Breaking Small (or The Revenge of the Tighty Whities)

 

It’s been a rough year for Breaking Bad junkies.

First, we had to go cold turkey when the finest drama on television concluded its remarkable run. Then Aaron Paul starred in the abysmal Need for Speed. Bryan Cranston took a forgettable role in Godzilla (though he redeems himself playing a legendary screenwriter in Trumbo). And we won’t discuss  Metastasis, the Spanish-language remake of the series that turned out muy mal.

METASTASIS spa

Even the Vince Gilligan-helmed Better Call Saul, the prequel to Breaking Bad, lacks the tension (though not the dark absurdity) of its source material. Besides, Season Two doesn’t even begin until 2016.

But like a rush of Blue Meth to the market, a show has emerged from BB‘s ashes that not only takes its cues from the dusty drama; it eerily parallels the spectacled odyssey of Walter White.

Say hello to Fargo, Season Two.

Violent, gory and grinning with a wicked sense of humor, Fargo has established itself as the finest crime drama on television. And by avoiding the sophomore jinx that beset shows like The Killing and True Detective, Fargo towers as TV’s best “anthology” series, in which plots and, sometimes, entire casts, reset with each new season.

Such was the challenge of Fargo, which won 10 Emmys last year. But instead of mimicking the first season, which was really an homage to all Coen Brothers films (Billy Bob Thornton’s Lorne Malvo is a reinvention of No Country for Old Men‘s Anton Chigurh) antonchigurh, Fargo instead tips its cap to something just as sinister, but more New Mexico-centric.

Consider:

  • A touch of suburban evil. A mild-mannered protagonist (Jesse Plemons) tries to live a quiet, domestic life, but finds he has a knack for the macabre (even in tighty whities). Unlike Walter White’s “molecular dissolution” of victims, Ed Blomquist chooses to turn the unfortunate into hamburger. overalls
  • without A son struggling with physical disability: Walter White Jr. (R.J. Mitte) suffered from cerebral palsy; in Fargo, young Charlie Gerhardt (Allan Dobrescu) copes with a crippling, as-yet-unnamed condition that resembles muscular dystrophy. cerebralpalsy charlie
  • A Bob Odenkirk past. He was a founding father of Breaking Bad and the first Fargo, playing a deputy in 10 episodes. saul
  • Location as character. New Mexico played as big a role as any character in Breaking Bad, much like Minnesota deserves a screen credit in Fargo.
  • The death bell. Breaking Bad‘s uncle Hector rang a bell whenever hell broke loose, much like the bell that scores Fargo‘s soundtrack when a body winds up metabolically challenged. bell

 

Of course, Fargo need only sustain itself for one season, requiring just a sixth of Breaking Bad‘s endurance record. And there’s always the risk of the show running out of gas by season’s finale.

But ask any diehard Breaker if they’d take even a nostalgic sliver of the crime classic’s heyday, and you’ll get a resounding, uniform response. toddnjesse

Ding ding.

 

 

Knock Knock…

 

One of the nicest things about returning to class is to see chalkboards again.

And erase boards, bulletin boards, Post-It notes  — basically any host to the hand-written word. Hell, even the (grammatical) graffiti and light posts doubling as billboards that dot the UCLA campus are a fun read. It’s like a paleolithic Craigslist.

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I’ve had memorable experiences with random scribbles. I bought my first Jeep from a bulletin board ad; a scrawled FOR SALE note that had the seller’s  phone number vertically tabbed at the bottom, like a papered pianist with a dozen little tattooed fingers. I met the Lost and Found Mouse from a desperate LOST sign wallpapered to telephone poles in my neighborhood.

I almost made millions off a brilliant business plan I launched in Detroit, harnessing the power of  scrawls and humor. The only barrier turned out to be that I know shit about business. And it was a stupid idea.

I was an elementary school student and just learning the nuances and of the telephone. When I figured out how to call long distance, I began phoning novelty stores across the country that advertised in Boy’s Life Magazine (which always promised riches selling Grit magazines.

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The conversations would go thusly:

“Zakoor Novelty, how may I help you?”
“Hi. Do you sell whoopie cushions?”
“We sure do.”
“What about hand buzzers?”
“Yep”
“Fake dog poop? Fart Machine? X-Ray specs?”specs
“All of those.”
“Cool. Thank you. Bye.”

