They start off season five with a well-rounded commentary, covering the importance of continuity to mesh with what was established in season 4. Milliken shares what his role as transportation captain entails and offers some interesting details about the safety precautions taken when vehicles are used. They discuss sets, locations, lighting, and the composition of shots. Slovis is often the DP but when directing admits that he is glad to leave the DP duties to his colleague who is assigned that job.

The group provides some insights into the time invested in shooting certain scenes. Gilpin reveals details about constructing sets with some tidbits on modifications they make to facilitate shooting in tighter spaces, something that is not possible in real locations. The actors offers some thoughts on how the emotions and mindset of their characters can often resonate for them beyond the moment in scenes. There is some discussion of lighting and color timing as well.

Not hugely informative this time around. They focus on locations and offer some anecdotes connected to these. Gilligan is thankful for actors in whom he has every confidence to carry the emotional weight required by key scenes. There is some talk about the selection of music, and the tv/film clips incorporated in the episode. Finally, they touch on use of fake money and some restrictions on working with it.

This group commentary with Rian Johnson is reminiscent of those he did for Brick and Looper, where he asks the others interview-type questions. They all joke around a bit, and this is less informative than some of the other tracks for the series. They give some shoutouts to fan edits of scenes that have appeared on the internet. Much time is spent dissecting the Skyler White scenes, with Gunn talking about her preparation for an elaborate scene as well as the emotions involved, with Catlin chiming in with thoughts on where the characters may be headed going forward in the season. Johnson offers technical details about how some shots were obtained and shares some shots that were conceived but cut.

This episode was the first time directing for long time writer Mastras. He recounts the experience, while Slovis maintains a discussion of shots, cameras, and equipement used. With the participation of Diaz De Bedoya, there is much talk about locations, securing the train for the showcase sequence in the episode, shooting that over several days, the problems that were overcome, and logistics involved. They recall the Albuquerque shooting experience over the years, specifying that people have generally been welcoming. There have been peace offerings made to appease or maintain silence for shooting at some locations.

This track is on the sluggish side but picks up steam. There is a bit of a rehash about how the script assignments are divided among the writers and how the selection is affected by scheduling the writers who also direct. There are some thoughts about how directing for television differs from directing films, in terms of serving the story and meeting the expectations of viewers. They joke around a bit about shaved heads on the show. Many comments just narrate the onscreen action or remark on character motivations, insights into their morality. Most interesting was a happy accident that led to the creation of the Mike character and the setup and special effects used for a Cranston scene. There is a fun anecdote involving a working payphone.

This entry starts out initially very jokey but then the participants settle down. This was the first time directing for Schnauz, who credits the supportive crew for a successful experience. He and Gilligan have known each other since film school. Much of the track covers sets and locations, editing, and the mechanics of setting up certain shots. There is a spotlight on Banks, due to his pivotal role in this episode.

With only one actor among the participants, this one is more technical, with much of the focus on locations and sets. The episode featured two montage sequences and they discuss the work involved in matching up the cuts between various locations and sets used for each. Dixon has some additional thoughts on editing, highlighting one of the very few mentions of the passage of time on the show. Bryan shares some insight on creating wardrobes for the characters, including honoring the color scheme in the show and capturing the attitude of the character. Gilligan reveals inspirations for a few scenes or shots, one based on someone he knew, and others on famous films.