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The 5 Best Episodes Of ‘Breaking Bad’

The 5 Best Episodes Of 'Breaking Bad'

This Sunday sees the beginning of the end of an era. Because on Sunday, AMC will premiere the first of the final eight episodes of “Breaking Bad,” which over the last five-and-a-bit years has firmly taken its place among the pantheon of TV drama, winning an ever-growing following, rave reviews and fistfuls of awards. For the uninitiated (and really, how many of there can you be now?), the series follows Walter White (Bryan Cranston), a high school chemistry teacher already struggling to make ends meet when he’s diagnosed with inoperable lung cancer. Desperate to provide for his family, he teams up with Jesse Pinkman (Aaron Paul), a deadbeat former student, to cook crystal meth. Complications, as you might imagine, ensue.

It was a fairly grim prospect for a TV series (terminal illness + crystal meth isn’t exactly “The Big Bang Theory“), and it wasn’t on many radars in advance of its debut—Cranston was best known as a sitcom star, creator Vince Gilligan hadn’t been heard from much since “The X-Files,” on which he was a writer/producer, ended, and AMC had only just begun dipping their toe into the TV waters, albeit with the excellent “Mad Men.” But the reviews were sterling, both for Cranston and for the show, and if anything, the series has only gotten better and better over time.

The five thrilling, darkly comic seasons have tracked Walter in his transformation from, as Gilligan has described it, “Mr. Chips to Scarface,” going from a well-liked, somewhat submissive teacher to the feared head of a major drug operation, who’s vanquished every enemy that he’s faced along the way. With perhaps two exceptions: Jesse, whose relationship with Walter has faced more and more ups and downs over the years, and his DEA brother-in-law Hank, who, as the first part of season five closed out, had just realized what Walter has been up to all this time.

We’re just days away from finding out how the final eight episodes will play out, and to honor the series’ return, and its last hurrah, we’ve picked out our five favorite episodes of the show. As you might imagine, it wasn’t the easiest task to narrow it down, and caused a certain amount of screaming matches in Playlist HQ, but we think we’ve found five that show the series at its very best, and track Walt’s own arc over time too. Take a look below, and let us know your own “Breaking Bad” highlights in the comments section. Beware *spoilers*, obviously. 

Season 1, Episode 3: “And The Bag’s In The River” 
There’s no doubt that “Breaking Bad” hit the ground running with its pilot and second episode—visually distinctive, thrilling and much more entertaining than its cancer + meth premise suggested. But it’s the end of episode two, “The Cat’s In The Bag…,” when Jesse botches the acid-bath disposal of a rival dealer’s body, leaving his remains all over his house, that you realize that the show’s not quite like anything you’ve ever seen before. And that’s where things pick up with the third episode, “…and The Bag’s In The River,” which proved to be a first season highlight, and cemented exactly how terrific a series it was going to be. With one dealer splattered all over Jesse’s house, there’s still one more, Krazy 8 (Max Arciniega), alive and kicking and chained up with a bike lock in the basement. And the question of his fate makes up the bulk of the episode, and one of the best scenes the show’s done to date. Having flipped for the question of who’ll off the dealer, Jesse scarpers to the comfort of a prostitute, telling his former teacher “Coin flip is sacred!” Walt is left weighing up the options, and no matter the reasons he can find for letting Krazy 8 go, the con is still there—”He’ll kill you and your entire family if you let him go.” Still, after he collapses from a coughing fit bringing his captive a sandwich, Walt bonds with Krazy 8, in a slow, extended scene that sees them finding a shared humanity, and Walt telling his prisoner about his cancer, the first time he’s done so to another soul. It’s an incredible piece of writing and performance, Gilligan’s script waxing and waning like a great stage play, and backed with tremendous support from Arciniega, it’s the moment where Cranston really hits his stride as Walter, particularly after he kills Krazy 8 anyway (the dealer had hidden a stray piece of crockery to use as a weapon), strangling him brutally with the bike lock in a breathlessly tense fight. It’s far from the episode’s only pleasure — there’s some spiky phone calls between Walt and wife Skyler, and an enjoyable subplot where Hank, believing Walt Jr to be smoking pot, attempts to scare him straight. But even five seasons later, it’s that basement scene that’s seared onto our brains. 

