TV Club: Better Call Saul, “Marco”
Oedipus is funny. That’s the structure of funny, right there. “Who did this terrible thing to our city? Oh God, it was me!”
That’s blowhard filmmaker Lester in Woody Allen’s Crimes and Misdemeanors, completely missing the point of dramatic irony. When the audience knows something that the characters don’t know—like the end of the story—there’s a friction, a shiver, a tension that could almost be mistaken for humor. But the vibrations are actually those of despair, fate, the inexorability of the inevitable bearing down on us all.
We know the end of Jimmy McGill’s story: Crooked lawyer, knows too much, cashes in his blood-soaked profits for a new identity and a Cinnabon apron in the next state over. But goddamn if Gilligan and Gould (especially Gould, who wrote and directed “Marco”) didn’t keep me hoping right up until that final defiant …