help cook. Jack may be happy with the quality he’s getting from Todd, but Todd isn’t—he knows what Heisenberg produced and thinks that Jesse can help him reach that level. He may be a psychopath, but he also has a level of professional pride and studiousness about his cooking that only Heisenberg and Gale have ever shared. Heisenberg, in a final act of anger toward the teenaged burnout he had long since broken, finally lets loose the secret that he watched Jane die (Though he omits the detail that he actually turned Jane onto her back, without which she would not have asphyxiated.) and then watches his former partner being taken away by the neo-Nazis.

One of the clear mysteries of the last season has been why Walt is apparently separated from his family, since he’s performing the bacon ritual without Skyler way back at the start of the season in “Live Free or Die.” I had been wondering whether there was anything that Walt could do at this point that would be a bridge too far for Skyler and drive her away, and the only even possible answer I could come up with was for him to kill Marie in order to keep her quiet, since she knows about Jesse at this point. It turns out what finally turned her against Walt wasn’t Walt or even Heisenberg but Walter Jr., who turns her against her husband by saying, “If this is all true and you knew about it, then you’re as bad as him.” She acts like it’s the revelation that Walt killed Hank that sets her off, but she surely would not have reacted by fighting him off before hearing her son say that.

Then we see Jesse’s fate. In a harrowing and beautifully-shot sequence, Todd drags a beaten and bloodied Jesse out of a cell in the ground into his lab and chains him to the ceiling with a picture of Brock and Andrea prominently displayed as a constant warning (surely a warning that carries even more weight from neo-Nazis given their race) then puts on one of the yellow suits we have seen so often and says, “Let’s cook.” Jesse is trapped helping Todd, and Todd does not know mercy. Todd would also surely be willing to kill Jesse as soon as he is no longer providing any value, and Jesse knows how sick Todd is from watching him kill Drew Sharp. In fact, Jesse saw the danger in Todd before anyone else, and we probably should have known then that Jesse’s fate was to end up trapped under Todd’s heel.

Walt then takes Holly and calls back to scare Skyler into submission as Heisenberg, giving her a terrifying speech about the dangers of crossing him even as tears run down his face at the loss of his family and perhaps even Hank’s death. Or perhaps he is mourning the loss of Heisenberg. The man who returns to Albuquerque in the future is Walter White, not Heisenberg, and this moment may have been the end of Heisenberg.

With the police in his house, his son now aware of his actions, probably every living member of his family now talking to the police, and Jesse chained up and forced to help Todd cook, he runs to the disappearer, and leaves town. With two episodes left, Heisenberg’s empire that he prides himself on telling Skyler that he built remains but nothing else he sought does. His real son and his wife have turned against him and he has turned away his own chosen surrogate.

Rian Johnson, the greatest film director working today, returns for his third episode of the series, and it is again a wonder to behold. Michelle MacLaren’s direction is so brilliant that I often say that a film would be proud to have shots that she and Michael Slovis get on this show, but Johnson’s appearances are a reminder of how much of a gap exists between even the best television director and a great film director: in addition to big things like the beautiful night-time lighting at the fire station, he imbues everything with brilliant details like the repeated use of zoom in otherwise static scenes and a simple, static shot of the empty street after Walt has driven away with Holly before returning to Skyler’s collapse. There are so many of these details that one could write an entire review just naming them, so I won’t spend too long, but the episode is perhaps the most beautiful in this show’s history, which is high praise indeed.

Overall, this episode is an excellent and harrowing climax to this point that sets up a reasonably clear finale but leaves enough questions unanswered that we can’t know everything to expect. It’s Breaking Bad at its finest yet again.


  • Walt has to be coming back to get Jesse out in a final act of “redemption,” I feel fairly certain. But it honestly seems a little strange at this point for him even to discover what’s going on with Jesse.
  • It was nice to see a Johnson regular, Noah Segan (who appeared as Dode in Brick [USA 2005] and Kid Blue in Looper [USA/China 2012]), make a small appearance as the fireman who finds Holly.
  • Who painted “Heisenberg” on the wall? It’s starting to feel like it’s going to be someone closer to home rather than just some random tweeker.
  • Where are Skyler, Walter Jr., and Holly when Walt returns to town?
  • I had a new thought about the ricin—maybe it’s actually for himself. I could see Walt seeking redemption by first saving Jesse with the machine gun and then going to Skyler for forgiveness having already taken the ricin so that she cannot turn him in.
  • Once again, given more to do, R.J. Mitte steps up. He was great in this episode, as were Anna Gunn, Jesse Plemons, and Bryan Cranston.
  • If we want to call season 5b its own season, it is surely the greatest season of television in history.

Update: I had already had the review up for a bit when I realized that I wrote the part about Walt’s phone call as though it were totally credulous and just completely forgot to say anything about the real motivation. The way he was drawing attention to her lack of knowledge and pretending to believe that the police weren’t there, and Skyler’s reaction when he drew attention to her lack of knowledge, suggest that he was actually trying to help Skyler out of the mess by making sure that the police knew it was “Me–me alone!” It wouldn’t shot me if there is at least some reality in what he is saying (Walt has often mixed truth in with his lies.) anyway, but scaring Skyler into submission is only the ostensible motive, not the real one. It’s a rare moment of humanity for Walt these days, and one of the greatest moments ever for Cranston, which is about the highest praise a moment of acting can receive.

