Blog Posts from Season 2

Pavlov and Hector (blog post from Eps 202-203)

Ivan Pavlov (1849-1936)

Ep 202 (37:40) – Hector (Tio) Salamanca

Students in intro psych courses learn about Pavlov’s experiment which used a bell and a dog. Every time Pavlov rang the bell, he gave the dog a treat. Soon, the dog began to salivate just at the sound of the bell, thinking that a tasty treat was coming. This became known as “conditioning,” the process in which a specific action triggers a specific response each time the action is performed.

So what does this have to do with Breaking Bad? In season 2, we’re introduced to the psychotic Tuco Salamanca and his elderly uncle Hector Salamanca, left mute we suspect because of a stroke. When Walt and Jesse meet Hector in his ramshackle house in the Mexican desert, they quickly catch on to his unique way of communicating. When asked yes or no questions, he makes no sound for “no” and rings the bell attached to his wheelchair once for “yes.” After Tuco’s death, Jesse hopes he’s safe from the murderous cartel. But when he’s brought in for questioning by Hank and Steve Gomez in Episode 203, we see Pavlov’s classic conditioning. Before Hector enters the interrogation room, Jesse already knows he’s in the building just by hearing the sound of his bell. Jesse has already been conditioned. His facial expression makes clear that just the sound of Hector’s bell leaves his worried and panicked. Jesse had thought that he and Walt were in the clear, but now he’s again afraid that Hector will reveal their secret.  — Rachel G.

 

Introducing Jane (blog post from Eps 205-207)

During Episode 205 (“Breakage”) Jesse Pinkman only expects to find a new place to live, not the love of his life.

A lesser show would easily stereotype Jane. Her sexy-Goth style and Bettie Page bangs make her ripe to play the “middle-class girl who dresses and acts like a badass but probably isn’t,” in the words of Noel Murray at AV Club.com. However, Jane Margolis isn’t pretending. From her first line, “Really? Does it ‘inspire awe?’” a caustic response to Jesse’s “This place is awesome!” viewers know she’s not a 2-D love interest, but a strong, smart, snappy, woman. Even when she reveals that her father has her playing landlord to his property investment Jane doesn’t turn into a simple privileged daddy’s girl.

In fact, it’s hard at first to see Jesse and Jane together. He bumbles around, looking like a high school student in his oversize hoodie, and fumbles with his words, making Jane even cooler and classier by comparison.

By the scene’s end, Jane doesn’t see him as a man-child tenant anymore. Jesse’s face after Jane informs him she lives next door confirms he’s not only smitten with his new place, but also his new neighbor. Vince Gilligan and the team behind Breaking Bad don’t give us much background on Jesse’s romantic endeavors, but based on the two times in Season 1 where we see Jesse with a woman other than Skyler White or his mom, it doesn’t seem like Jesse dated women like Jane before now. After all his recent disappointments, Jane looks like a new beginning for Jesse. The unofficial soundtrack for the moment when she finally takes his hand while they’re watching TV in Episode 207 (“Negro Y Azul”) consists of fans’ cries of delight.  Unfortunately, he turns out to be the opposite for Jane….

Jane’s introduction also served as an emergence for actress Krysten Ritter. A Pennsylvania-farm-girl-turned-model, Ritter previously had had mostly bit parts on popular TV shows and a few films. In 2009, Ritter experienced a classic Hollywood transformation: a big-name director realizes the true potential of an actor/actress with a history of starring in subpar romantic comedies, and sweeps up said actor/actress into critically acclaimed stardom. Ritter’s entrance into the world of better roles came about a little differently than that of her contemporaries. Christopher Nolan played fairy godfather for Anne Hathaway and Matthew McConaughey, but since the buzz around Vince Gilligan and Breaking Bad had just started building, for Ritter, it was more like one Cinderella  doing another Cinderella a favor. Although fans found her nine-episode run all too brief, it served as a launch pad for her recognition. Ritter starred in the short-lived ABC comedy “Don’t Trust the B—- in Apartment 23” as the sexually voracious and villainous Chloe. After its cancellation, Ritter had a one-episode cameo on NBC’s “The Blacklist” and a role in Tim Burton’s latest feature film, “Big Eyes” before landing the title role in Marvel’s second Netflix series, “Jessica Jones.”

