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The Stories Behind 12 Seemingly Obvious Baseball Rules

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Sure, these rules seem obvious—but in days past, they were challenged enough that officials added them to the rulebooks anyway.

1. Runners cannot run the bases backwards [Rule 7.01, 7.02, 7.08(i)]

Considering the purpose of a baserunner is to advance safely to home plate, running the bases in reverse seems nonsensical. However, the silly antics of Germany Schaefer, a journeyman infielder in the early 1900s, forced officials to put this rule in the book.

On August 4, 1911, Schaefer stole second, intending to draw a throw from the catcher to allow his teammate—Clyde Milan, who was on third—to steal home. However, the opposing catcher held the ball, keeping Milan struck at third. Hoping to recreate the play, Schaefer looked to steal again. This time, the only option was to steal first.

On the next pitch, he took off for first, but a double steal still didn't materialize; the catcher was too surprised to make the throw. The opposing player-manager ran onto the field to argue and amid the chaos Milan finally took off for home plate, where he was thrown out.

This wasn't the first time Schaefer attempted a double steal by regression, but the 1911 stunt received more publicity. It took until 1920, but the sport's officials finally passed a rule prohibiting such actions, which remains to this day. Now, if a player runs the bases in reverse order, he is automatically out.

2. No substitutions may be made while the ball is in play [Rule 3.03]

Rule 3.03 clearly states that substitutions can only take place when the ball is dead, prompting the question of why anyone would think to change players in the chaos of live action. The rule was instituted after an alert play by Michael Joseph “King” Kelly, a popular catcher-outfielder in the 1880s.

While he was sitting on the bench one day in 1891, an opposing batter hit a high foul ball that Kelly immediately recognized would be out of the reach of all of his teammates. Kelly, a player-manager, quickly jumped up and went after it, calling “Kelly now catching!” He made the catch, but the umpire refused to call the out. Kelly argued that the play was not against the rules, which at the time stated that substitutions could be made at any time.

That winter, the rules were changed to officially prevent such a play.

3. Umpires are prohibited from conferring with players or spectators [Rule 9.04(c)]

While the home team probably embraced such conferences with wide-eyed innocence (“What, our fans could make a biased call? Never!”), baseball officially banned umpires from conferring with players or people in the crowd in 1882. The rule overturned one from 1876 that allowed an umpire to confer with whomever he pleased if he or she had been unable to see a play. The practice of employing only a single umpire had necessitated such a rule. By 1882, however, the idea of a staff of umpires was becoming more popular, negating the need for assistance from players or fans. Presumably, the type of assistance spectators offered also probably did little to help matters.

4. Runners must touch each base [Rule 7.02, 7.04(d)]

It is not unusual to see ballplayers called out for failing to touch a base before advancing, and few fans would question why they are required to do so in the first place. Before the Civil War, that was only an unofficial requirement, and base runners did their best to take advantage of it. What started as just cutting corners soon devolved into making little effort to get near the bag at all when legging out an extra base hit. In 1864, the requirement became an official rule.

5. Base coaches are prohibited from running the bases while the ball is in play [Rule: 4.05(b)]

In the early days of the game, teams often tried to make fielders mistake a base coach for a runner. For example, in an 1886 game against Detroit, Chicago base coach Mike Kelly ran out to the shortstop position to provide a distraction for his runner. The introduction of coaches’ boxes the following year helped curb the tactic, but they failed to entirely eliminate it.

In 1890, George Smith, coaching for Brooklyn, ran down the third baseline in front of his runner, causing the catcher to mistakenly tag him while the baserunner slid in safely. After a long argument, the umpire ruled the baserunner out. A 1904 rule change finally prohibited the practice altogether.

6. An umpire is permitted to put a new baseball in play whenever he deems it necessary [Rule 3.01(e)]

In an era where major league teams go through nearly 1 million baseballs in a season, spelling this out seems completely unnecessary. In 1886, however, the idea was revolutionary. Prior to that year, the umpire had to give the teams five minutes to find a lost ball before he could supply a new one. Some especially frugal owners were unwilling to pay for the expense of a new ball and insisted that the search continue until the original ball was found.