Season 2, Episode 8: “Better Call Saul”
No series on TV does the set piece or memorable sequence better than “Breaking Bad,” and a list of indelible images or scenes from the show would be a long one. But the show isn’t just about crashing planes or blowing faces off or robbing trains; it’s amazingly compelling even in its quieter moments, and something like “Better Call Saul” demonstrates that there’s no such thing as a “filler” episode on this show. In the pre-credits teaser, Jesse’s dim-witted pal Badger (Matt L Jones, who’s always a pleasure when he turns up) falls victim to the urban legend that an undercover cop has to tell you that he’s a cop, particularly embarrassing when that undercover cop turns out to be DJ Qualls from “Road Trip.” Walt and Jesse are terrified that he’ll roll over on them, so they end up enlisting the help of one of the show’s best-loved supporting characters: shady attorney Saul Goodman. As played by “Mr. Show” veteran Bob Odenkirk, Saul is introduced in a hilarious, almost Tim-and-Eric-esque fake commercial that demonstrates (like the “Ballad Of Heisenberg” cold open around the same time) how close the show can brush against absurd humor while still staying grounded. But Saul’s genial nature hides an almost terrifyingly competent stone-cold operator, and the way that he handily gets the boys, and Badger, out of a corner by finding a duplicate Heisenberg to take the fall makes it clear that, with his help, they’re going to keep moving on up to the big leagues. This is all leavened with a dig into one of the series’ most fascinating relationships — the one between Walt and his brother-in-law Hank. We get the first glimpse here that the DEA agent is not the invulnerable badass he’s been making himself out to be, wracked by the beginnings of Post Traumatic Stress Disorder after losing a number of his team mates down in Juarez, only to get a pep talk from Walt (who’s simultaneously working against him). The introduction of Saul aside, the plot doesn’t take leaps and bounds forwards here, but there’s no sense, as in lesser seasons, that the show’s simply shuffling the pack and waiting for the last few episodes to move forward. Though in the burgeoning relationship between Jesse and his landlord Jane, seeds are certainly being sown…

Season 2, Episode 12: “Phoenix” 
Seeds that come to horrible, horrible fruition in “Phoenix,” the penultimate episode of the show’s second season (still, to this writer’s mind, the show’s peak, though season four comes damn close too). The shifting nature of the audience’s sympathies for Walter White are, really, the heart of the show (again, it was pitched by Gilligan as a journey from “Mr. Chips” to “Scarface”), and it’s possible to see “Phoenix” as the point of no return for the once hapless chemistry teacher. It doesn’t start off on a particularly heroic moment: Walt misses the birth of his daughter Holly in order to make a $1 million drug deal. But there’s at least a twisted morality there (he later shows his baby girl the cash haul, telling her “Daddy did that for you”), one that just he’s clinging on to throughout the episode. Sure, he’s using the website his son set up to crowdsource donations for his medical expenses to launder the cash, but he’s got to do it somehow, right? And when he screws an off-the-wagon Jesse, out of his share of the deal (at least temporarily), it’s with a paternal love for the kid, telling him he’ll be paid in full once he’s clean again. And it’s this protectiveness that leads, in part, to Walter’s most abhorrent act to date. Jesse’s girlfriend Jane (Krysten Ritter) blackmails Walt for the cash so they can start a new life together (swearing, semi-convincingly, they’ll get clean in the process). But after a chance encounter with a man in a bar who is, coincidentally, Jane’s despairing father (John De Lancie, in a lovely turn), Walt decides he can’t give up on Jesse, and returns to the apartment, only to find the couple passed out from a heroin/meth combo. Suddenly, Jane, on her back, starts choking on her own vomit, and though Walt initially moves to help her, he stops. And waits. And watches her die. Whether he believes that this gets rid of a bad influence in Jesse’s life, or whether he’s taking the opportunity to remove a thorn in his side isn’t clear—Cranston plays it with a beautiful ambiguity. But it’s undoubtedly a point of no return for Mr. White, and the cost to his soul only gets greater in the following episode, when Jesse’s air-traffic-controller father, stricken with grief, causes a mid-air collision that costs hundreds of lives. For all the gasp-inducing moments the show’s delivered, this is the one that truly leaves you shaken to the core. 

