There is the typical but insightful discussion about sets and locations. They delve into the editing process and how it can be challenging to discuss and make decisions remotely. They break down the special effects used in a horrific scene. Esposito joins the track after 22 minutes, but makes some nice contributions beyond what his character had to do in the episode. They remark on the challenges of working with babies. This commentary was the first time in the episode commentaries that someone warned first time viewers not to listen to this commentary before watching the episode. They also note the value of non-verbal communication in scenes and lament the fake beard that Cranston had to wear due to pick up shoots for the film, Contagion.

Another decent track, but a bit more description of the on-screen action than most of the other tracks. They provide some good background on production design and the details used on the sets, in particular the various gadgets that the Jesse character has in his home and the extra tweaks done to those electronics. They speak to the source music used, noting that the decisions were largely for budgetary reasons. They are complimentary of the physical work that Cranston does in this episode.

The overwhelming trend of this episode is discussing character motivations and beats. Slade shares his experience as a first time television director. He is a fan of the show and had studied it to inform his decisions. His intent was staying true to the show. There is also some insight on how the source music framed and shaped the edit of some scenes with Jesse.

Still informative but they are more jokey in this track than most of the others. They impart some details about setting up the special effects and planning camera angles for certain scenes. There is some discussion on when to use locations or not and the subtext of colors in wardrobe choices. Gary Larson is a fan of the show. This episode was retrofitted with a reshoot to supply plot points that were discoved to be needed later in the season.

This track also contains more joking and kidding around than many of the others, but still has some good information on locations, how they set up shots and scenes. The reveal another pickup shot that was filmed much later and added back into the episode to address a plot hole. They note how some of the timelapse shots were constructed. They point out callbacks to previous episodes and have an interesting sidebar on music residuals.

A pretty good track. The participants supply information about the supporting actors who guest star in this episode as they appear. There is a useful explanation of the rationale for using sets vs. shooting on location, and how some of these locations had to to dressed prior to shooting. Slovis talks about his relationship with the DP - often his role - while he is serving as the director. There is some good-natured ribbing of the writer, Hutchison, that prevades throughout.

They tend to be a bit too complimentary and congratulatory this time around. A running joke is kidding Aaron Paul about using his arms in the episode. Gould speaks about his experience as a first time tv director. They reveal how some sets have been repurposed during the course of the show, across the seasons. The actors do not have as much to say, but they do chime in at times about the experience filming their scenes. There is a fair amount of informaton on setting up shots, and pointing out backgrounds and some easter eggs.

A well-balanced discussion. Gilligan prompts Slovis about techniques for the lighting of sets vs locations, and they point out that they film widescreen for television even if not all shows have evolved to shooting with that aspect ration in mind. They observe some of the details supplied by the production design team. The participants note that the tone of this episode varies a bit from episodes written by Moira Walley-Beckett. Slovis is thankful for the shorthand efficiency established over the years between the cast and crew to shoot efficiently without sacrificing quality. Renck offers an anecdote about shooting with counterfeit money in his native Sweden and they discuss how he handled the language barrier of the scene shot with Spanish dialogue. Margolis and Bauer reminisce about working together in Scarface.

This one starts out very chaotic but settles down, eventually becoming a little listless. You will learn that actors generally dislike block shooting, but filmmakers use this technique for economic reasons. There is much pointing out of production details on sets, locations and wardrobe. They recall how they overcame losing a key location to demolition by shooting according to the demolition schedule and using sets to fill in what was already destroyed. They briefly discuss the seasonal timeline of the show so far. They admit to drawing inspiration from the Sopranos for one of the scenes. During filming, writer Schnauz had a kidney stone.

MacLaren directed the episode and directs and steers this track. The amount of technical information is almost non-existent. Mostly they describe the action on screen, how the actors felt when filming, and how the writing informed each scene. They do mention some elements that had to be cut for time.

Another more jovial and jocular than informative commentary, with much information repeated from previous tracks. Winant shares his thoughts about his first time directing for the series and and adjusting to 8 day shooting schedule. This was the episode that set events in motion for the season finale. They describe some of the layers and elements for scenes coming together. There is a discussion about the "merits" of the Pontiac Aztec.

A return to form with the participants combining for a very good track. They shot this and the subsequent episode simultaneously, crossboarding when possible to be more efficient. They discuss some incorporating some unseen special effects, editing splices, and revisit the signature timelapse process. The writers talk about how they share the workload and divide up the scenes. They point some musical cues and call back to the color scheme for the characters and how it has been developed over the course of the show. Gilligan recalls one very difficult scene and elaborates on some of the challenges, and that a Newsweek journalist was visiting at the time. They attempt to depict realism in law enforcement elements and often use real agents as extras. They note that some of the internet chatter at the time speculated at the season finale and raised doubts about certain elements.

They close out season 4 with another even commentary. Much of the discussion revolves around the lighting on sets and locations and placement of cameras for tight shots. As some extras and guest actors appear, some background about them is offered. They point out the performers for some of the source music. They observe that there is a special magic to the light and sunshine in New Mexico and praise the state. Gunn is originally from Santa Fe. They talk a bit about the Albuquerque Balloon Festival. On the other end of the spectrum, they recollect about some creepy locations not necessarily related to this show. Nicotero offers some anecdotes about his other projects and of course there is a discussion of the key special effects sequence in this episode.