While the wording has shifted some in the modern era, the rules still stipulate that the umpire has access to a supply of alternate balls that will last for the whole game, implying the umpire’s power to introduce them into play.

7. A fielder is not permitted to catch a ball with his cap [Rule 7.04(e), 7.05]

Although it's in place to keep fielders from using caps and other articles of clothing to make catches, this rule had to undergo various changes so it wouldn't be an advantage to the defensive team. The 1857 rules stated that if a player caught a ball with his cap, no opposing player could be put out until the pitcher had touched the ball.

The Boston Red Stockings turned this rule to their advantage on September 14, 1872, when the opposing team loaded the bases with no one out. The batter hit an easy popup to Boston shortstop George Wright, who deftly caught the ball with his cap, then tossed it to his pitcher. The pitcher threw it to the catcher, who tagged home plate and threw to third. Boston then applied tags to third base and second base before their opponents realized what was happening.

Although the Red Stockings argued for a triple play, the umpire refused to count the play at all. A clearer rule was established in 1873 and modified in 1874. Now, the runner is awarded the base if a fielder catches the ball with his cap.

8. Fielders are prohibited from doing jumping jacks while an opponent is batting [Rule 4.06(b)]

After Boston Braves batter Bob Elliott asked the second base umpire to move out of his line of vision on August 9, 1950, Giants second baseman Eddie Stanky saw the opportunity for a new distracting ploy. He moved to where the umpire had been standing and began to pace around, waving his arms and jumping up and down. He continued practicing his antics in subsequent games until umpires appealed to National League President Ford Frick, requesting a ruling on the legality of such actions.

Arguments for both sides became heated, until those against the practice expressed concern for the safety of hitters who become distracted during a pitch. Frick instructed umpires to eject fielders who employed jumping jacks or other annoying antics to distract the batsman, and his decision is preserved in the official rulebook to this day.

9. A batter was prohibited from deliberately striking out [Rule: 2.00]

The Sporting News called a deliberate strikeout on a wild pitch “one of the smartest schemes” in baseball at the turn of the 20th century. According to rules that are still in place, a batter becomes a runner that must be tagged or thrown out in the event of a swinging strikeout on a wild pitch. In an 1894 Southern League game, Abner Powell made it safely to second base after taking a mighty swing at a pitch he saw was going to go behind his back. The vast amount of foul territory behind home plate allowed the runner to take multiple bases before the catcher could collect the errant pitch. Eleven years later, in a Major League game between Detroit and Cleveland, Cleveland hitter Bill Bradley did the same thing. Before Detroit catcher Lew Drill could recover a pitch that sailed ten feet wide of the plate, Bradley had made it safely to second base.

A set of rules for baseball in 1868 and 1872 prohibited “willfully strik[ing] at balls for the purpose of striking out.” While no longer specifically banned, the official rules still address such a situation in Rule 2.00. However, getting to second base on a swinging strike three would be difficult in modern ballparks, since the amount of foul territory behind home plate has been vastly reduced in an effort to get fans closer to the game.

10. Baserunners are not permitted to continue running after they have been called out [Rule 7.09]

On June 17, 1926, the Cubs loaded the bases against Brooklyn in the sixth inning with one out. With right fielder Jimmy Cooney on first, Joe Kelly hit a grounder to Brooklyn first baseman Babe Herman, who threw it to his shortstop, Rabbit Maranville, to begin the double play. Maranville’s return throw was wild, however, and the Chicago runners continued to advance. The Brooklyn pitcher retrieved the ball and tried to gun down the runner he saw heading toward home plate. The runner peeled off for his dugout before he reached the plate, forcing the catcher, Mickey O’Neil, to follow him to apply the tag for the third out.

That runner, however, was none other than Jimmy Cooney, who had been the second out of the inning. The home plate umpire could think of nothing in the rules that prohibited such a play, and he ruled that the inning must continue. Cooney’s ploy had allowed Kelly to advance to third, and Chicago tacked on two more runs that inning.

