BETTER CALL SAUL Worth Picking Up

Article first published as BETTER CALL SAUL Review on Seat42F.

BETTER CALL SAUL doesn’t shy away from its roots. Last night’s series premiere on AMC, “Uno,” begins a little bit after Breaking Bad ended. Saul Goodman (Bob Odenkirk) has relocated to Omaha, Nebraska and is the sad, pathetic manager of a mall Cinnabon. The highlight of his day is going home to his little house, pouring himself a stiff drink, and watching commercials from his glory days. This is where the story ends, and where it begins.

The meat of BETTER CALL SAUL is set six years before Breaking Bad even starts. Saul is known as Jimmy McGill back then, a very unsuccessful lawyer with a crummy office in the back of a nail salon. Desperate for clients, he also cares deeply for his disabled brother, the once-great lawyer Chuck McGill (Michael McKean, Clue, This Is Spinal Tap). Jimmy is at the end of his rope, making very little money representing very cruel teenagers and unable to convince Chuck he should cash out of the thriving firm he helped create.

Jimmy is not as far away from Saul as Walter begins away from Heisenberg, but there is definitely a lot that must happen to turn Jimmy into the sleazy, well-connected “success” he will become. This version of Saul is plenty willing to work outside the law; he just only does so in small ways, and his bravado is much more faked.

I don’t think we can condemn Jimmy for his hatred of Chuck’s partner, Howard Hamlin (Patrick Fabian, Big Love, Veronica Mars). Jimmy thinks Chuck, trapped at home without power because of a crippling disability, is being taken advantage of. Chuck obviously has a big heart, not wanting to hurt the business he built because of how it would affect the employees. But Jimmy sees his big bro as a bit of a schmuck who Howard is pulling one over on. Is Jimmy right, or does he just not have the mind-frame to see Howard and Chuck’s more altruistic viewpoints?

It’s easier to blame Jimmy for what happens or will happen to a pair of young scammers. To try to win a client who is (understandably) reluctant to sign, Jimmy gets the boys to fake an accident. What Jimmy doesn’t know is that this leads them into the den of psychopathic drug dealer Tuco (Raymond Cruz), a place Jimmy ends up as well by the end of the hour. Jimmy may not know who he’s messing with, but he does do something incredibly dumb that gets him and the boys into the situation, so he is to blame.

That makes me wonder how viewers are supposed to feel about the protagonist. Breaking Bad proved you can make a show about a character who is often unlikeable, but there’s something about Saul that makes me care. In Jimmy, this is even more prevalent. He’s the little guy, pushed down, and all his antics are him fighting back against what he sees as a rigged system. This is a sympathetic position, whether he’s right or not.

The style of BETTER CALL SAUL is very reminiscent of Breaking Bad. It is slow burn, with very artistic direction, confusing close-ups, and the very real feel of a larger story than what is being presented. This is by the same guys who did that show, and you can easily tell that, the connections being more than just a character or two.

Joining Jimmy, Chuck, and Howard, the cast includes: Mike (Jonathan Banks), whom fans will remember from the mother ship, and who gets only one (very special) scene in “Uno;” Kim (Rhea Seehorn, Whitney, Franklin & Bash), a lawyer who works for Howard, but seems to at least like Jimmy a little bit; and Nacho (Michael Mando, Orphan Black), a criminal I didn’t notice at all in the first episode, so he may not have shown up yet. This seems a good mix of new and old faces from various worlds, leaving open a number of possibilities as to how the series can move forward.

I like Better Call Saul. Odenkirk is still doing the great work he did in Breaking Bad, deepening the character and showing more range. While I have pointed out a number of similarities to that other series, it also has the bones to be its own story completely, not reliant on its predecessor as it goes on, with references being more funny that necessary. It’s early to make a judgment, but AMC’s decision to already order a second season makes me optimistic my faith in BETTER CALL SAUL is not misplaced.

BETTER CALL SAUL moves to its normal night and time this evening, airing episode two at 10 p.m. ET on AMC.

Whether to Watch FARGO is Not a "Dilemma"

Article first published as FARGO Review on Seat42F.

FX’s new FARGO is the story of a pregnant police chief (Frances McDormand) tracking a pair of hit man (Steve Buscemi and Peter Stormare) near the town of Fargo. The guys have been hired by a local failure (William H. Macy) to kidnap his wife in order to extort money from the woman’s father. But during the abduction, she is accidentally killed, setting off a series of dangerous, somehow funny, events. And bodies get put into a wood chipper.

No, wait a second. That’s the excellent 1996 film of the same name. Remarkably, pretty much none of what I said in the preceding paragraph applies to the story of the series, which goes in its own direction. I’m not saying that FX’s FARGO abandons the premise entirely. Although none of the character names have been changed, there are some very familiar character types.

Wimpy Lester Nygaard (Martin Freeman, Sherlock, The Hobbit) encounters by chance a hit man named Lorne Malvo (Billy Bob Thornton, Armageddon), who encourages Lester to find his inner man. The local police chief (Shawn Doyle, Big Love), who has a pregnant wife (Julie Ann Emery, Hitch), and his deputies, Molly (Allison Tolman, Sordid Lives: The Series) and Bill (Bob Odenkirk, Breaking Bad), are looking for Lorne, though they don’t yet know who he is.

