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Tag Archives: Breaking Bad
It’s difficult to build tension and create real stakes in a prequel, and that problem is magnified the closer a film or television show gets to the familiar part of the timeline. If the audience already knows who lives and who dies, and who has to reach a certain point of the story unscathed for that matter, it can mute some of the excitement and intrigue of a particular plotline.
On the other hand, it can also heighten the tension in an episode by spotlighting the mystery between the known beginning and the known ending. As Better Call Saul shows Nacho planning a hit on Tuco, we know that Tuco lives; we know that Mike lives, and thanks to the opening scene in “Gloves Off”, we know that the crafty Mr. Ehrmantraut ends up bruised and battered, presumably in the attempt. All of this raises the question of how we get from Point A to Point B.
Does the hit go wrong? Does Mike beg off from Nacho and catch a beating for his troubles? In true Breaking Bad fashion does some unexpected intervening factor come into play and throw the whole situation out of whack? We don’t know, but we want to know, and that’s just part of the masterful job that BCS does in using its prequel status as a boon and not an obstacle when it comes to holding the audience’s attention.
Salon’s Matthew Brandon Wolfson recently criticized Mad Men for its commercial appeal. He accused the show’s creator, Matthew Weiner, of “selling…an image of a glowing past — a prettier, simpler time when people knew their social roles and played them perfectly.” And he insinuated both that the show’s commercial-friendly nature sits uneasily with its art and that Weiner wants the viewer to “find [the show] twisted and layered and dark, but [he] also wants you to buy it.” But in describing Mad Men as an “exquisite empty shell,” Wolfson mistakes the packaging for the package, and misses the subtly brilliant way the series has its cake and eats it too.