No matter how famous Ritter gets, however, she’ll always be Jane Margolis to Breaking Badfans. – Megan H.

 

Tears (blog post from Ep 206)

I almost never cry when watching a television show or movie, but watching “Peekaboo” was one of those times. I began feeling numbed and emotionally distant, like an observer looking into a crystal ball showing Jesse in the junkies’ house.

Feeling anxious while waiting for the inevitable conflict between Jesse and the junkies, I thought about Jesse would act. I couldn’t quite believe that he would kill either of them, but I was prepared to be surprised.

Imagine my surprise when Jesse was confronted with the face of a child.

I felt upheaval and torture through the rest of the episode as Jesse, the two junkies, and their child interacted in the seventh-level-of-hell that they called a home.

As the junkies’ child sat in the ratty arm chair watching the only channel received on the old broken-down TV, Jesse’s face mirrored mine. The horror and shock on his face contrasted with the calm, stoic face of the dirty, malnourished child.

I trust that everyone viewing this scene would have the same question — How could any mother do this to her child?

My heart ached at the thought of this child growing up in this lifestyle. He wasn’t unruly or even upset. He seemed to accept his life–lonely, dirty, and harsh. His slight speech impediment made his request for food even more heart-breaking. To me, nothing is more cruel than neglecting a child.

Sure, the junkie woman accused Jesse of calling her a bad mother, as she held her child in her arms. At least she held him. A mother is not someone who births a child. A mother is someone who cares for and nurtures and fosters the growth of a child, someone who puts their needs and wants behind (not even aside) her because her goal is enabling her child to have the best life possible.

Every interaction Jesse had with the child was admirable, but most of all, I was impressed by his final act. His attempt to save the boy was honorable, motherly even, and further developed his character. It showed that he is capable of deeply caring for another person and being self-less.

What started for me with tears of sorrow and sadness ended with tears of appreciation for the reminder of the fact that there are genuinely honorable people in the world amid all the wreckage and filth.  — Lindsey H.

 

Hank’s PTSD (blog post from Ep 207)

Hank’s Post-Traumatic Stress Disorder (PTSD) features prominently in season 2. It’s triggered by his surprise encounter with Tuco in the Mexican desert, where he ends up shooting Tuco dead. It’s made worse when he takes the job in El Paso, and watches his new co-workers maimed and killed by the bomb set by the cartel in Episode 207.

Hank’s DEA co-workers give him Tuco’s grill as a present for his good work. With bluff and bluster, Hank acts like he loves it, but the keepsake starts to haunt him. He eventually throws the grill in the river, showing how he does not want anything to do with the experience anymore. The show does a good job portraying the effects of PTSD, and it is especially interesting how it is portrayed with Hank’s masculinity. He never lets anyone else know how he is actually feeling, and puts up a false bravado to throw people off.

When he takes the job in El Paso, his new environment makes him ill at ease. His new co-workers mock his macho routine–and in Spanish so he can’t understand what they are saying. While he does put up a false bravado to hide what he is feeling inside, when the bomb goes off he steps up and does what none of the other agents can do. Despite his struggles with PTSD, Hank does his job when the pressure is the greatest. This emphasizes Hank’s heroic qualities, and how despite his struggles, he still remains courageous and does what is best for those around him.  — Kevin N.

 

Drinking poolside (blog post from Ep 210)

The scene in Episode 210 (“Over”) with Hank, Walt, and Walt, Jr. drinking tequila by the pool is all about masculinity, fatherhood, and self-image. It demonstrates a sort of crossroads in the development of Hank and Walt.

In the pilot, we see that Walt is not very manly compared with his brother-in-law Hank, who even steals the spotlight at Walt’s own birthday party. Now almost two full seasons after the pilot, viewers have come to see different sides of both Walt and Hank. Walt is a murderer, a drug dealer, a thief, and is guilty of many more atrocious crimes. In the viewer’s eyes, Walt has gone from the boring, middle-aged family man to an all-out bad boy.

Meanwhile, Hank is dealing with Post-Traumatic Stress Disorder from his encounter in El Paso. The simple rough-and-tough Hank from the beginning of the series has changed. Here, Hank tries to play it cool diffuse the situation that Walt seems intent on escalating.