By taking some characters that seem a lot like the ones in the movie and keeping the setting and the accents, FARGO ties itself to the earlier work enough to bring the fans of it in. Yet, in making some very different choices with the story from the first scene onward, it makes the action unpredictable, keeping viewers guessing what might happen and who could die next.

This FARGO expertly maintains the balance between blood and laughs that one might expect. Characters (yes, plural) that might be considered important die in the very first installment. At the same time, the dialogue and bumbling happenstances, especially when Lester is around, make the proceedings enjoyable and lighter than one may expect from a program with a high body count. There are numerous occasions when I could not help but laugh out loud, a distinction most sitcoms fails to reach on a weekly basis.

The pilot is titled “The Crocodile’s Dilemma.” For those unfamiliar with the logic paradox, this refers to a crocodile kidnapping a child. The croc promises the father that he can have the kid back if and only if the father is able to accurately predict whether the crocodile will give him back the boy. If the father states that the crocodile will not give back the son, then he has correctly predicted and the croc must hand over the boy, though then that means the father didn’t correctly predict because the crocodile didn’t keep him.

If that makes your brain hurt, I understand. FARGO isn’t quite as complex as all that. What it is, though, is a well-crafted series of events, some from cause and effect, others arising by chance, that intermix in such a way that there doesn’t seem to be an easy, logical way out for the main players. Since the show has ten episodes to tell their story, it isn’t obvious yet how unwinnable the scenario will be, but it does feel like this is the type of situation set up in “The Crocodile’s Dilemma.”

The cast is truly fantastic. Freeman and Thornton, of course, have a body of work that implies they can handle themselves, and they do, beautifully. But so do the rest of those named above, along with Kate Walsh (Private Practice), Colin Hanks (The Good Guys), Keith Carradine (Dexter), and numerous other guest and recurring roles, with a heck of a lot more famous folks signed to appear in later hours. Whoever put together this crew deserves major credit, as FARGO would not work without its cast.

Strangely, there are also a couple of parts that are left wanting, mostly because they are not played by big names, but seem like big names should have been obtained, meaning it feels like FARGO failed to get its first choice and settled for a replacement. The bully introduced in the first hour is definitely a “Tom Wilson type,” but is not portrayed by Tom Wilson. We also meet a “Stephen Merchant type” later on. I could be wrong about the second-choice standings, but these parts feel just too close to those performers to be played by anyone else.

Other than that, though, I have no complaints. FARGO is a compelling, highly entertaining masterpieces, crafted so intelligently, and executed in the best of methods. The tiny touches, such as a message spelled out on Lester’s refrigerator, kick the quality up yet another notch. I am already a firm fan of this miniseries. FARGO airs Tuesdays at 10 p.m. ET on FX.

Happy BIRTHDAY BOYS!

Article first published as Happy BIRTHDAY BOYS! at TheTVKing.com

IFC's new sketch comedy series is The Birthday Boys. The titular troop is made up of seven guys, Jefferson Dutton, David Ferguson, Mike Hanford, Tim Kalpakis, Matt Kowalick, Mike Mitchell, and Chris VanArtsdalen, several of whom have worked on the network's Comedy Bang! Bang!, but none are familiar faces nor household names. With producer Bob Odenkirk (Breaking Bad), who also appears on screen, each half-hour episode presents several bits.

The Birthday Boys feels fresh. That's hard to do for a sketch comedy series. Saturday Night Live has been on so long that it often feels stale, and aside from an occasional, narrow-subject piece like Portlandia, most of the shows in this genre are short-lived and don't reach wide ranges of viewers. Yet, there's something here that is clever and original, at least in this week's pilot, entitled "Paychecks!"

The main recurring sketch in "Paychecks!" is a play on the origin of Apple computers and other tech, with a focus on building the garage they worked in over the technology itself. It's an unexpected spin that works very well, committed to in a much longer segment than I would have assumed it would earn, but never losing steam. Why do all computer geniuses of that era seem to work in a place normally reserved for parking cars? It's funny.

A second bit, which pops up a couple of times, involves a Christian take on pranks, frying eggs instead of smashing them on houses, and leaving flaming birthday candles on a delicious cake on a neighbor's doorstep. Perhaps this is a little mean against the religious, and admittedly such a group is an easy target, but the style, which is reminiscent of Jackass, is really cool.

A third scene, bizarre in nature, follows a remote controlled car that can take them to a fantasy land, but must use regular roads. The visuals of the toy on a highway admid actual vehicles is hilarious, making the sort-of-thin, Mr. Rogers-esque premise, more than it could be.

There's also a hostage stand-off that takes a typical situation, and skews it in a brilliant way.