And so it went. Until the first telephone bill. Dad went ballistic when he saw dozens of daytime phone calls to New York, Los Angeles, Chicago — basically any place that had crap by the cartload. Dad informed me, with no small amount of bluster, that it cost to make a phone call to those places. Ah, I realized; people need to call you. A young Conrad Hilton was born!

I was also learning about dial-a-joke. For just pennies, you could call — any day of the week, any time of the day — to hear a hilarious joke with which to impress your friends.

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One day, I huddled with best friend and co-conspirator Danny to launch our start-up. We would plaster every telephone pole near Eight Mile Road to saturate the market. We looked to Mad Magazine and friends for material.

What do you call pizza that’s not yours? Nacho cheese! What do elves learn in school? The Elf-abet! Where do pencils go on vacation? Pencil-vania! How do you make a tissue dance? Put a little boogie in it!

Graphically, we wanted our ad campaign to be unencumbered with much copy, pre-dating wannabe imitators like Apple and Google.

Call Dial a Joke! the ad said simply. Beneath it, my home phone.

And for a few days, business was brisk. At least once a day, we’d get a customer. After school, whenever the phone rang, I’d pick up, offer a brilliant quip, and hang up.

What I didn’t realize was that other people might need the phone, too. Namely, mom and dad. But whenever someone called our house, my parents’ frustrated friends noted, some kid was picking up the line, telling a joke, and hanging up on them.

After the discovery, mom offered me my second piece of business advice: Do that again, and I’ll pop your bottom. She ordered me and Danny to shutter the business, starting with taking down the dozens of signs in our neighborhood urging strangers to call our home. Reluctantly, we did.

But I must have missed one. About a month later, as I flipped through Boy’s Life in my bedroom, I heard mom coming up the stairs.

“Scaawt!” she hollered in an angry North Carolina accent. “It’s that damn daahl a joke!”

Surprised, I walked to my parents bedroom, picked up the phone, and offered one of my classic gut-busters: Why did six hate seven? Because seven eight nine! Click.

Get it?

 

The Daily Medicine Show

 

A grandfather I never met lost his tiny Georgia grocery story (in which dad was born) during the Great Depression. He couldn’t bear asking customers, all neighbors and friends, for money they did not have and would not see again. Eventually, he gave away so much that he had to shutter the business.

So he started a medicine show, a common sight of the era.  By horse and cart, medicine shows traveled from town to town to sing, dance, tell jokes and, hopefully, sell ‘remedies’ and trinkets to monied spectators. A traveling Tonight Show and souvenir shop.

Dad was too young to hit the road, so his eight brothers and sisters handled the entertainment. But my uncle Fonnie laughed so much at his own jokes that grampa had to cut him from the non-star roster.

I wonder what gramps would have thought of The Daily Show with Trevor Noah. noah

Noah is the high-profile replacement to Jon Stewart. The South African-born standup comedian is clever, young and leading-man handsome — a trifecta in the cable TV derby. But something is missing in the retooled show.

The writers are the same. So is the left-leaning humor. But the bite lacks.

Perhaps it’s a matter of age. Political humor requires a certain world weariness. Stewart, 52,  had it in spades. stewartSo does Larry Wilmore, 53, whose Nightly Show follows The Daily Show and who would have seemed a natural replacement to Stewart. Like Stewart, Wilmore is terrific at exasperation. wilmore

Noah, on the other hand, is terrific at tourist-like bewilderment. The 31-year-old often wonders aloud about an American political system that has become as cartoonish as Daffy Duck. His observations are on the money, and should be fodder for eternal material.

But politics in the U.S. is humor we know all too well, and the jokes feel somehow dated and retold. Just substitute Marco Rubio for Boss Tweed. rubiotweed

And then there’s the Fonnie Syndrome. Noah has a megawatt smile, and his laughter at punchlines feels genuine. Certainly, Stewart chuckled all the time at a good zinger. But Stewart laughed at the absurdity of a broken system, not the humor of his joke. There’s a razor-wire difference, and perhaps it comes from a half century of experience with red tape buffoonery.

It’s unfair to judge this early, and Noah may soon find his wheelhouse. It took Stewart the first six months of his 16-year stint to become a canny political satirist. And Comedy Central will not give a rat’s ass about wit if the millennials keep the Nielsen numbers high.

But The Daily Show had such a dry and knowing sense of humor it bordered on informational. Stewart eventually became a Post-It note reminder of the forgotten, the hair-pulling pundit for those who had to close their stores, join medicine shows and tap dance to the Muzak of The Department of Bureaus.

To lose that would be no laughing matter.