'Breaking Bad': Perfect season ends with a falling sky

The writers of “Breaking Bad” work inside of a room that has no clock, only a dartboard. There are also bulletin boards on two walls that eventually get papered over with index cards. And there is a single window. 

This window looks out to the Burbank airport, planes rising up into the sky. . . .

And so we come to the end. Audacious in scope and flawless in execution, Sunday night’s second-season finale was an alarming end to a perfect season. Walter White looked up and saw the sky falling, a piece of it landing right in his pool.

It was a plane crash, two of them colliding in midair, and White had both nothing and everything to do with it.

As soon as I saw it, I was immediately sucked back to last summer, to the “Breaking Bad” set in Albuquerque. There, series creator Vince Gilligan sat down with me in the hollowed-out RV in which White (Bryan Cranston) and Jesse Pinkman (Aaron Paul) cook crystal methamphetamine on TV. I asked if he could describe, in broad terms, what the second season might be about. 

Gilligan sat there, searching his brain for the right words: “This season is … how do I put this? … this is sort of … for lack of a better way to put it, this season is kind of, sort of about the butterfly effect. Not the Ashton Kutcher movie, but the old philosophy that a butterfly flaps its wings on one side of the planet and it sets off a chain of events that leads to something huge on the other. And the decision of cooking crystal meth is going to cause a decision that’s going to lead to something pretty big at the end of the season.”

Pretty big. Pretty big?

This was enormous. Allow us now to review the butterfly effect of two seasons: Walt gets cancer, doesn’t want to leave his family penniless, and so he cooks crystal meth with his former student, Jesse. Walt begins to lie -- to everyone, all the time. The operation grows. People die.  More lies. Jesse meets girl, Jane, falls in love. Jesse gets overrun by the stress of making and selling all this meth and by the death of his friend, so he uses meth to escape. Jane, sober for 18 months, backslides and uses with Jesse. Jane introduces Jesse to heroin. Walt makes a giant drug deal -- $1.2 million. Walt doesn’t want to give Jesse his share of the cash until he’s clean again. Jane blackmails Walt into giving Jesse his half, clean or not. Jane’s dad realizes she’s using again, orders her to rehab, he’s picking her up the next day. That night, Walt finds Jesse and Jane in bed, practically comatose. Jane begins vomiting in her sleep. Walt does nothing. She dies. The next day, Jane’s dad finds her dead. Dad’s an air-traffic control worker. After some time, he returns to work, he has to work. While working, he thinks of Jane, says her name, gets flustered, rattles off some wrong instructions, leads two planes into each other’s path. Boom.

The feat of this ending is that it tricked us entirely.

All season, we’d been teased with the image of the teddy bear in the pool, and then by the body bags in Walt’s driveway, lying beside his shattered car. Everything pointed to an explosion. And when Walt fixed the water heater in the basement of his home, viewers peppered blogs with the idea that it would ultimately be the new gas-powered heater at the heart of the big event to come. But no, wait. Others argued it would probably have something to do with the drug cartels touched on earlier in the season. Then Jesse and Jane began to fade into drug-using zombies, and people imagined that they’d be the ones in the bags. Then Walt and Skyler (Anna Gunn) had their baby girl, and people figured, well, of course, it’ll be the baby girl’s bear that somehow ends up in the pool.

Answer?

E) None of the above.

We knew Walter would have a hand in whatever we were seeing. We just couldn’t imagine the scope of his reach.

Who could? Well, we return now to Vince Gilligan and his writers. . . .

Recently, after interviewing Gilligan at a burger joint for a future story, we walked along a dull street in Burbank, heading back to his writers’ room. He and his staff were on their second day back from vacation, now hatching story ideas for the third season. But I’d just seen the very end of season two and couldn’t get it out of my mind.

When we stopped at a crosswalk, I said something to this effect: I always thought the answer would be right in front of us. Or behind us. Or to the left, or to the right. But I never would have thought to look up, to find an ending in the sky that was both amazingly complex and ridiculously simple.