As the tequila (thought to be the drink that only “real men” can handle) starts flowing, Walt becomes more angry and resentful as Walter Jr. listens to Uncle Hank recounting his harrowing adventure. Walt is irritated that his son is looking to his uncle as the primary male figure in his life instead of to his own father. So Walt decides to on an alcohol right of passage with Walter Jr. as a way to become the one who is admired. It works for a brief moment before the attention is back on Hank.

When Walt makes a scene in front of the party, his friends and family see his bold, brazen side of for the first time. Walt goes toe-to-toe with Hank. The writers choose not to resolve the situation fully, but rather let it simmer for most of the duration of the episode. This leaves viewers to wonder who exactly is more masculine.

It is not just the viewer’s opinion that changes though. The characters themselves can sense a change in their identities – particularly Walt. Walt confronts Hank at the party and this definitely takes Hank by shock. He’s not expecting Walt to keep feeding his son tequila, nor is he expecting Walt to challenge him in front of the crowd. Hank’s change is less visible to the other characters. Walt knows he is changing too. He finds a sort of freedom in being able to challenge Hank as is evidenced by the momentum the scene gains in intensity as Walt gets more and more angry and loud. The scene ends with Walt sitting at the table not quite smiling, but rather smirking. He may not have won the encounter with Hank, but he knows that he made his point. — Zach S.

 

The Unrightful Death of Jane Margolis (blog post from Ep 212)

No moment in the show was quite as frustrating or angering for me as the death of Jane Margolis. As a rule, I try not to get attached to seemingly anecdotal characters to prevent such a tragic sense of loss when they disappear. Jane, however, grew on me rapidly and I couldn’t resist her sarcastic wit. She seemed like the kind of girl I’d want to be friends with in real life. Her sobriety only added to her relatability for me, because I have family members who are recovering addicts.

That said, I supported Jane and Jesse’s relationship from nearly the beginning. Their playful and witty flirting combined with their deeper emotional connection made me feel like something was finally going right in Jesse’s life, especially after being rejected by his family and getting tangled up in the meth trade. Jesse saw in Jane an opportunity to become a better man.

Walter is undoubtedly to blame for Jane’s death. He could have easily saved her when she began to asphyxiate, and he made like he was just about to, but then changed his mind. The worst part is he knew that if Jane was gone, he would get to keep Jesse as his sidekick without fear of him leaving and–heaven forbid–turning his life around with a girl who showed him how much better he could be.  — Sarah P.

 

Heartbreak (blog post from Ep 212)

The death of Jane was the single most heartbreaking moment for me in the Breaking Badseries. It is at this moment that I lost all sympathy for Walt. His blatant selfishness and horrible cowardice make him utterly reprehensible. Walter commits a sin of omission in failing to save Jane. His decision of inaction and failure to save someone innocent is a product of his selfishness, his desire to build empires, and his need to manipulate Jesse.

Jane responds to Walter’s intrusion by rolling over on her back, putting her at risk to choking. Walter, who is only in Jesse’s house to manipulate him yet again, sees Jane and Jesse and reacts to Jane’s death. As she begins to choke, Walter reaches out almost imperceptibly. His face shows the audience shock, horror, concern and fear. Then, when the audience feels as though he might yet attempt to save her, Heisenberg appears. Walter’s face becomes a mask of distance, callousness, and steeled nerves. He watches Jane die and does nothing. In this moment the audience is forced to ask why Walter would not have saved her. The answer, of course, is found in Walter’s character throughout the season. Walter does not save Jane because he is selfish.

By this point Jesse has finally extricated himself from Walt to some degree. He is still a broken human with a crippling addiction, but Jane and Jesse are attempting to become better people and leave their life of failure behind them. They resolve to get clean and act as supporting, albeit very flawed, couple. Walter simply cannot abide by this, he needs Jesse to help him cook and Walter views Jesse as an integral part of his family. Walter sees Jane as a force taking Jesse away from him and thus diminishing the power he holds over Jesse. Walter’s sin of omission is his failure to save Jane for the selfish reasons of keeping Jesse in a position of servitude. While Walter may not admit that this is the case, he more than proves it through his purposeful inaction. — Daniel E.