That's why The Birthday Boys works, the same reason so much other comedy does: is taps into something familiar, and forces a new perspective. The formula is simple enough, but oh so hard to execute in a consistently pleasing manner. "Paychecks!" does so, and while it's far too early to see if the troupe has staying power, early signs are good. Plus, it's unpolished enough to be different than most of its peers, in a good way.

None of the players themselves particularly stand out in this episode. One assumes that will change as more and more episodes unfold. However, it's also not necessary, the concepts working on their own, without the need for star power to push them along. Yes, Odenkirk is famous enough, but he definitely takes a backseat to the seven guys, used in an effective way, but not in one that distracts from the material.

In short, I like The Birthday Boys, and you should show up to the party, too, Fridays at 10:30 p.m. ET on IFC.

BREAKING BAD Broken At Last

Article first published as BREAKING BAD Broken At Last on TheTVKing.

One of the most anticipated series finales in a while, AMC's Breaking Bad aired its swan song, "Felina," last night. Walter White (Bryan Cranston) returns to New Mexico to settle some scores and preserve his legacy, in danger of being gone completely. It is a very satisfying end for the chemistry teacher-turned-meth cook, though the episode did not serve the supporting characters as well.

It's surprising to see "Felina" start with Walt going to the home of Gretchen (Jessica Hecht) and Elliot Schwartz (Adam Godley). Their part of the story was way back in the early episodes of the show, and they aren't mentioned much after. Yet, there's a nice full-circle feel to Walt confronting Elliot and Gretchen now. At the end of a series, one wants it to tie back to the beginning, and because Walt needs them, it doesn't feel forced to revisit them in this last hour.

Everything that leads Walt to his former business partners is a natural happenstance. We realize that they are the first ones that screwed him over, in his opinion, and so set him on the path of changing from powerless to powerful. What happened with them shaped Walt into the man we've seen him become. Instead of taking revenge, though, as Walt has on others, he uses them as a tool to get money to his family. Their offense is minor, by comparison, and so is their punishment. Though, since Walt needs them alive to fulfill his purpose, that could contribute to the decision not to hurt them.

Is it necessary for Walt to scare and threaten them? His entire interaction with Elliot and Gretchen, from sneaking into their house, to nonchalantly examining things until they notice him, is designed to strike fear into their hearts. We've seen Elliot be generous with Walt before, and it's likely Elliot would have cooperated without the danger of a hit man looming over him. But there's always the chance Gretchen would block Elliot from doing so, and Walt is nothing if not thorough. He leaves nothing to chance.

The fact that Walt's "assassins" are Skinny Pete (Charles Baker) and Badger (Matt Jones) is a perfect twist! Walt sells the idea that he has hired professionals, but part of me was thinking it just might be them, and hoping for it. We get an amusing scene with these two wonderful characters, and I can't help but think they really deserve to be part of this finale, glad that there was a logical way to work them in.

Now, not every important Breaking Bad character gets to be part of the finale. Hank (Dean Norris) is dead, though we see a glimpse of him in flashback. And Saul (Bob Odenkirk) is absent completely, but he already had his ending, disappearing. So while I will not say Skinny Peter and Badger are more essential to the last episode than these two, because Hank and Saul have already had their endings, it's OK that they are missing, and no other important players are excluded.

Even Marie (Betsy Brandt) gets one moving scene. She calls to warn Skyler (Anna Gunn) that Walt is back in town. It's clear the sisters are still estranged, but this conversation shows that Marie has not given up on Skyler, and still cares about her. They will face a very long road if they ever want to get back to having a relationship, but at least there's still a window left open.

Walt is nothing if not brilliant, and he has figured out how he can move around town freely, as he needs to: he simply calls in lots of tips on himself. Marie mentions "two or three voices," so Walt probably has Skinny Peter and Badger calling, too. But how smart is that? Knowing that he will be spotted and that the authorities really want him, he distracts them by appearing to be everywhere at once, spreading the DEA's resources thin.

Walt and Skyler's final scene together is tense, and most of what occurs happens between the lines. We can see that Skyler still loves Walt, evidenced by the fact that she not only lets him in, but lets him see his daughter. And Walt loves Skyler, not telling her the money is coming to her, so as not to sabotage his own efforts, and giving her the coordinates to where Hank and Gomez (Steven Michael Quezada) buried to exchange for leniency from the authorities. But their time is over, and their lack of kiss or hug is very telling. Walt has lost his family.

It's even sadder that Walt can only glimpse Junior (RJ Mitte) through the window, knowing that approaching his son would be his undoing, as Junior would not hesitate to scream for the officers guarding the apartment. In that moment, watching Junior go into his run-down home, Walt has got to feel very guilty and helpless, as he deserves to be.

Then, it's time for Walt to take down his enemies. This is purely in order to satisfy his own selfish feelings, as doing so does not help his family nor anyone else. Walt goes after Jack (Michael Bowen) and crew, and mows them down by outsmarting them, not exactly hard to do with their less-than-stellar brain power, but still impressive. He even thinks to poison Lydia (Laura Fraser) ahead of time, to make sure all the bases are covered. "Felina" needs one good action scene, and the shoot out at the compound takes care of this, but because it's an exhibition of Walt's intelligence, it doesn't feel gratuitous.

