Better Call Saul: On the High Art of Centering Whiteness
Among the pantheon of white-man art, including the Coen brothers and David Lynch for me, the creators of Better Call Saul offer a finely crafted and deeply flawed series that is really hard not to look at and enjoy.
This prequel to Breaking Bad shares many of the strengths (beautifully and finely filmed, nuanced and morally ambiguous characters) and most of the flaws (centering whiteness, ignoring or running roughshod over brown and black characters) with its source. As I am nearing the end of the series on Netflix (with the newest season on AMC), I often find Saul better than the original, in part because I think it unpacks extremely well being a lawyer against the moral ambiguity of many compelling characters (even as I have no real expertise in whether or not the series captures the law in any sort of valid way).
Saul fits into my fascination with moral ambiguity, notably Andy Sipowicz in NYPD Blue as one example. But I have to admit that I am primarily drawn to how well made the series is; as TV, it is just damned compelling to look at. (I often find myself seeing comic book panels, still camera shots that do as much as the acting or dialogue.)
As I noted above, I have this affection for Lynch and the Coen brothers, although I would put the creators of Saul closer to the latter.
Well into my 20s and my young teaching and writing career, I was an uncritical CONTINUE READING: Better Call Saul: On the High Art of Centering Whiteness – radical eyes for equity
