The end of Better Call Saul it was everything we expected. I don’t know if this could be a positive or negative aspect, depending on the type of fan and viewer you are, but what is a fact is that this series showed how unique television can be madewithout at the same time alienating large audiences.
This review will not be an excuse to discuss spoilers of the series, but to be able to take some time to breathe and, whether you have seen the end or not yet, you can get an idea of what it is.or that this series has achieved in six seasons, bearing the burden of being the spin-off of breaking badwithout a doubt one of the best series they have done in the history of television.
Two stories, in El Camino
It’s not free compare to Better Call Saul with breaking bad. That is to say, they are part of the same narrative universe and share both the consequences of the end of this series, as well as the foundational bases, which is what this new story finally came to rethink, recounting the past of Jimmy McGill, who without ever getting his hands dirty, planted all the bloody flowers in New Mexico.
However, the comparison is not based on the factual relationships they have, but also on the way Vince Gilligan took to put together Better Call Saul. In many ways it is reminiscent of what will forever be his best work as a director and screenwriter; andThis very nature of telling stories, taking fragments and putting them together little by little and then putting all the pieces together and showing the whole picture, is something that cannot be considered new, but it is risky..
Considering the current state of television products, it is difficult to understand how they are managed. While Netflix decides its catalog based on algorithms and numbers that do not necessarily reflect the wishes of the audience beyond superficialitiesHBO Max and Disney have not yet shown what their commitment to a new form of content really is.
I especially recover this relationship because Netflix was a great architect for the success of breaking badbut the way he worked back then is very different from the way he works now. Likewise, this is still an AMC production, but there is no doubt that the way Vince Gilligan now has to visualize his work is completely influenced by the dynamics of streaming consumption.
Even so, Better Call Saul manages to feel just as tense and complex as its predecessor, but does so with a much more frenetic pace, in which Gilligan’s typical long shots are sporadic stylistic pretexts. and out of it we always have a new question or answer, which do not share the deadly tension of the Walter White story, but are resolved with much greater precision and speed; a symptom of modern audiences, but also of products that understand their context and, above all, that a story that is not going to be heard does not deserve to be told.
This brings me to exactly the same idea, in that the basis of the development of the central dilemma, which is none other than the rise and fall of Saul Goodman and the Spiders from Mars, it is the same as the rise and fall of Walter White and the Spiders from Mars. The two stories follow the same ways of being told and, at the same time, have a similar character study, except that this time there is a whole previous series that gives us faith in the personality and motivations of the main character.
The essential differences are, obviously, in the character itself. While Walter is a character completely Well, slowly falling into his new hell, Jimmy McGill lives in a particular darkness, in which each of his new exploits is just one more step on his ladder towards destiny. irremediable that he always knew he would have. Every time she got away with it was just borrowed time and no more.
We recommend: Breaking Bad was going to have a video game and it was going to look like GTA
With Walter this borrowed time feels different and comes in the form of cancer. This one, which is slowly destroying his lungs and each of the cells that resist falling in front of themselves, is a reminder that the time he has will never cease to be finite, which forces him to make decisions every time. more risky. In both cases, they only come to their senses to die.
The evil that lives in me
Better Call Saul’s build is much less complicated than Breaking Bad’s. Although Vinve Gilligan knew how to weave a story that she knew how to make use of its gaps and empty spaces, this could become overwhelming due to the amount of unfinished information that the series leaves, despite the fact that she always returned to all of it over time. .
On this occasion, he was very hesitant to do this. Each mystery was solved briefly and very concisely. It is also to be noted that this, as a screenwriting achievement, is exemplary and rosy perfection.. This story could be told without an image and could be fully understood. Nevertheless, greatness is rarely covered in the sterile cloak of perfection.
Likewise, the set-up always leads us to understand Breaking Bad’s Saul Goodman, who is currently escaping his own nature as an employee of a chain bakery in Nebraska. All the construction of that pre-Walter White world is impeccable and managed to give more depth to that rotten world that lives in the desert of New Mexico.
On the other hand, the mysterious and black and white way of what happened after Walt’s death… doesn’t seem to follow all the rhythm and the previous approach. There is no real way to understand this other than as a screen to bring closure to a character that was a fan favorite.but now with a specific background, it took on a hyper-complex dimension that was difficult to solve with so many aspects and in so little space.
Saul Goodman’s fall occurs abruptly, due to a casual error and a coincidence without justification beyond being that, coincidental. The apprehension of him and the subsequent trial of him were nothing more than a momentous change in the way we saw him turn from Jimmy to Saul, as well as being Saul throughout Breaking Bad.
Saul’s death in front of the institutions, in front of the scaffold of the law is… sad to say the least. The perversion of the law in the United States and the way in which it can be operated from plot gaps and drafting errors based on money was one of Vince Gilligan’s greatest comments in all of his work, but here it ends like democracy in Star Wars: with resounding applause.
His legacy: one last lie to see Kim one more time. Her sorrow: smoking one last cigarette emulating the first time we see them together. First in color, without the weight of blood on the shoulders; at the end, in black and white surrounded by an overwhelming gray, with pain on its back.
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