Walt's rescue of Jesse seems incidental. Walt doesn't know Jack still has Jesse until he gets to town, and while it could be argued that Walt may want to save Jesse, it feels more like that he wants to get even for having his money stolen, and Jesse being there is just convenient, though not in a false way. That being said, once Walt sees Jesse, he has to tackle him and not just let him get shot.

No matter what has happened between them, Walt still thinks of Jesse as family. In their final scene together, Walt is saying he's sorry without uttering the words. Walt isn't about to grovel and beg for forgiveness, nor is he bogged down in regret about handing Jesse over to Jack. But he sees Jesse has paid his penance, and doesn't want to make Jesse suffer any further. And, as Walt knows he isn't making it out of the compound alive, it doesn't cost him anything to offer Jesse the chance to put him down.

Jesse doesn't feel the same sense of reconciliation. He hates Walt, and has every reason to, blaming Walt for pulling him into this ugly business that has led to the death of not one, but two women he loved. The only reason Jesse doesn't kill Walt is because Walt wants him to do so, and says it. Jesse would rather Walt suffer, and knows Walt isn't having a good life, whether he lives to leave the compound or not. Jesse wants Walt to be miserable as long as possible, and leaves him to be so.

It's a triumphant moment when Jesse escapes. He gets to kill Todd (Jesse Plemons), Jesse's personal torturer, the only one quick-witted enough to duck the bullets, but shocked dumb enough to stare out a window and turn his back on his enemies. Jesse is now free of both the gang and of Walt. It's just a shame he doesn't take a few minutes to find some of Walt's money so he has some cash to start a new life.

The last scene is of Walt, who has been shot protecting Jesse, dying in a meth lab, the melody "It's All Over Now, Baby Blue" playing. This is very powerful and fitting. Walt's product, his "baby blue," was the thing he loved, and it couldn't turn it's back on him like everyone else, not being a person, so he dies in it's company. The bullet Walt takes while shielding Jesse is not redemption; that, Walt will not have. But he has accomplished what he set out to do, and he's ready to lie down and be done.

The story of Breaking Bad is Walt's personal journey, an amazing character study, with the protagonist fundamentally changing from one end to the other. In this, "Felina" serves as a very well-done ending, hitting the beats Walt needs to go through to finish his life, and giving him the death he wants when he wants it. Perfect.

I'm a little sad we don't get to see what happens to Jesse, Skyler, and Junior down the road. I'd hoped, after Walt died, for a montage to let fans know these others are OK. The show isn't about them, though, it's about Walt. That kind of montage could have only been post-Walt's death, but that would robbed the final shot from being of Walt, which it needs to be. So while I really wish for a glimpse of these people down the road, that has to be let go and appreciate that the show did exactly what it should do.

Thank you Vince Gilligan, Bryan Cranston, and company for creating one of the best shows ever made. This is the reason those who previously only read books, looking down on the visual medium, are beginning to turn to television, as excellent examples of storytelling can be done on the small screen, too. The entire five-season epic will stand as a shining example of what TV can and should be.

Breaking Bad will be missed.

BREAKING BAD's Empire Falls in "Ozymandias"

Article first published as BREAKING BAD's Empire Falls in "Ozymandias" on TheTVKing.

"Ozymandias" isn't just a character in Watchmen; it's also a Greek poem about the fall of an empire. How fitting, then, that AMC's Breaking Bad's ante-penultimate episode, which depicts Walter White's (Bryan Cranston) crumbling drug empire completely self-destructing, bears that title.

"Ozymandias" begins with a flashback to Walt and Jesse's (Aaron Paul) first cook in the desert, at the same location where the shoot out in the previous episode takes place. Jesse acts an idiot as Walt calls home to pregnant Skyler (Anna Gunn) to lie about his whereabouts and discuss what to name their daughter. It's a touching throwback to how it all began, as well as showing the bookends of the main plot arc. I can't imagine a better way to tie everything together.

Then, we're back to the current timeline of the story. It was hard to accept last week that neither Hank (Dean Norris) nor Gomez (Steven Michael Quezada) was shot in the hail of gunfire brought about by Uncle Jack (Michael Bowen) and company. Turns out, Breaking Bad just chooses not to show us their wounds until this week, perhaps allowing viewers to hold out hope, as Walt does, that there is a way his brother-in-law can survive this showdown.

In fact, Walt pleads with Uncle Jack, as Gomez lays dead and Hank shot in the leg, willing to give up his entire eighty million dollar fortune to save Hank. Walt's hubris has been laughable before, but it's been a long time since he's been this pathetic, groveling with absolutely no power. It's a bit of a surprise that Walt will give up his money for Hank, but I guess family still matters to him somehow, or at least the idea of it does, as his actions during this hour show him scrambling to hang onto something he has already lost.