No sportswriter of the era could recall a similar play, and it would fall under questionable legality today. Rule 7.09 stipulates that no member of the offensive team can take actions to confuse, hinder, or impede the fielders, but also stresses that a runner continuing to advance after being called out cannot by that act alone be called for interference. The result of such a play today, then, would depend entirely on the umpires’ judgment.

11. Fielders are prohibited from throwing potatoes or other objects while the ball is in play [Rule 9.01(c)]

From the early days of the sport, players have tried to deceive base runners through a plethora of tricks. One common example was when basemen would wildly throw small white objects to trick runners into thinking they had thrown the ball away. They would then calmly tag the runner with the real ball if he was deceived and left the base.

Potatoes, especially those peeled, frozen, and whitewashed, were a favorite. Umpires never tolerated the trick, even when players went to great lengths to excuse it. A catcher in the Evangeline League in 1934 tagged two runners out who tried to score after he launched a potato into the outfield, but the umpire called them safe and refused to accept his explanation that he had simply found the potato and was trying to get it off the field of play. An 1889 member of the Staten Island Athletic Club learned the hard way that the hidden-potato trick was not allowed in college ball, either, when he was asked to resign from the club after he employed the ruse and the umpire ruled the runner safe in a game against Yale.

Minor league catcher Dave Bresnahan tried to revive the old trick on August 31, 1987, but the umpire ruled the runner safe. The next day, the Indians fined and then released Bresnahan. While nothing in the rulebook actually prohibits throwing potatoes, each time it has occurred, the umpires have ruled it to be illegal under rule 9.01(c), which allows umpires to make a ruling for anything not covered in the rulebook.

12. Fielders are not permitted to blow a ball foul [Rule 9.01(c)]

In a 2012 Spring Training game, Los Angeles Dodgers third baseman Jerry Hairston fell to his knees and attempted to blow a slow dribbler foul. His attempt was unsuccessful, but sportswriters immediately harkened back to a similar play Seattle third baseman Lenny Randle had made on May 28, 1981.

Randle successfully blew the ball into foul territory and Larry McCoy, the home plate umpire, called the ball foul, but reversed his decision after Kansas City manager Jim Frey argued. Evoking his powers from rule 9.01(c), he declared that Randle had illegally altered the course of the ball. His ruling set a precedent, making the play unofficially illegal ever since.

Randle had not been the first to try such a stunt, though. Bert Haas, a member of the Montreal Royals of the International League, had tried the same thing on a suicide squeeze in a 1940 game. When Haas realized he would not be able to throw out either runner, he began his efforts to blow the ball. Just before the ball reached third base, it rolled foul. The umpire ruled the runner had to return to third and the batter back to the plate. Strangely, the opposing team did not protest the decision. After the game, however, International League President Frank Shaughnessy issued a statement that no player would be permitted to blow a ball foul after that.

While knowledge of Shaughnessy’s ruling may have spared Randle the inclusion in many sports blooper reels, McCoy’s 1981 ruling set a precedent at the Major League level that such a play would not be tolerated today, even though it is not in the rule book.

Additional sources: The Giant Book of Strange but True Sports Stories; A Game of Inches: The Stories Behind the Innovations that Shaped Baseball: The Game Behind the Scenes (Vol. 2); Baseball Almanac.

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25 Fascinating Facts About Breaking Bad
Ben Leuner/AMC
Ben Leuner/AMC

On January 10, 2008, Breaking Bad made its debut. Though it didn’t premiere to over-the-top ratings, over the course of five seasons, it morphed into a television phenomenon—thanks in large part to word of mouth and the increasing popularity of binge-watching. At its most basic level, it’s the story of a soft-spoken chemistry teacher who, after being diagnosed with lung cancer, risks everything he has worked for to make sure his family will be taken care of in the event of his death. But, like all great TV shows, the story is really not that simple. And it evolves over time, with each season somehow—and miraculously—managing to top the one before it.