If only you’d have seen the delight on his face.

And when we returned to the writers’ room, I noticed the window, those planes. They were just off to Gilligan’s right, soaring into the sky, and I wrote this down in my notebook only for color, to help describe the room in a future story. It wasn’t until a few days later when the light bulb went off.

Is that where the plane idea came from? I sent him an e-mail.

“Honestly, I’m not sure,” Gilligan replied. “Maybe so. I do see and hear six to ten of them take off every hour, so they’re never far from my consciousness or sub-consciousness.”

Moving forward, all we know now is that anything is possible. Such is the reality when talking about a show that in one season dipped down into the Mexican drug trade, broke ground with a narcocorrido music video and then looked up to the sky for its jaw-dropping finale.

Some more scattered thoughts below.

-- “Breaking Bad” knows how to kill people. What I mean is, the show understands fully the basic rule that on screen, death isn’t that compelling. Rather, it’s what death does to the people surrounding. They are the ones whose stories are continuing, and so it’s far better to leave the camera on the faces of those still breathing. Examples: Remember the look on the kid’s face who killed Combo? Or on Walt’s face when he used the bike lock in the basement, or when he saw Jane dying? On Sunday, this effect cut very deep with the reactions of both Jesse when he woke up, and then later, with Jane’s dad (John de Lancie). First, there was the look on his face as he drove up to his daughter’s apartment, a stretcher being rolled out from an ambulance. Then, there was something terrifying about him not saying anything at all to Jesse. And then finally, was there anything more heartbreaking than watching him go through Jane’s closet, picking out her clothes for the funeral? “No cleavage. Long sleeves,” he said to someone on the phone. “Yeah, it’s nice. It’s nice.”

-- One of the best shots of this series happened in the DEA office, with Hank and his team talking about whether the mysterious “Heisenberg” is still out there somewhere, cooking meth … just as the charity bucket was being passed around, with Walt’s smiling face on top of it. A few scenes later, when Gus showed up as one of the local business owners doing good by helping to put on a fun run to help benefit the DEA, and he donated to the bucket as well, I thought, OK, now these writers are just getting cocky. Well played.

-- Funniest moment: Marie behind the TV camera, reminding Walt to smile as he sat there on his couch, listening to his son talk to the media about how his dad was such a decent guy, how “He just always does the right thing.”

-- Most painful moment: Skyler’s monologue at the end, coupled with Walt touching his baby girl’s hand. “I want you gone. … Because you’re a liar, Walt.” The tirade cut deep, and when she pulled out of the driveway, leaving him, Cranston had yet another golden moment of silence. His eyes told the whole story, suddenly darting every which way. All along he’s done this for his family, and now he has no family. In that moment, he was entirely, utterly lost. 

-- Anna Gunn and Aaron Paul both did amazing work this season in support of last year’s Emmy winner, Cranston. In my book, both should be considered heavily for supporting nominations, and cinematographer Michael Slovis also deserves to be singled out. No other show looks quite like this, with the haunting close-ups of a teddy bear interwoven with amazing vistas of the New Mexico desert.   

-- At the top of the scene in the air-traffic control room, Jane’s dad, spouting off instructions to his planes, says, “Truth or Consequences” and gives an altitude reading on that plane. I thought this was another big wink from the writers to the audience, before later discovering that this was an actual city in New Mexico and so an air-traffic controller might actually say this. You gotta love symbolism. …

-- Speaking of which, how about that pink sweater Walt’s wearing just after his surgery? All along, we’ve seen him in greens and beiges, colors that represented sickness and also colors that made him blend into the walls. Now, as he’s suddenly battling the cancer, we see him in pink, the man regaining color and life again. … Then came the pink teddy bear from the sky, and an entirely different kind of symbolism: both of them suddenly drowning.

-- Final symbolic note: If I remember correctly, Walt’s methamphetamine was once called “Blue Sky.” His wife’s name is Skyler, but people always shorten it to “Sky.” Then Sky leaves him. And the sky collapses above him.