Hank is completely the opposite in this situation, defiant and bad-ass 'til the end. He knows he's dead, and he's not about to whine about it. Whereas Walt would never accept death with dignity, Hank is wise and brave enough to understand the scenario and hold his head high anyway. Hank doesn't want to die, but he sure fools everyone, biting out some great bits of dialogue before Jack inevitably puts a bullet in his brain.

It's hard to lose Hank, especially now. With Walt so close to being taken down, the one man who has spent so much effort working towards that goal doesn't get to see it happen. And Hank has kind of become the hero of the show. He will definitely be missed.

That said, at least the way this plays out fixes the hesitations about the end of last week's episode, unfolding the way it realistically should.

Walt does get to leave the desert, but not before angrily selling out Jesse, whom he definitely blames for Hank's death, leaving Jesse with the bitter truth behind Jane's (Krysten Ritter) death. There isn't any logical reason to cause Jesse this last bit of pain; it's delivered purely from a place of anger. Heisenberg is gone, and petty Walter White comes out, a despicable, weak man, the father-son relationship they once had completely gone now, both feeling betrayed.

Jack is willing to dissolve his deal to make Walt cook one more time in exchange for most of the money, and Walt departs with a single barrel, still having plenty of cash to live the rest of his life on, but  getting the more valuable outcome of being completely done with Jack. Walt is separating himself from the drug life, and in this moment, we witness the end of the character's professional journey.

It's not a problem for Jack to lose Walt's expertise because he has Jesse. Sure, Jack will likely eventually fulfill the bargain and kill Jesse. But until then, Todd (Jesse Plemons) gets to use Jesse to help make meth the way it's supposed to be made. Jesse cooperates because he still cares about Andrea (Emily Rios) and Brock (Ian Posada) and Todd knows this, using them as leverage.

This is the worst end for Jesse imaginable. His dignity and humanity are stripped from him, making him a disposable slave with a very finite time limit left on his life. Fans may hope a miracle happens and Jesse survives this, but it doesn't look likely at this point, and even if he does, it will come at great cost. With all of the dark stuff unfolding in "Ozymandias," it's not hard to imagine that the final two hours will be just as depressing.

Meanwhile, we see Marie (Betsy Brandt) in a position of triumph. Surprisingly, Marie is gracious in victory, still offering to help Skyler out. True, she makes Skyler spill everything to Junior (RJ Mitte), who doesn't believe the story at first. But she's determined to make sure her sister comes through this OK, which shows their bond isn't completely destroyed. This is good because the women will definitely be needing one another to lean on with both of their husbands removed from the picture.

This is really the first time we get to see Marie so strong. She doesn't possess the evidence to further Hank's mission alone, so this is all very short-lived. But it's a great pay off for a sometimes annoying character, stepping up and getting some good material.

After running out of gas (serves him right!), Walt finally makes it home and tries to flee with his family, who are less than cooperative when they quickly realize Hank is dead. It doesn't matter that Walt denies he did it, and in Walt's own twisted brain he probably thinks he isn't responsible; they blame him anyway. Hank's death is what finally wakes up Skyler to turn on Walt, and she has Junior's support.

There is a very tense scuffle with a knife, when viewers can be forgiven for thinking a member of the White family may be grievously injured. However, the scene is more emotional than physical confrontation. This is where the line in the sand is drawn and sides are taken, and it's probably also the final time we will see all four together. Walt's family's collapse is right on the heels of his business's demise, and so he snaps.

Snapping is the only way to explain the way in which Walt flees, smashing Skyler's car, taking all the money, and abducting baby Holly. Walt has never much taken care of his infant daughter, more in love with the idea of being a dad than determined to be a good one, and he likely takes Holly more to punish Skyler than because he wants to raise her himself. It's a very low blow.

I have to hand it to Vince Gilligan and the writers, though. Just when you think there is absolutely zero humanity left in Walt, he shows a smidgen of it, returning Holly via the fire department and calling Skyler to give her an out. Yes, the angry words Walt says to Skyler probably have a lot of honesty in them. They also serve, though, to absolve her of legal liability, making the cops think he bullied and forced her to participate, and his tears show he knows this, sacrificing himself for her.

It is a sacrifice, too, because what Walt says can be used as evidence to prove him guilty. Up to this point, with Hank and Gomez dead, there is still a chance Walt can get away with things, even if it would probably be temporary. In doing this, he focuses the blame now so that it won't continue to plague his family or eventually take them down, even though such events would likely come after Walt's death from cancer so it doesn't personally benefit him to do so. Though he doesn't leave his family the money, at least not yet, so his selfishness shows, too, even if one may argue he's "keeping it safe" for them until they can actually use it.

Then Walt gets into Saul's (Bob Odenkirk) guy's van and heads away for his new life. This is probably where we'll get the time job and reach the moments shown briefly in the season premiere, with Walt returning home well after what we've just seen. This is really the end, with those others hours serving as an epilogue. Or is it?

"Ozymandias" will stand as one of the best episodes in one of the best shows on television. The drama is heavy, the feelings are flowing, and the stakes are high. Beloved characters go down, and relationships are dissolved forever. Yet, it all feels completely natural to the story, and with the stunningly brilliant acting of this cast, it's as moving as anything I've ever seen on the small screen. Extremely well done.