Season 4, Episode 13: “Face Off” 
After season 3—one full of some of the show’s finest moments, but perhaps less coherent and propulsive as a narrative than some of the others (Gilligan has admitted in interviews that much of it was plotted on the fly)—”Breaking Bad” came roaring back with the relentlessly tense fourth season. The third had ended with Walt ordering Jesse to kill his genial would-be replacement Gale, and from the opening episode “Box Cutter,” which sees kingpin Gus kill a henchman with the titular weapon in front of a horrified Walt and Jesse, it’s clear that while their positions are safe for the moment, it’s only a matter of time before they cease to be useful. As such, season four is dominated principally by one obstacle for our dynamic duo to surmount: how to rid themselves of their greatest adversary, the South American chicken magnate/pillar of the community that is Gustavo Fring (Giancarlo Esposito, in a performance of ineffable greatness). Finally, they manage it in season four closer “Face Off.” Walt has a bomb intended to off his benefactor/nemesis, but Gus gets spooked, and suddenly he has no way of getting near him. Worse, Jesse is in police custody after the poisoning of his girlfriend’s child, initially blamed on Walt but seemingly a frame-up to drive the pair apart from Gus. How they get out of their fixes is one of the finest examples of the show’s back-against-the-wall plotting, culminating in the deeply satisfying conclusion—the bomb being detonated by Hector Salomanca (an extraordinary, wordless Mark Margolis), the terrifying uncle of early adversary Tuco, given the chance by Walt to take out their mutual enemy by ringing his ever-chiming bell, now rigged to the explosive device. The hospital room goes up in flames, but initially, it seems like Gus has somehow survived, as he walks out and straightens his tie. But in an extraordinary flourish that reveals how far Gilligan has come as a director, the camera tracks across to reveal that Gus is missing half his face. After all the build up, it should be a moment of triumph for our quote-unquote heroes, but you hardly feel like punching the air when Walt chillingly tells Skyler “I won.” And the show confirms why in its final moments; a close up of a poisonous Lily of the Valley plant, revealing that Walt was in fact behind the poisoning of a child. Whatever moral code he once clung to, even as he once watched a girl choke on her own vomit, is long gone. 

Season 5, Episode 5: “Dead Freight” 
One thing we’d argue sets “Breaking Bad” (along with “Mad Men” and a few select others) apart from other shows like “House of Cards” or even “Game Of Thrones” is the way that it can serve the serialized master story while also delivering a contained, thematically coherent mini-movie every week. Stick another forty minutes onto “Dead Freight,” perhaps the best example of this, and you’d have one of the best action movies of last year. Walt’s now his own boss, but his supply of methylamine is drying up. At the suggestion of panicky, shifty executive Lydia (Scottish actress Laura Fraser, a fine addition to the show even if the character is basically a riff on Tilda Swinton in “Michael Clayton“) they decide to rob a train containing 100,000 gallons of the stuff, a job that’s sure to lead to bloodshed, until a brainwave from Jesse leads to a seemingly perfect plan. The result is the single best action sequences in a show that’s full of great ones, as Walt, Jesse, Mike (Jonathan Banks) and new protege Todd (Jesse Plemons) pull off the heist of the century. It’s breathless, knuckle-whitening stuff (beautifully directed by longtime show writer George Mastras), with a scope of the kind you rarely see on television—it’s no surprise that this is the most expensive episode of the show to date. The caper is a success, but once more, there’s a price to pay; as they celebrate, they’re surprised by a young boy on a dirtbike, who the eager-to-please Todd guns down without a second thought. Jesse’s anguished cry ensures that, while the adrenaline was pumping only seconds earlier, now you feel like you’ve been punched in the gut. If that was the only classic scene in the episode, it’d be a contender, but there’s also the delicate negotiations between Walt and Skyler, who now loathes him with every fiber of her being, but remains his business partner, and a cracking moment where Walt fakes a breakdown in Hank’s office in order to plant a bug. We had our reservations about the early part of season five as a whole, but if the back half of the season contains anything as good as “Dead Freight,” we’ll be delighted.