-- More name games? Sure. I was going back through this season after watching the finale and noticed that the first episode was titled “Seven Thirty-Seven.” Walt made up a goal of raising $737,000 for his family before he died in that episode, figuring that’s what they would need to cover all costs. Looking back on it now, though, the foreshadowing was there, but I never initially saw it. Turns out another blogger -- Alan Sepinwall of the New Jersey Star-Ledger -- also picked up on this after watching the finale, and in a Q&A, Gilligan revealed to him even more: “If you look at the names of all the episodes," Gilligan said, "in particular the episodes that have the strange black and white teaser, they spell out a hidden message.”

That message: Seven Thirty-Seven Down Over ABQ.

-- Josh Gajewski

Photos: AMC

Comments

[Connor]

Great write-up as usual, Josh. I've been an avid reader of your BrBa reviews all season, and will continue to be in the future.

Thinking back to the first episode of this season, "Seven Thirty-Seven," I initially associated the title with a jetliner. I was certain one would be involved in that episode; instead, it concerned how much money Walt was aiming for ($737,000) and I simply brushed the title off. But here we are, 12 weeks later, and it comes back to the forefront as a 737 jetliner (or two, I guess, considering it was a collision) being the focal point of the season's flash-bang ending. You've gotta love the brilliance of the writers. I'm so thankful for this show, but am dreading not seeing any new episodes for a long time.

"Seven Thirty-Seven" "Down" "Over" "ABQ" = genius.

[j.T. Manis]

But where exactly does the teddy bear come from? Well, obviously from the plane, but who had it? Didn't Jesse have one earlier in the season? Perhaps he was on his way to another rehab clinic and it exploded?

[Ian Stone]

Breaking Bad is by far my favorite show on TV, but I'm very torn on this ending. On the one hand, it barely involves key characters (only a trickle effect of Walt's actions, and a distraction by somebody who was in 3-4 episodes). There isn't a cliff hanger because now you know what happened with the plane and just assume the bodies are from the crash. Skylar is gone, Walt is done cooking and Jesse is getting cleaned up. It felt more like a series finale than a season finale because it all seemed like a logical end with no "I can't wait to see what happens next!"

On the other hand, the development was brilliant. It was a big swerve for the fans and if you think on the show - you are left wondering "What next" ... Will Gus confront Walt? Will Walt get drawn back into cooking by the demand for "Blue Sky"? Will he let Jesse cook again, or will he try to keep him away from the stuff? Will Skylar give Walt another chance?

I'm anxious to see "What Next" ... but I think only because I am such a die-hard fan. I hope others will be as eager for Season 3!

[Ted]

That Vince Gilligan thought the ridiculous and mythical idea of a butterfly effect was the key theme to wind through this season makes me realize that this is not the show I thought it was. The last five minutes of the finale may have been the dumbest piece of TV I've ever seen and pretty much ruined the show for me. Doubt I'll be back for season 3.

[Season ending was lame]

Like the stuff dropping out of the plane, the season ending for Breaking Bad hit with a big thud. It was a big disappointment given all the sneak previews that were dished out. The show's symbolism is starting to get a little too heavy and obvious as well. And while I'm at it, I don't like the Skylar character either--heresy, I know. LOVE all the other characters, and the acting is great. I expected a whole lot more from the ending, and it just didn't cut it

[Fever]

GREAT ending. I hope they sweep up the emmy

Bryan Best actor
aaron paul supporting actor
anna gunn best actress

bob odenkirn best guest star actor
krysten ritter best guest star actress

best drama!!

[Mack]

I don't understand how Jane could have painted the very same one-eyed teddy bear in the mural in her bedroom (it's in the upper right corner) that fell from the plane. Was this her teddy bear?