Breaking Bad has two episodes left, airing Sundays at 9 p.m. ET on AMC.

DRUNK HISTORY Now Weekly

Article first published as DRUNK HISTORY Now Weekly on TheTVKing.

Drunk History began on funnyordie.com, was featured on HBO's Funny Or Die Presents, and now has its own weekly half hour on Comedy Central. The premise is simple enough - Derek Waters (Hall Pass) gets a person who knows a bit about American history drunk and has them tell a tale. Actors perform the inebriated bits, with the drunk voice dubbed over them.

Drunk History works for a couple of reasons. One, the people participating know what they are talking about, so while they tell things in an amusing way, there is some truth involved, too. Two, the segments are kept short, with Watergate, Lincoln's assassination, and Elvis meeting Nixon all in the first half hour. Third, the costumes and sets are pretty good. Not realistic-makeup good, but not made-in-someone's-basement cheesy, either, making the look work well. And it's edited, so we get some tangents, but the plots remain cohesive enough to follow.

There are lots of recognizable faces participating in Drunk History. In this first episode, Jack Black (Scott of Rock) is Elvis, Bob Odenkirk (Breaking Bad) is Nixon and 30 Rock's Jack McBrayer is Nixon's aide, Stephen Merchant (Extras) is Lincoln, Fred Willard (Modern Family) is Deep Throat, Adam Scott (Parks and Recreation) and Will Forte (Saturday Night Live) are the Booth brothers, Jonathan Ames (Bored to Death) plays father Booth, and Nathan Fielder (Nathan For You) portrays Woodward. I think having all of these people involved lends the proceedings credibility.

It's also really funny. The narratives are delivered in a whimsical, light-hearted way. It's enjoyable (for a limited amount of time, such as a half hour) to watch people who are wasted, and by taking the words they say and acting them out with pizazz, it's a lot like hanging out with your friends, only more visual.

I could do without the puking on the floor, though I guess that's a necessary risk, as Slightly Tipsy History wouldn't be nearly as good. But the cookie breaks and the dialogue delivery are wonderful. This is an idea that has proven popular in other venues, so it's nice to see it get its due now.

Drunk History airs Tuesdays at 10 p.m. ET on Comedy Central.

Please "Live Free" Breaking Bad!

Grade: 88%

AMC’s BREAKING BAD moves into its final season this week with “Live Free or Die.” After the usual cryptic opening set in the near future, the premiere does not set up a new story. Instead, the events of the hour deal with the aftermath of last year’s finale. With Gus (Giancarlo Esposito) recently killed, everyone tries to process that news, and figure out their next step.

Gus may be dead, but Walt (Bryan Cranston) and the others aren’t out of the woods yet. Remember that video camera that followed Walt around the lab? So does he. But before he can get his hands on the footage, Hank (Dean Norris) and the police take Gus’s laptop as evidence. Locked up in a very secure evidence room, it seems there is no way that Walt’s nefarious activities won’t come out. Mike (Jonathan Banks) advises they all run.

Walter White has come a long way on his journey to becoming a kingpin. In earlier seasons, the former chemistry teacher would have panicked, or perhaps not known what to do. And Walt will do something, because he has no intention of uprooting this life he has built himself, or fleeing from anyone. While Mike doesn’t even consider any other option, Walt remains calm, and quickly devises a plan.

Actually, it’s Jesse (Aaron Paul) who suggests the genesis of the scheme. Again, another character who has shown a lot of growth. Jesse used to be an idiot junkie. But after learning much about chemistry and attitude from Walt and Mike, he is able to keep a clear enough head to remember that magnets can destroy computers, and that might be something that they can use.

So after Jesse convinces Mike not to kill Walt, the three of them embark on the crazy mission of driving a giant junkyard magnet right up to the wall of police headquarters and cranking it all the way up. This is effective, and while their ride is sacrificed, they do make a clean get away. They are safe, for now.

Is there anyway that the magnet can be traced back to them in the upcoming investigation? Many, many criminals surely have things in the evidence room that they would like destroyed, and surely there are multiple laptops, even if Gus’s is the only one shown. But while the magnet may be nondescript, it shouldn’t take the police long to find the one junkyard in town that has a new one. After that, it is anyone’s guess how the employees at said junkyard will react to an interrogation.

Long before that happens, though, there might be a more immediate problem. The alliance between Mike, Jesse, and Walt is temporary. Who will fill the power vacuum left by Gus? One of them, or someone else? If it is someone else, they might stick together a little while longer. If it’s one of the trio, someone will have to end up dead, because these are some very strong personalities that just won’t become subservient.

It won’t be Jesse. Jesse is a follower. He naively trusts both Mike and Walt, and that will likely be his undoing, sadly. He may suggest a course of action, but he believes in them, is willing to stick his neck out for them, and is happy to take orders, rather than give them. Walt has already used this against Jesse, manipulating him by poisoning a child. Should Jesse realize this, the tide may change. But until that happens, Jesse is blind to his friend’s machinations, which means that he is putting his faith in someone that he shouldn’t.