Honorable Mentions: A shorter version of this feature would have just read “all of them.” But nevertheless, there was some that didn’t make the cut that stung a little more than others. Among season one, we’re big fans of episode five, “Grey Matter,” which delves into Walter’s backstory more, and shows that pride is his original sin, as he turns down an offer from his one-time business partner to pay for his medical expenses. Episode six, “Crazy Handful Of Nothin,” is a cracker too, not least for the scene where Walter first dons the Heisenberg guise and blows up drug dealer Tuco’s hideout.  

As we said, season two is our personal favorite, and there’s plenty that could have made the list from that. There’s “Grilled,” which sees off Tuco, and introduces Hector in a breathlessly tense extended scene south of the border, while “Peekaboo” pits Jesse against a methhead couple played by Dale Dickey and David Ury. Meanwhile, episode 9, “4 Days Out” brings perhaps the show’s finest director, Michelle MacLaren, into the fold for a near-bottle episode where Jesse and Walt drive into the desert for a mammoth cooking session.

While it lacked the laser focus of other seasons, we’ve been perhaps unfair to the third series by not picking any episodes from that. Season opener “No Mas” is one of the best first episodes the show ever had, seeing Walt finally coming clean to Skyler and Jesse in rehab. The third episode, “IFT” is the flipside, as Walter forces his way back into the family home, while “One Minutefeatures one of the show’s most memorable scenes, as Hank faces off against the fearsome Cousins, only just making it out alive. If we’d had our way, episode 10, “Fly,” might have cracked the list—another bottle episode crackling with tension and character beats, as Walt and Jesse attempt to find possible contamination in the lab. That said, some, including our editors, find guest director Rian Johnson‘s (“Looper“) stylish work overbearing both here and in his season five episode, so it’s left to this section. Lastly, the two final episodes of the season see a classic ramping up of things, culminating in the death of poor old Gale.

Season 4 is as consistent as any, from opener “Box Cutter” to the finale we wrote about above, but among its other highlights are “Hermanos,” which sheds some light on Gus Fring’s backstory, bottle episode “Bug,” tenth episode “Salud” which sees Gus wreak a terrible vengeance on the cartel south of the border, and “Crawl Space,” which has one of the most devastating conclusions the series ever featured. As for season 5? The opener, with the ingenious magnet heist, is a keeper, as are the last two episodes, which feature Mike’s death and Walt’s seeming retirement. As for the second half? We’ll find out how it turns out from Sunday. Check back here for our recaps of every episode as we head toward the finale of the show.

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Comments

concerned citizen kane

1) Crawl Space
2) ABQ
3) Dead Freight
4) Half-Measures
5) Gliding Over All

-

I almost don't want to say it, because it's one of those episodes that the BB fans who only like the show because of its "OMG HOLY SHIT" moments rather than its strong character development really love, but Face Off has to be on top, for me. I think the season as a whole is the worst since season 1, but the last four episodes were fantastic. Off the top of my head, I'd say:
1) Face Off (S4E13)
2) Half Measures (S3E12)
3) Phoenix (S2E12)
4) One Minute (S3E7)
5) Say My Name (S5E7)

DG

Crawl Space should definitely be on the list, way above Phoenix. Same with Fly. Fly is a good example of just how bold this show is. What other televised program could have an entire hour with nothing more than two guys in a single room, giving monologues and trying to catch a fly, like some kind of Beckett-esque stage play, and make it absolutely riveting? The part when Jesse climbs the ram shackle ladder/table set up in while Walt's ramblings grow increasingly confessional and dangerous below is some of the most subtly innovative writing in the entire series…

Sterling Cooper

People who have never watched the show, watch "Crawl Space" and are locked for life. The last five minutes of "Crawl Space" are more riveting and skin-crawling than anything Hollywood has produced for a theatrical release in at least a decade.