[Josh Gajewski]

Some responses to the responses:

Ted and Season: You're not alone in disliking the ending. There are others out there with similar complaints. I personally loved the ending because whereas with most shows we've come to expect the cliffhanger in the more traditional form - something a little more direct happening to the protagonist, leaving us to wonder: what will he/she do now? - this one was somewhere in between and, thus, not so formulaic. Mostly, I just so enjoy being surprised, being taken someplace I didn't at all foresee. As an audience we always want to guess what's happening next, or we think we know the different possibilities of what could happen and we watch to see which of the possibilities will occur. This one duped me entirely, and I liked the little magic trick they played of giving us so many possibilities but taking it to an entirely different place there at the end. To me, that's the job of a writer. To truly surprise the viewer. And yes, the ending served as more symbolism - judgment being cast on Walt from the heavens, perhaps? For some, like Season, the symbolism stuff is too much. I've always been a sucker for it, though.

As for the teddy bear, people like Mack (above) have better eyes than me. I didn't spot the teddy bear in Jane's mural. Nor did I spot it in other places that people on other blogs have since pointed out. I have yet to re-watch these scenes to confirm, but apparently the bear popped up in the following places, and probably elsewhere, too: when Walt makes the big meth drop off at the abandoned motel, the bear is somewhere in the shot; there is a big bank of them being sold at the supermarket where he strips naked to sell his dementia. And Jesse had one in his old band's music video. So these more discreet bear placements, I think, are undoubtedly just winks from the writers to the viewers who watch the show on that different sort of level. I'll call it the "Lost" level.

Anyone want to start making predictions about next season?

[Ted]

I don't understand why you would enjoy being duped just for the sake of being duped. Because that's basically all that was. The ending was completely, totally implausible. Magic trick is a good description, because that's about all it was. Which means Breaking Bad is now an X Files or Lost knock off and not a realistic drama. It's not exactly a challenge for the writers to surprise you if they just pull something out of their asses that makes no sense whatsoever. It served no plot purpose and appeared to be more the writers just pulling a prank on the viewers and the FX team finding themselves with some extra money and deciding to blow it on a wildly out of place CGI fest. I read an interview with Vince Gilligan on another site in which he basically said he just wanted a big explosion to rain down fire on Walt. That's something I'd expect to hear the producer of Transformers part 8 say, not Breaking Bad. Walt's actions haven't brought enough obvious destruction to himself and his loved ones that we need this juvenile GOD RAINING DOWN FIRE ON THE SINNER idiocy?

[It is a Wolf (Lobo) not a Bear]

Because I live in Albuquerque, I recognized the bear as Louie the Lobo. He is the Mascot for the University of New Mexico Lobos. Lobo is spanish for wolf. The comparison of the pink shirt and the pink bear is incorrect, he is a red wolf. I do however appreciate the comment as both of them being bright and then drowning. Brilliant!
I have loved the this show from the beginning. If you are from Albuquerque it took on another layer because you recognized all of the locations and things like Louie the Lobo intertwined into the story. I cannot wait until the next season. Congratulations to the Writers and crew, GOOD WORK!!

[Josh Gajewski]

Your argument is completely valid, Ted. It's just a matter of personal taste, I think. Some will be on your side, thinking that a plane crash is so far out of the realm of possibility that it has no place in this story. Some will be on mine, thinking the crash was far-fetched, yes, but JUST believable enough to make it great TV. Neither is the right or the wrong view, just personal taste. And conflicting views make post-show dissections like these all the more fun.

[MacKenna]

Breaking Bad ranks right up there with The Wire, Deadwood, Mad Men and True Blood. It's become one of my favourite shows on television. Five stars all around.

[ryan]

Prediction for season 3: Walt breaks REALLY bad... what more does he have to care about now besides hedonism and self-preservation? Maybe he'll start sending Skylar money anonymously or something. But I suspect Walt is going to go off the deep end alone.

The only thing that irks me about the finale for season 2 is can a single air traffic controller cause so much damage? You'd think they'd have redundant systems to prevent a crash just because 1 controller is screwing up.