Regularly cited as one of the greatest television series of all time (Rolling Stone ranked it number three on its list of the 100 best shows, right in between Mad Men and The Wire), here are 25 things you might not have known about Breaking Bad, in honor of its 10th anniversary.

1. LOTS OF NETWORKS PASSED ON IT, INCLUDING HBO.

In 2016, it was announced that Vince Gilligan is working on a limited series about Jim Jones for HBO. But the “It’s not TV” network wasn’t always so hot on Gilligan. In a 2011 interview, Gilligan shared that he pitched Breaking Bad to HBO, and that it was “the worst meeting I’ve ever had.”

"The trouble with Hollywood—movies and TV—is people will leave you dangling on the end of a meat hook for days or weeks or months on end,” Gilligan said. “That happened at HBO. Like the worst meeting I ever had … The woman we [were] pitching to could not have been less interested—not even in my story, but about whether I actually lived or died.”

HBO wasn’t the only network that ultimately said no to Walter White: Showtime, TNT, and FX all passed on Breaking Bad, too, for various reasons.

2. THE NETWORK REALLY WANTED MATTHEW BRODERICK TO STAR.

It’s impossible to imagine Breaking Bad with anyone other than Bryan Cranston in the lead role, but he wasn’t as well known when the series kicked off, and AMC wanted a star. They were particularly interested in casting either Matthew Broderick or John Cusack in the lead.

"We all still had the image of Bryan shaving his body in Malcolm in the Middle,” a former AMC executive told The Hollywood Reporter about their initial reluctance to cast Cranston. “We were like, 'Really? Isn't there anybody else?’” But Gilligan had worked with Cranston before, on an episode of The X-Files, and knew he had the chops to navigate the quirks of the part. The network brass watched the episode, and agreed.

"We needed somebody who could be dramatic and scary yet have an underlying humanity so when he dies, you felt sorry for him,” Gilligan said. “Bryan nailed it."

3. JESSE PINKMAN WASN’T SUPPOSED TO LIVE PAST SEASON ONE.

Aaron Paul in 'Breaking Bad'
Doug Hyun/AMC

While Breaking Bad ultimately ended up being largely about the tumultuous partnership between Walter White and Jesse Pinkman, Jesse wasn’t originally intended to be a major character. While it’s often stated that he was supposed to be killed off in episode nine, and that it was the 2007-2008 Writers Guild of America strike that saved him, Gilligan set the record straight in 2013, saying it became clear much earlier than that that Jesse’s character—and his relationship to Walter—was integral to moving the show forward.

“The writers’ strike, in a sense, didn’t save him, because I knew by episode two—we all did, all of us, our wonderful directors and our wonderful producers,” Gilligan said. “Everybody knew just how good [Aaron Paul is], and a pleasure to work with, and it became pretty clear early on that that would be a huge, colossal mistake to kill off Jesse.”

When asked during a Reddit AMA about how he would have felt if Jesse had been killed off in season one, Paul posited that, “My career would be over. And I would be a sobbing mess watching week to week on Breaking Bad.”

4. THE WRITERS STRIKE DID CHANGE THE STORY ARC FOR SEASON ONE, WHICH TURNED OUT TO BE A GOOD THING.

The Writers Strike did end up shortening the show’s first season, which forced Gilligan to cut two episodes that would have seen Walter’s transformation into Heisenberg happen much more quickly—and violently. Gilligan was glad it worked out the way it did.

“We had plotted out all our episodes before the show ever went on the air, and we didn't know how well the show would be received,” Gilligan told Creative Screenwriting. “Not knowing how the public would take to it, you tend to want to be a little more sensational. You want to really keep the show exciting and interesting and keep 'em watching. All of that to say that those last two episodes, because of that, would have been really big episodes, and would have taken the characters into a hugely different realm than that they were already in, and it would have been a hard thing to come back from, coming into season two.”

“We're not just doing those two episodes coming into season two,” he added. “We threw those out completely and we're starting somewhere else. We're building more slowly than we otherwise would have built. I think that's really good, because I know we've all had our favorite shows that were really interesting up to a certain point, but maybe they just go too far, and then there's no going back from it. To me, the trick is to do as little as possible with the characters, and yet keep them as interesting as possible. It's a real balancing act.”

