According to AMC legend, “Breaking Bad” creator Vince Gilligan heard about the stigma behind spinoffs. He responded, “It doesn’t matter, I’m Vince Gilligan.”
With “Better Call Saul,” the TV mastermind has spawned a new show in his hit New Mexico crime universe, calling wise-cracking lawyer Saul Goodman back for an origins story. Is it good? Absolutely. And the real kicker is that it stands on its own, no pre-viewings of “Breaking Bad” required.
Of course, there’s no reason to avoid watching “Breaking Bad”—it’s the best string of plot arcs bundled into a television program you’ll see this decade. But while the breadth of references and fanservice in “Better Call Saul” heighten the show for those familiar with the original, the sheer style of “BCS” makes for an enjoyable comedy/drama, even barring backstory.
In characteristic Gilligan style, “BCS” is a slick production. The series introduces itself with a beautiful black and white series of vignettes, set to 30’s musical swoon, of Saul’s post-“BB” residence. Interestingly, “BCS” isn’t strictly a prequel, as it will also wind in with “BB’s” plot and the repercussions of its ending. This series introduction, set in a Midwest Cinnabon, beautifully frames the show as build-up to Saul’s tragedy at the end of Breaking Bad, exhibiting the listlessness and regret that follows Saul in his epilogue without an ounce of dialogue.
Cinematography, along with breakneck plotting pace, was always “BB’s” strong suit. “BCS” keeps these strengths rolling: heavily contrasting shadow, strong scene compositions and inventive camera angles all make the prequel a beauty to watch.
James McGill (Saul Goodman’s real name) surprisingly sticks to the more moral of choices so far in the show, in contrast with his later Saul persona. Most of the show’s actions comes from his characteristic mix of lawyering skill and conning, but a heavy undercurrent of guilt from his lawyer mentor Chuck transforms set-piece moments like his billboard con into tragic acts pushing Jimmy more and more into the greys of criminality.
Given that McGill now takes the brunt of the screentime, his humor also comes across as flatter than in the original show. Although still quite the character without Jesse Pinkman and Walter White playing off of his jokes, he’s left mostly to self-deprecation instead of the zany cultural references we fell in love with him for.
Gilligan mixes in more than a hearty dose of fan service on callback characters like Mike and Tuco, who are introduced early in the season. Mike’s crooked cop backstory in Philadelphia takes up a whole, fantastic episode and Tuco bends over backwards for his abuelita’s honor in his own small story arc.
Given that it is a prequel, “BCS” invites the comparison to its older sibling. Certainly, its promised arc of metamorphosis is similar, but “BCS” gives itself breathing room with a focus on humor and squatting a ways away from its big brother’s source material. With the creative talent heading this show up, who knows, “Breaking Bad” might well be bettered yet.