[Tim]

Ted, I completely agree with you. It was a contrived ending to a well-written, and, more importantly, realistic show. From the beginning, I was completely confused, as an avid viewer. It was the first time I was unsatisfied with an ending of an episode. I read Connor's comments, and I did realize the 737 episode title, but that's a small clue. There was no build up. The writers, though probably the best on TV, did not earn this ending. Instead, I think they should have focused on the characters. A few positives: Hank is onto them, the big dealer from the chicken restaurant now knows Walt's brother-in-law is in the DEA, Jesse may be getting himself straightened out so he's not useless (plus Jane is out of the way). Many things are great in that episode. But the ending was too cheap. Just adding on a surprise is not good enough for this show...unless it makes sense with the plot...like the acid in the tub episode.

[BBFan]

"Walt's actions haven't brought enough obvious destruction to himself and his loved ones that we need this juvenile GOD RAINING DOWN FIRE ON THE SINNER idiocy?"

My sentiments exactly, Ted. Disappointing season finale to what WAS my favorite show.

[Don]

@ Ted and Tim - you guys are crazy! it was awesome

[Dawn Jerome]

Did anyone else notice during the scene when Jane's dad is in her apartment picking out her clothes for the funeral there is a huge painting in the backround with the infamous pink teddy bear falling from the sky. Also, could it be Jane's mom on the phone with Jane's dad discussing their daughter's clothes...Was she on her way [on the plane] to ABQ for the funeral??

[blue swede]

I agree with Ted. Breaking Bad wont'b be half as fun to watch now that we know that ridiculous consequences and coincidents are likely to happen. It will also be hard for the writers to top the plane crash. What next? Maybe the meth cooking will kick off a series of events that leads the world into a nuclear war? Then I can imagine Vince Gilligan laughing "you could not see that coming either".

[Chris W.]

FWIW, I loved the ending. I remember looking at my watch and thinking there's only 10 minutes left before we get to see the pink bear and the bodies. I was very consciously and actively waiting to see how they'd get there. The way the final sequence was executed was genius. It was not insulting to the viewer, nor was the viewer let down by the ending. At least that's the way I see it.

Two relevant movies I should bring up- both controversial, but both Academy Award-winning- are Crash and No Country For Old Men. The so-called "butterfly effect" that intertwined this season's plot of BrBa was not unlike what Crash revolved around. No Country For Old Men, on the other hand, made use of two sudden, unexpected (and major!) plot twists. Both techniques pissed off a lot of people, but also impressed enough that both movies went on to get top honors at the Oscars. For similar reasons, I expect BrBa to accomplish the same at the Globes and Emmys. Then again, if enough of the voters are into time travel, Lost may give it a run for its money. Mad Men, of course, is a perpetual contender and wild card.

One last point: had Walt NOT walked into that bar and run into John DeLancie (Jane's dad), he would have never gone to see Jesse and Jane would still be alive. Moreover, it was Walt's lie to Skyler over the phone which got his conversation started with DeLancie in the first place. No lie, no conversation since he was only there for one drink. In their talk, DeLancie urged Walt to "never give up on them", which served as the driving force for him to go over to see Jesse right away. Upon arriving, he shook Jesse who bumped up against Jane, who rolled onto her back and choked on her own vomit moments later. Had Walt not touched Jesse- had he never even been in his room- Jane would've never been bumped and, thus, would have never choked to death. And had Walt not run into Jane's dad at the bar, none of that would have ever happened.

Talk about butterfly effect! It's that kind of subtle writing which will catapult this show to the top of the heap come award season. No doubt that Gilligan's work on the X-Files years ago contributed to this brand of unconventional writing.

And, FWIW- I loved Crash and loved everything but the last 20 or so minutes of No Country. I felt the plot twists that marked the last portion of the movie were insulting and didn't jibe well with the rest of a meticulously crafted movie. It just crossed the line, even though I know the movie was just following the book. BrBa never crossed that line, in my view, which is why the final sequence was so impressive and respectful of the viewers' intelligence.