5. THE DEA HELPED OUT, AND EVEN TAUGHT BRYAN CRANSTON AND AARON PAUL HOW TO COOK METH.

Because of the subject matter, the show’s creators thought it was only right to inform the Drug Enforcement Administration (DEA) what they were making—and welcome their help. “We informed them—with all due respect and consideration—that we’re doing this show, and ‘Would you like to be a part of it in a consultancy in order to make sure that we get it right?’” Cranston told High Times. “They had the choice to say, ‘We don’t want anything to do with it.’ But they saw that it might be in their best interest to make sure that we do it correctly. So DEA chemists came onboard as consultants and taught Aaron Paul and me how to make crystal meth.”

6. THE SCIENCE IS SOUND, BUT NOT PERFECT. AND THAT WAS INTENTIONAL.

Vince Gilligan and Bryan Cranston on the set of 'Breaking Bad'
Doug Hyun/AMC

Dr. Donna Nelson, a chemistry professor at the University of Oklahoma, began serving as a science advisor on the show midway through the first season, and was tasked with making sure the show got its science right—or, at least as “right” as is safe.

“I don’t think there’s any popular show that gets it 100 percent right, but that’s not the goal,” Nelson told Mental Floss in 2013. “The goal is not to be a science education show; the goal is to be a popular show. And so there’s always going to be some creative license taken, because they want to make the show interesting.”

Of course—particularly with a show about drug-making—you don’t want to give viewers a primer on how to start their own meth empires. “In the case of Walter White, his trademark is the blue meth,” Nelson said. “In reality, it wouldn’t be blue; it would be colorless. But this isn’t a science education show. It’s a fantasy. And Vince Gilligan did a fantastic job of getting most of the science right. And I am just thrilled with that. I think Vince Gilligan is a genius, and you can quote me on that!”

7. THAT ICONIC BLUE METH IS ROCK CANDY.

Whenever you see Walter and Jesse’s signature blue meth, what you’re actually seeing is blue rock candy. More specifically: blue rock candy from The Candy Lady, a boutique candy store in Albuquerque. (They have a whole line of Breaking Bad-inspired treats, which they sell under The Bad Candy Lady line.)

8. GUS FRING’S ROLE WAS SUPPOSED TO BE MUCH SMALLER.

Initially, Giancarlo Esposito wasn’t interested in taking on the role of Gus Fring, which was a much smaller part in the beginning. “I had not seen Breaking Bad, but my manager at the time told me it was his favorite show,” Esposito told TIME. “My wife said I should I try it, but it was a guest spot and I’ve done a lot of guest spots. I wanted to develop a character. But I did one episode and then I agreed to do two more with the caveat that I wanted to be part of a filmmaking family.”

When Gilligan offered him another seven episodes for season three, Esposito countered that he wanted a bigger role. “There was some negotiating and I ended up doing 12,” Esposito said. “I wanted to create a character who became intrinsic to the show. And at some point, I realized that I had slid into the Breaking Bad family. Vince told me that I changed the game and raised the bar for the show. And I’m proud of that, but I could only do that because of the depth of the writing and due to the chemistry between Bryan Cranston and myself. And their writing inspired me to think, to create someone who was polite, threatening and poignant.”

9. GIANCARLO ESPOSITO CHANNELED HIS INNER EDWARD JAMES OLMOS.

Giancarlo Esposito in 'Breaking Bad'
Ursula Coyote/AMC

In the mid-1980s, Giancarlo Esposito made a few guest appearances on Miami Vice. The experience clearly had an effect on him, as he used Edward James Olmos’s character from that series, Lieutenant Martin Castillo, as a model for Gus Fring.

“Eddie did very little and he was very convincing,” Esposito told the Toronto Sun. “I also thought he was a bit flat, but he did very, very little in playing [Castillo] and I thought it was really effective. Juxtaposed to Philip Michael [Thomas] and Don [Johnson], who were at times a bit full of themselves but were doing a little bit of acting, Eddie was just doing his job. And I wanted Gus to be in that mode."