 

Who’s Responsible? (blog post from Ep 212)

Who’s responsible for Jane’s death? Is it Walter White, who shook Jesse so violently that Jane rolled onto her back, then didn’t help her as she was choking in front of him? Was it Jesse, whose presence and dependence on drugs led Jane to relapse into addiction? Was it Jane’s father, Donald, whose constant pressure on Jane caused her anxiety and stress? Or was it Jane herself, who knew the dangers of drugs but made the decision to use again?

Jane’s actions are not inexcusable, she knew the consequences of relapse yet decided to start using again anyway. Being stressed by her father and encouraged by Jesse’s presence help explain why she started using again, but they do not excuse her actions. Anne Frank describes this idea when she said that “Parents can only give good advice or put [their kids] on the right paths, but the final forming of a person’s character lies in their own hands.” Walter, Donald, and Jesse all have different reasons to feel guilty for Jane Margolis’ death, but ultimately it is Jane’s fault. She made the conscious decision to use drugs, knowing the consequences. Jane is lovable, intriguing, even cool, but like all other humans, she is flawed. Her flaws led her to bad decisions, the wage of which was death. The others clearly influenced Jane’s actions, but cannot be held fully responsible. — Kelly H.

 

Goodness and badness in Br Ba and ourselves (blog post from Season 2)

What many Christians would view as “common grace” becomes more prominent in season 2 ofBreaking Bad. Common grace refers to the idea that God gives gifts out to all people–regardless of religious belief or affiliation. There is good in everything–in nature, in culture, in science. God created everything good, but the fall spoiled it. This show is about chemistry, which is made good, but it also shows how it can be used in bad ways. Even the production of meth shows how something good can be tainted. Pseudoephedrine, a precursor to meth, is a medicine that is good. Walt takes that medicine, combines it with other chemical products, and turns it into meth. Both chemistry and pseudoephedrine are good things, but when they are used in the wrong way toward the wrong end they create badness.

So why then should people–particularly religious believers–watch a show whose focus is the process of good things being turned toward evil purposes? In his essay “Sin Happens,” Matt Jenson writes, “The roots of our common humanity might be found, not in our dignity, but in our depravity.” If Jensen is right, we can relate to what is happening in Breaking Bad. We can see the gifts that God has given Walt. Walt is incredibly intelligent and a talented chemist. He is not portrayed as religious or spiritual; no one in the show is. This is a clear reflection of common grace. We can see similar extreme examples in the real world. Hitler and Osama bin Laden both were excellent leaders. Leadership is gift from God. They just used their skills in a way counter to God’s will. We might not have caused quite as much destruction in our lives as these men, but the practice of looking for the good in these men helps in our Christian life. We can better see how and why we are unconditionally loved. By connecting with Walt through his fall, we can learn from his experience. If we try to isolate his experience and disqualify it as inapplicable or circumstantial, then we miss an opportunity to learn and to grow. Original sin and common grace make relating to others easy. We all have gifts and baggage. None of us are wholly holy. By deciphering the good from the bad in Walt, we can gain practice in identifying the good and the bad in ourselves. — Paul L.

 

Heisenberg and Mr. Hyde (blog post from Season 2)

When starting to watch Breaking Bad, I thought that Walter’s alias, Heisenberg, was just a name chosen out of a hat because it sounded cool. However, from my General Chemistry course this semester, I’ve learned that Heisenberg is actually a famous chemist. It was Werner Heisenberg who came up with the uncertainty principle, which matches up perfectly with the show. By season 2 of Breaking Bad, there’s often uncertainly about how Walter and how much Heisenberg we’re seeing in Bryan Cranston’s character.

There’s also a connection to Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde(1886). Dr. Jekyll is a scientist who develops a drug that makes him feel alive and empowered but at the cost of turning him into a monster. That is exactly what happens to Walter. He is a bored man passing through life, dying at the start of the show, but through cooking and selling meth, he becomes a monster who is “alive” again. Even though he never takes meth, he’s addicted to it. Through the end of Season 2, it’s not clear whether something the antidote required to return Mr. Hyde back into Dr. Jekyll will be able to eradicate Heisenberg and return Walter White permanently.  — Daniel P.