Jesse Jorro

Here's the best Walter White moments: http://youtu.be/vU5pahZhyEQ

Dryer

Skylers involvement and storyline kind of brought Season 3 to a halt and the most frustrating to rewatch. Glad Giligan admitted it was a wasted season, at the time I was wondering if perhaps they had worked themselves into a corner.

MT

The final scene in One Minute is amazing stuff.

TheoC

Oh yeah I loved Half measures too.

TheoC

Well done, you nailed this list.
Face off was fantastic.
I loved Fly too, Rian Johnson surpisingly directs one of the most restrained episodes of Breaking bad.

marc

'Better Call Saul' had that terrible storyline where they try to substitue the fake Heisenberg. Freight Train was good but very un-realistic

my top 5

1. Crazy Handful of Nothin
2. Phoenix
3. Crawl Space
4. Sunset
5. Half Measures

Bunglemas

My Top:

1.06 Crazy Handful of Nothin'
2.08 Better Call Soul
3.12 Half Measures
3.13 Full Measure
4.08 Hermanos
4.13 Face Off

Sorry five season, but…

wes

The last two are terrible. This show's become so ridiculous with the last two seasons.

droop

"Saul is introduced in a hilarious, almost Tim-and-Eric-esque fake commercial"
this was probably implied, but it is funny considering odenkirk was an awesome show regular, and the voice behind most of the commercials

Edward Copeland

It's so hard to choose five. It's like trying to pick favorite children. Two episodes that I see only as an honorable mention and not at all belong near the top of any Breaking Bad best list (and I have to say having watched every episode at least three or four times, it's a rare series without any clunkers. I can't even say that about The Sopranos). Though mentioned in honorable mentions, Crawl Space (season 4, episode 11) builds a header of suspense as Walt scrambles, following threats from Gus against him and his entirely family, runs to Saul for the name of the guy who gives people new identities and runs home to get the cash and high-tail it. He also urges Saul to phone the DEA and tell them the Mexican cartel is coming after Hank again. Meanwhile, Skyler also has employed Saul to send two henchmen to pay off his IRS fine and as he does, a frightened Beneke runs for it and takes a header into his fireplace mantelplace. Walt goes home to find that most of his meth next egg in the crawl space is missing and with it, the plan to escape. Skyler shows up and asks what's going on. He asks her where the money is and she admits she gave it to Ted. (No one of course knows about Ted's fate) Walt starts laughing maniacally. Then Skyler gets the frantic phone call from Marie informing her of a new threat against Hank from the cartel. All of this transpires in the matter of minutes leaving with that image of Walt laughing like a mad man and transforming completely into Heisenberg. I remember watching this and calling a friend amazed that the season still had TWO EPISODES to go after that point. The episode not mentioned at all is Half Measures (Season 3, Episode 12) with Jesse angry that Gus' dealers use his girlfriend's young little brother to sell meth (and to kill Combo) and after getting Gus to set up a meeting where Gus orders not the dealers not to use children, things seem calm. In the center of the episode, Jonathan Banks gets one of his best scenes as Mike explaining to Walter about "half measures" in reference to Jesse, trying to get White to see Pinkman as a liability. Later, Walt sees on the news that Andrea's brother had been shot to death on the playground. He knows what Jesse will do and runs out of the house. At the playground, Jesse marches toward the dealers, hand on his gun when out of nowhere that familiar Aztec comes barreling into the scene and plows down the two drug dealers. Jesse is shocked. Walt gets out of his car and grabs the gun of one of the dealers who still is moving and shoots him in the head. He turns to Jesse and simply says, "Run." How does THAT not get a mention?

Andrew

It's the rare show that only gets better and better.

The inclusion of at least one of the last few episodes of Season Three seems necessary though, not only because they're brilliant but because that is when the show really shifts into the slow burn it's become.

Joe

No half measures?

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