10. GILLIGAN GOT SOME HELP FROM THE WALKING DEAD CREW FOR FRING’S FINAL EPISODE.

Fring’s final sendoff is one of the most memorable visual images from the entire series—and they were able to enlist the help of some true gore experts. “Indeed we did have great help from the prosthetic effects folks at The Walking Dead,” Gilligan told The New York Times. “And I want to give a shout-out to Greg Nicotero and Howard Berger, and KNB EFX, those two gentlemen and their company, because their shop did that effect. And then that was augmented by the visual effects work of a guy named Bill Powloski and his crew, who digitally married a three-dimensional sculpture that KNB EFX created with the reality of the film scene. So you can actually see into and through Gus’s head in that final reveal. It’s a combination of great makeup and great visual effects. And it took months to do."

11. YES, AARON PAUL DOES SAY “BITCH” A LOT—BUT PROBABLY NOT AS MUCH AS YOU THINK.

While any Jesse Pinkman impression ends with a “bitch,” by one calculation, Paul uses the word a total of 54 times throughout the series. Which, considering there are 62 episodes, seems a little on the low side.

12. PAUL RELEASED A “YO, BITCH” APP.

Aaron Paul in 'Breaking Bad'
AMC

Even if that above number seems underwhelming, Pinkman’s favorite add-on became so synonymous with Paul that, in 2014, the actor released an app called Yo, Bitch.

13. WALTER’S BOSS AT THE CAR WASH IS A CHEMIST IN REAL LIFE.

Marius Stan, who played Bogdan, Walter’s boss at the car wash, wasn’t a familiar face to many of the show’s viewers. That’s because the series was his (and his eyebrows’) acting debut. In real life, rather coincidentally, he has a PhD in chemistry and, according to a Reddit AMA, is a “Senior Computational Energy Scientist at Argonne National Lab—which is one of the national laboratories under the U.S. Dept. of Energy—and a Senior Fellow at the University of Chicago, the Computation Institute."

14. WALTER WHITE’S ALTER EGO IS A NOD TO A REAL PERSON.

Walter White’s drug kingpin alter ego, Heisenberg, is a nod to Werner Heisenberg, a Nobel Prize-winning physicist who developed the principle of uncertainty.

15. HEISENBERG’S SIGNATURE HAT WAS A MATTER A PRACTICALITY. 

Bryan Cranston in 'Breaking Bad'
Frank Ockenfels 3/AMC

Heisenberg’s porkpie hat came to identify Walter White’s dark side, but it originated from a very practical place. “Bryan kept asking me, after he shaved his head, ‘Can I have a hat?’ because his head was cold,” Kathleen Detoro, the show’s costume designer, explained. “So I would ask Vince and he kept saying no; Jesse wore the hats. Finally, Vince said, ‘I think there’s a place …’ It was Bryan asking for a hat, me asking Vince, and then Vince figuring out where in the story it makes sense: It’s when he really becomes Heisenberg.” (If you want to buy your own Heisenberg hat, it was made by Goorin.)

16. THE WHITES’ HOUSE HAS BECOME A TOURIST ATTRACTION—AND LOTS OF PIZZA HAS BEEN THROWN ON THE ROOF.

Though Walter White and his family live at 308 Negra Arroyo Lane, the home that you see in exterior shots is actually located at 3828 Piermont Drive NE, a private home in Albuquerque that has become a pretty major tourist attraction. Many fans, caught up in the excitement of seeing the home where Walter White managed to hurl the world’s largest pizza onto the roof in one swift move, have attempted to recreate that scene—leaving the home’s owner with a regular mess.

In 2015, Gilligan appealed to the show’s fan base to refrain from throwing pizza onto the home’s roof. “There is nothing original, or funny, or cool about throwing a pizza on this lady’s roof,” Gilligan said. “It’s been done before—you’re not the first.”