TV Episode Review: “Breaking Bad” “Rabid Dog” (05.12, 2013)

Written by Sam Catlin (Previous Episodes: “Down,” “4 Days Out,” “Green Light,” “Fly,” “Half Measures,” “Open House,” “Hermanos,” “Crawl Space,” and “Fifty-One”)

Directed by Sam Catlin (No Previous Episodes)

After last episode’s cliffhanger, I really wasn’t sure what to expect here. As I said last week, I was not sure whether the White home showed signs of burn damage, so I wasn’t sure that Jesse was going to be stopped, though I thought it was likely. And I thought it might well mean the end of Jesse Pinkman. In retrospect, what happened makes perfect sense and seems it should have been predictable. Jesse was indeed stopped, but not by Heisenberg. Instead, he was stopped by Hank, who had tailed Jesse from Saul’s office and saw this as an opportunity to get Jesse to flip.

The reveal of what happened was not immediate. Instead, we got a typically Breaking Bad tense, taut sequence as Heisenberg arrived in front of his house and saw Saul’s car then crept in, investigating what Jesse had done and where he was, finding his living room carpet soaked with gasoline but no sign of Jesse. And then, in usual Walt/Heisenberg fashion, his first reaction is apparently not to ensure his own or his family’s safety, but to call carpet cleaners and hide the entire episode from Skyler. Saul’s guys are out searching for Jesse, but he finally thinks to have Hule check on Junior at school only after the cleaners have apparently already long been at work.

Maybe our most long-term lesson from this episode is just how angry Hank and Marie really are. Hank is perfectly willing to cold-heartedly sacrifice Jesse (A coldheartedness that we saw in him back in season 2 resurfacing for the first time since a tortoise exploded around him.) in order to get some evidence against Heisenberg, which wouldn’t exactly be iron-clad evidence anyway since he would essentially be claiming that these criminal activities are the only possible motivation for Walt to murder Jesse without any evidence of the actual criminal activity beyond the Leaves of Grass book that has no chain of custody and Walt’s “confession.” Marie, meanwhile, responds to the news that a drug addict is sleeping in her house by saying that she’s okay with it as long as it’s bad for Walt and fantasizes to her therapist about poisoning Heisenberg, not knowing how ironic it is to talk about poisoning a man who has spent the last year looking for someone to poison with a vial of ricin and who poisoned a child in order to keep himself safe.

Heisenberg takes his family to a fancy hotel while the carpet gets replaced (And will it ever get replaced or just removed? The carpet is gone in the future.), a sequence which allows R.J. Mitte to show off some acting chops for the first time in the show’s history. He calls Walt on his bullshit just as he did back in season one when he said, “Why don’t you just die already then?” and even gets a beautifully-shot scene discussing Walt’s illness with him in front of the hotel pool. He’s brilliant in these scenes and it really makes me wonder if this show hasn’t squandered him a bit. The scene in front of the pool also highlights just how hubristic Heisenberg has become at this point, as he says, “You think I came all this way just to let something as silly as lung cancer take me down?” The man who didn’t even want treatment because he had already given up is now calling lung cancer “silly” and saying that it couldn’t bring someone of his stature down. It’s a pretty powerful callback to the way he reacted to that initial diagnosis that shows just how far this character has gone.

Visually, Sam Catlin’s directorial debut proves itself to be on par with Breaking Bad’s usual look. He even gets one of the most beautiful scenes in the show’s history with Heisenberg and Junior discussing his illness in front of the pool, a scene filled with dramatic shadows and strong colors. It’s the type of scene that no other television show attempts visually, and first-time director Sam Catlin pulls it off.

Overall this was another excellent episode, if something of a dropoff from what we’ve seen this season before.



  • I couldn’t help but think that Mike would have already found Jesse before the cleaners could even get there. The reason Saul’s guys can’t find him is that, oh yeah, Heisenberg killed the guy who would have!
  • Having Hule check on Junior might have been a direct response to the long-running internet hypothesis that Junior exists so that someone can use him to get to Walt near the end.
  • No Lydia. No Todd. No neo-Nazis. For the first time, it felt like Heisenberg was out of the business and was just seeing his chickens come home to roost.
  • Hank and Marie’s bookshelf behind Jesse is filled with books on horses (The Body Language of Horses, Horse Sense, Basic Horsemanship), a prominently-placed book on the 1929 stock market crash, and Dutch: A Memoir of Ronald Reagan by Edmund Morris, a very controversial fictionalized biography that is noted for its blending of reality and fiction. That book’s presence may be a reference to Walt’s confession, or it may even have some other meaning that eludes me. The others don’t strike me as particularly meaningful, but hey if you wondered what was on the shelf, that’s what I could see.
  • Marie’s purple rug made me laugh.
  • Hank is smart. That scene telling Jesse to meet with Heisenberg is a perfect example—he’s figured out from what Jesse told him that Heisenberg cares about him, even though Jesse has never figured that out himself.
  • Steve really went along with Hank’s plan even after that creepy, “We get it all on tape?” I know Hank is the boss, but Steve seems to be a smart, self-assured guy normally. It seems odd to me that he goes along for the ride on this.
  • “Next time I’m gonna get you where you really live.” What does that mean? My first thought was that it means the money, but could it mean something else? After all, he does talk to Hank afterward and say, “There’s another way. A better way.”
  • The neo-Nazis were obviously more than capable of their jobs before, but can they really get to Jesse while he’s hiding with Hank now that Hank has told Steve?
  • After some down time, it’s good to see Jesse get interesting again for a couple of episodes, if nothing else just for the sake of seeing Aaron Paul at work.
  • Betsy Brandt was brilliant talking to her therapist. Marie is a character who could easily be laughably unbelievable, but Brandt always keeps her real, and doesn’t get much attention for it.