Surprisingly, perhaps, Mike has developed a bit of loyalty towards Jesse. While Mike wants to shoot Walt immediately, he stands down when Jesse gets in the middle. It could also very well be that Mike only participates in the magnet plan to protect Jesse. Their mentor-mentee relationship was formed as another way to control Jesse, but if Mike’s affection for the lad wasn’t real, why would he go along with this?

Maybe it will take Mike and Jesse to bring Walt down, should the true depth of Walt’s dark soul ever be exposed. Walt has everything that he needs, but after each accomplishment, he only gets more over confident, and desires more power and money. This cannot go on forever. Look at Gus, a true power player, who is eventually stricken down. The play BREAKING BAD presents is a tragedy if ever there was one, and Walt will not, can not, end up on top.

Elsewhere, Ted (Christopher Cousins) wakes out of his coma. This sends Saul (Bob Odenkirk) and Skyler (Anna Gunn) into a panic, as just before Ted was injured, he was ready to expose their money laundering. Only a lucky fall saved them then.

Skyler rushes to the hospital to confront Ted, and see what must be done now. Given how disturbed Skyler was by Ted’s accident in the first place, as well as her horror at what Walt has become in killing Gus, it is unlikely she would sign off on any plan that would cause Ted further harm, no matter what the consequences to herself. Thank goodness Ted is now compliant, thinking his life is in danger if he doesn’t keep his mouth shut. Which means that Skyler shouldn’t have to follow her husband’s descent to protect her family.

What is more surprising is how Walt reacts to learning about the Ted situation. Previously, Saul and Skyler kept this issue from Walt. Saul tells Walt the story, and after a bit of anger, where Walt is clearly threatening Saul, Walt returns home, hugs his wife, and tells Skyler that she is forgiven. This is arrogant and creepy, something that plays well on Skyler’s face. What has Walt become? Does she even recognize who her husband is these days? And can she ever love a man like this?

BREAKING BAD is a masterful character study. With only fifteen episodes left, there is a real sense that some things will soon be coming to a head. Each character is going to have to figure out what they want, and what they are capable of doing to get it. There has to be betrayal, because many of these goals will run counter to each other. If the writing continues to be as good as it consistently has been for the past four years, viewers are in for one heck of a finale!

BREAKING BAD’s final season airs Sundays at 10 p.m. ET on AMC.

"Problem Dog" causes trouble for Breaking Bad

     The title of this week's Breaking Bad is "Problem Dog." This refers to Jesse's (Aaron Paul) pretending that Gale (David Costabile) is a dog when telling the story of how Jesse kills him, which he does to get issues off of his chest at his Narcotics Anonymous group. Jesse is torn, because Walt (Bryan Cranston) asks him to kill their boss, Gus (Giancarlo Esposito), which he agrees to do. But later, he passes up two opportunities to carry out the plot. It might be wise for Jesse to hurry up and complete the assignment, considering that Hank (Dean Norris) now seems to suspect Gus of heading a drug organization. If Hank catches Gus, it could expose Walt and Jesse. 

     Breaking Bad is a slow burn show that features long, powerful scenes, rather than lots of action. It gives the viewers a chance to really dwell on the characters, and what they are going through. It's a brave concept for television, and not one seen a lot. For it to work, the actors must be top notch. Luckily for Breaking Bad, it features Emmy winners Cranston and Paul. Not to mention, Norris deserves an Emmy, and has been robbed of nomination multiple times. The same might be said for Esposito. So there are a lot of very clear voices making Breaking Bad an absolute must-see show.

     "Problem Dog" gives Jesse many chances to shine. Dealing with grief and guilt for killing Gale, Jesse spends much of his time with drugs and at parties, trying to forget that he's a murderer. Then Gus sends Mike (Jonathan Banks) to pull Jesse out of his downward spiral by making him look like a hero in a staged robbery. This works, giving Jesse purpose as muscle for Gus. However. Although that emotional journey is apparent in prior episodes, "Problem Dog" really lets Paul breathe life into Jesse's whole mental state, and it works brilliantly.

     The aforementioned support group meeting is a powerful scene, but it's the culmination a journey, not its starting point. First, we see Jesse playing a violent video game, with Gale's visage flashing into it. This is not social commentary on how video games can cause bad actions, but rather, more like a PTSD flashback situation. Then Jesse feels accepted when protecting Gus, so he doesn't poison him like Jesse promises Walt he will do. The meeting is Jesse's explosion of his pent up thoughts and feelings, as the earlier scenes allude to, and really explores the character in a very moving way. Killing someone is not as easy as it seems on television. But Jesse might be able to live with himself for it. The question is, is he willing to do it again?

     Will Jesse kill Gus? This is a thought ripe for fan debate. Gus is playing a naive Jesse, pure and simple, but Jesse doesn't know that. Jesse now has self-worth and purpose, which pulls him out of the dark place he is in. Yet, Jesse does seem convinced by Walt's sales pitch that whatever Gus does now doesn't make up for the horrible things that he had done before.