“And if I catch you doing it, I will hunt you down,” added Jonathan Banks, in true Mike Ehrmantraut fashion.

17. CRANSTON MANAGED TO GET THAT PIZZA THROW IN ONE TAKE.

Speaking of that infamous pizza scene: It really was Cranston who threw it, and he managed to do it in one take. Gilligan called it a “one-in-a-million shot.”

18. TUCO GAVE JESSE A CONCUSSION.

A fight scene between Jesse and Tuco (Raymond Cruz) turned serious when Cruz ended up accidentally knocking Paul unconscious. “Yeah, Raymond Cruz who played Tuco gave me a concussion during the episode ‘Grilled,’ where Tuco takes Walt and Jesse to his shack in the middle of nowhere where we meet the famous Uncle Tio,” Paul said in a Reddit AMA. “Tuco takes Jesse and he throws him through the screen door outside, and if you watch it back you'll notice that my head gets caught inside the wooden screen door and it flips me around and lands me on my stomach and the door splinters into a million pieces. Raymond just thought I was acting so he continued and kicked me in the side and picked me up over his shoulder and threw me against the house, but in reality I was pretty much unconscious ... I kept pleading to him, saying ‘stop.’ The next thing I know I guess I blacked out and I woke up to a flashlight in our eyes and it was our medic. And then I hopped up acting like nothing wrong, but it appeared like I was drunk, and I kept saying, ‘Let's finish the scene’ but then my eye started swelling shut so they took me to the hospital. Just another fun day on the set of Breaking Bad!”

19. JANE’S DEATH WAS THE HARDEST SCENE FOR PAUL TO SHOOT.

When asked about the hardest scene to shoot during a Reddit AMA, Paul said that it was Jane’s death. “I honestly think the hardest scene for me to do was when Jesse woke up and found Jane lying next to him dead,” Paul said. “Looking at Jane through Jesse's eyes that day was very hard and emotional for all of us. When that day was over, I couldn't be happier that it was over because I really, truly felt I was living those tortured moments with Jesse.”

The scene was hard on Cranston, too, who reportedly spent 15 minutes crying after filming was complete.

20. MIKE’S DEATH WAS HARD FOR EVERYONE.

Jonathan Banks in 'Breaking Bad'
Frank Ockenfels/AMC

When asked about filming his final scene, Jonathan Banks shared that, “The crew on the set that day all wore black armbands all day long. There are a lot of friends on that crew. It was an emotional day to say the least on set—a lot of tears. Tough day, brother.”

21. JESSE’S TEETH STILL BOTHER GILLIGAN.

When asked about whether he had any regrets about the show or any of its storylines, Gilligan admitted to one: "One thing that sort of troubled me, looking back over the entirety of the show: Jesse's teeth were a little too perfect. There were all the beatings he took, and, of course, he was using meth, which is brutal on your teeth. He'd probably have terrible teeth in real life."

22. WARREN BUFFET RESPECTS WALTER WHITE’S BUSINESS ACUMEN.

Warren Buffet was a fan of the series, and even showed up to its fifth season premiere. On the red carpet, he expressed admiration of Walter White’s entrepreneurship, calling him "a great businessman," and saying that, "he’s my guy if I ever have to go toe-to-toe with anyone."

23. THERE ARE 62 EPISODES IN TOTAL—A NUMBER THAT HAS A SPECIAL MEANING. 

The cast of 'Breaking Bad'
Frank Ockenfels/AMC

Over the course of five seasons, Breaking Bad produced a total of 62 episodes—which is no arbitrary number. The 62nd element on the periodic table is Samarium, which is used to treat a range of cancers, including lung cancer.

24. THE FINAL DEATH TOLL IS PRETTY IMPRESSIVE.

Though you may have underestimated the number of times Jesse uttered “bitch,” you might be surprised by how many people were killed throughout the show’s entire run: 270. (BuzzFeed created a thorough breakdown of some of the most memorable ones.)

