Break That Bad – Waiting For Gus

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The architecture of story is important, and consumers are educating-up. ‘Breaking Bad’ wasn’t the first major television series to elevate the medium, but it certainly perfected the craft. For fifty years, audiences were passive consumers of story-telling, and there are several examples of master storytelling in television – from ‘X-Files’ and ‘Law & Order’ to ‘The Office’ and ‘The Wire’ – but the tide began to turn about ten years ago. I would argue that the FX flagship series ‘The Shield’ really sparked a new flame in long-form serial storytelling, a program of anti-heroes that paved the way for ‘The Sopranos’ and ‘Deadwood’ and ‘Breaking Bad.’

Now we’re up to our necks in amazing content. Netflix jumped into the realm of original programming with hit series like ‘Daredevil,’ and ‘Game of Thrones’ on HBO has been one of the most successful – and amazing – series of all time. We live in a remarkable time, with thoroughly literate programming that has broken from the four-camera sit-coms of the past. I’m currently catching up with ‘Preacher’ and ‘Mr Robot.’ There’s more good television out there than feature-length film. A ten episode run, simply stated, lends more time – ten one-hour episodes, on average – than anything that can be achieved in a two-hour feature film. And audiences want character development.

I’m a photographer and I’m an artist, and I love all of these amazing stories. Raised on Stephen King novels and comic books and Saturday morning cartoons, I can’t help but be super-excited by all of the amazing storytelling we’re seeing today. We’re halfway between the conclusion of ‘Better Call Saul’ season two and the premier of season three. And Gus Fring – expertly portrayed by actor Giancarlo Esposito – is destined to reprise his role in the opening episode. Fans of ‘Breaking Bad’ already know how he died, but now we get to learn more about how he built his drug empire.

I know that I’m not alone. It’s going to be a rush to see how “Slippin'” Jimmy McGill and “troll under the bridge” Mike Ehrmantraut first make contact with the calculating crime lord Gus Fring. The show has been a slow burn, boring a lot of viewers, but good story-telling takes time. I expect things to really heat up with the season three debut.

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Breaking Bad – Say My Name

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Many folks herald Breaking Bad as the greatest television show in the history of television. I wouldn’t go so far. It was successful in developing a narrative that rewarded its audience and grew along with its popularity. But if we’re going to be honest with ourselves, it’s a show that began slow. It certainly managed to enhance its narrative velocity throughout its five-season run, but there was an undeniable lull during the earliest episodes. Its biggest success rested in the show-runners – and creator Vince Gilligan – outlining how they wanted the story to end. The network had no opportunity to milk the show – keep it on life support while the numbers were good – until it fell into relative obscurity (think Dexter or True Blood).

Sure, we would all have gleefully sat through an additional three seasons of Walter White and Jesse Pinkman dodging bullets and escaping the guillotine, but a poorly-resolved narrative condemns a story to the realm of ‘the forgettable.’ We remember Breaking Bad because the story respected its audience. It was designed to be a complete story, not a money-maker – and that’s why it’s such a profoundly successful money-maker. The competition between ‘art’ and ‘commerce’ destroys most shows, most books, and a lot of popular art. Focus groups and ratings have a direct influence on the direction many of our stories go – seeking to please audiences rather than impact them.

Focus groups are as effective as the SAT’s in measuring success – which is to say, they don’t measure success. In many cases, they destroy it. Breaking Bad is one of the greatest examples of long-form story-telling specifically because it didn’t allow itself to be influenced by outside, disaffected parties. It took risks. It reminded audiences that creativity and ingenuity can allow a television show to achieve as much – if not more – than feature-length films. Breaking Bad inaugurated the wave of cinema-quality television we’re now experiencing.

And hindsight is 20/20. If we can be genuinely objective, Better Call Saul is better at the job of character development and story-telling than Breaking Bad ever was. Artists – and the writers in their ranks – evolve. In Saul, nothing is taken for granted in it’s production. Breaking Bad, the early years, has the tainted film of “this might not be picked up for another season” written all over it. Better Call Saul is infinitely more confident in it’s story-telling – in a way that audiences have never seen. Sure, it could be canceled at any time, but it’s obvious that the writers know precisely where they’re going with their characters. They have to be, because half of these characters already exist in the Breaking Bad series.

With the ultimate fate of the principle characters an already-known quantity, the writers of Better Call Saul have been working on – and achieving – a heightened level of story-telling, the likes of which we have never, in the history of books, movies, or television, ever seen. It’s pretty damn cool.

Keep your eyes open. Look at the quality. And please: Say. My. Name.

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