     But then Jesse hesitates to take out Gus. Jesse is not being weak willed and easily manipulated, as much as he might appear to be during some points of "Problem Dog." Instead, he is taking in all the information before he makes a decision. At this point, while the structure of the series points to Jesse eventually trying to murder Gus, likely after lies are exposed, or Jesse's life is in jeopardy, it could still possibly go the other way. Viewers will just have to wait and see.

     As Jesse moves towards stability, pulling himself away from reckless action, and working on a major decision, Walt goes in the opposite direction, his behavior getting more and more reckless, perfectly exemplified by the way he torches a car in "Problem Dog." Walt doesn't even try to be discrete, causing the vehicle to explode, and calling a taxi to come and get him from the scene. Sure, Saul (Bob Odenkirk) is able to negotiate down to only a fine, and keep Walt's record clean, but what is Walt thinking? And, feeling indestructible, he doesn't even care that he got in trouble. That's dangerous. It seems, as Skyler (Anna Gunn) earlier accuses him, he wants to get caught. Why else commit such a blatant act of destruction? The money lost may not be much of an issue, but the attention surely is a big risk.

     On a semi-related note, why is Skyler asked to launder a bunch of fifty dollar bills? Saul did encourage other investments than the car wash, but as someone experienced in illicit activity, wouldn't Saul realize that the large bills would be difficult to do something with? Wouldn't he be helping with a solution, rather than leaving it in Skyler's lap? Saul doesn't want to get caught, and while Skyler does take over this part of the operation, it would be in the lawyer's best interest to help out as much as he possibly can in the illegal scheme.

     Hank is a brilliant character, who isn't very interesting when sulking in bed, collecting minerals. Thankfully, the super detective is not only on his feet again in "Problem Dog," rapidly improving his walking ability, but also already hot on Gus's trail as a meth kingpin. This is a fascinating development for Breaking Bad, and it's now only a matter of time until Hank blows the whistle.

     Hank's extended spiel to his former co-workers in "Problem Dog" is exhilarating and suspenseful. Norris gets a chance to deliver amazing lines once more, as the character almost instantly recovers from being a drag on the series to once more mattering in a very big way.

     How much does Gus continue to be important? From his meeting this week, it's obvious that Gus is not the biggest fish in the pond. With some very, very bad men wanting to knock him out of business, will it even matter if Hank catches him? Will Hank catch him in time to save his life, perhaps? Or will Jesse kill Gus first, opening up the opportunity for these new villains to take over the operation, or for Hank to reach another dead end? It doesn't appear that Jesse hesitates in killing Gus because he is afraid of someone else taking

     Do not miss Breaking Bad, Sunday nights at 10 p.m. ET on AMC.

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Article first published as TV Review: Breaking Bad - "Problem Dog" on Blogcritics.

Breaking Bad ends season three

     Tonight is Sunday.  I have become quite accustomed to watching AMC's Breaking Bad on Sundays, but unfortunately, season three ended last week with "Full Measure", so it won't be back tonight.  Two and a half months is not long enough.  The drama that started pretty good, and was something different, has become must-see.  The wait for season four will be a long one, especially because the cliffhanger was much more suspenseful than the show had done before.

     This season saw a couple of new regulars as Walter (Bryan Cranston) and Jesse's (Aaron Paul) meth business expanded.  Saul Goodman (Bob Odenkirk) helped them launder their money, provided wonderful comic relief, and actually seemed to come through in a pinch.  Giancarlo Esposito delivered a much more nuanced performance as chilling new boss Gus, and both became essential to the series.

     I feel really bad for Walt and Jesse.  They keep getting themselves into the mess deeper and deeper.  Now that they work for a man who eliminated his competition south of the border, and controls a huge chunk of land, including several states, how much deeper can they get?  For the series to continue to up the stakes, the writers are going to have to get even more creative than they have been, and they've already been outstanding.  At this point, it seems doubtful a happy ending can be had by the two main characters, but they have to try, and audiences will continue to root for them.

     The cliffhanger, where Walt was being held at gunpoint, waiting for Jesse to kill Walt's replacement, so that Gus could eliminate Walt, was nail biting.  We heard a gun shot as the screen faded to black, but did Jesse do the deed?  He had to have, didn't he?  Yet, something tells me perhaps he didn't.  Can the brilliant people behind Breaking Bad write themselves out of this narrow of a corner?

     Walt's family drama has also gotten deeper.  Skyler (Anna Gunn) now knows Walt's secret, and after a whole season of knowing, is finally showing signs of not hating him.  While they still have a long road ahead before any type of reconciliation may be possible, it's added a new level of intrigue and pathos.  Also, if Dean Norris doesn't at least get nominated, if not win, an Emmy for portrayed brother-in-law Hank this year, justice will not be served.  What started as a two dimensional a**hole has become probably my favorite character, and after Hank barely escaping his own assassination, I look forward to every moment of screen time he gets.

     Breaking Bad will surely return to AMC next year.