25. IN 2016, A METH COOK NAMED WALTER WHITE WAS WANTED BY THE AUTHORITIES.

In 2016, a 55-year-old man named Walter White rose to the top of Tuscaloosa, Alabama’s most wanted list for manufacturing and selling meth. Though White wasn’t a teacher, there have been other real-life stories that mirrored Walter White’s descent into the criminal underworld: In 2012, a chemistry teacher named William Duncan was arrested for selling meth; in 2011, Irina Kristy, a 74-year-old math professor, was arrested for running a meth lab.

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7 Things You Might Not Know About Audrey Hepburn
Hulton Archive, Getty Images
Hulton Archive, Getty Images

Though she’ll always be known as the little-black-dress-wearing big-screen incarnation of Holly Golightly from Breakfast at Tiffany’s, there’s probably a lot you don’t know about Audrey Hepburn, who passed away in Switzerland on January 20, 1993.

1. HER FIRST ROLE WAS IN AN EDUCATIONAL FILM.

Though 1948’s Dutch in Seven Lessons is classified as a “documentary” on IMDb, it’s really more of an educational travel film, in which Hepburn appears as an airline attendant. If you don’t speak Dutch, it might not make a whole lot of sense to you, but you can watch it above anyway.

2. GREGORY PECK WAS AFRAID SHE’D MAKE HIM LOOK LIKE A JERK.

Hepburn was an unknown actress when she was handed the starring role of Princess Ann opposite Gregory Peck in 1953’s Roman Holiday. As such, Peck was going to be the only star listed, with Hepburn relegated to a smaller font and an “introducing” credit. But Peck insisted, “You've got to change that because she'll be a big star and I'll look like a big jerk.” Hepburn ended up winning her first and only Oscar for the role (Peck wasn’t even nominated).

3. SHE’S AN EGOT.

In 1954, the same year she won the Oscar for Roman Holiday, Hepburn accepted a Tony Award for her title role in Ondine on Broadway. Hepburn is one of only 12 EGOTs, meaning that she has won all of the four major creative awards: an Emmy, Grammy, Oscar, and Tony. Unfortunately, the honor came to Hepburn posthumously; her 1994 Grammy for the children’s album Audrey Hepburn’s Enchanted Tales and her 1993 Emmy for Gardens of the World with Audrey Hepburn were both awarded following her passing in early 1993.

4. TRUMAN CAPOTE HATED HER AS HOLLY GOLIGHTLY.

Blake Edwards’s Breakfast at Tiffany’s may be one of the most iconic films in Hollywood history, but it’s a miracle that the film ever got made at all. Particularly if you listened to Truman Capote, who wrote the novella upon which it was based, and saw only one actress in the lead: Marilyn Monroe. When asked what he thought was wrong with the film, which downplayed the more tawdry aspects of the fact that Ms. Golightly makes her living as a call girl (Hepburn had told the producers, “I can’t play a hooker”), Capote replied, “Oh, God, just everything. It was the most miscast film I’ve ever seen. It made me want to throw up.”

5. HOLLY GOLIGHTLY’S LITTLE BLACK DRESS SOLD FOR NEARLY $1 MILLION.

Audrey Hepburn in 'Breakfast at Tiffany's'
Keystone Features, Getty Images

In 2006, Christie’s auctioned off the iconic Givenchy-designed little black dress that Hepburn wore in Breakfast at Tiffany’s for a whopping $923,187 (pre-auction numbers estimated that it would go for between $98,800 and $138,320). It was a record-setting amount at the time, until Marilyn Monroe’s white “subway dress” from The Seven Year Itch sold for $5.6 million in 2006.

6. SHE SANG “HAPPY BIRTHDAY” TO JFK IN 1963.

One year after Marilyn Monroe’s sultry birthday serenade to John F. Kennedy in 1962, Hepburn paid a musical tribute to the President at a private party in 1963, on what would be his final birthday.

7. THERE’S A RARE TULIP NAMED AFTER HER.

Photo of Audrey Hepburn
Hulton Archive, Getty Images

In 1990, a rare white tulip hybrid was named after the actress and humanitarian, and dedicated to her at her family’s former estate in Holland.

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