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At HBO Max’s For Your Consideration event last night, kicking off Emmys season, the Euphoria cast made a glamorous appearance. Among the cast in attendance was Alexa Demie, who plays the scrappy Maddy Perez on the show.

Earlier this year, Demie was one of several actresses who allegedly auditioned for the upcoming Madonna biopic, among the likes of Bebe Rexha, Florence Pugh, and Julia Garner. The audition process was said to be thorough, with the actresses said to have gone through an intense boot camp to learn the choreography.

In an interview with Variety‘s Mark Malkin, Demie coyly shrugged when asked if she auditioned to play Madonna and went through the boot camp.

“Do you know who Madonna is?” Malkin playfully asked.

“Of course, I know who Madonna is,” Demie replied.

“Have you ever met Madonna?” He asked.

“Yes, I’ve met Madonna,” she replied. “She’s an icon.”

Malkin then proceeds to ask Demie what her favorite Madonna song is. Demie said, “There are so many. I really like this one that maybe not a lot of people know, called ‘I Want You.’ She has an orchestral version that’s amazing.”

“I Want You” is a cover of a Marvin Gaye song from his album of the same name. Madonna re-recorded the song with Massive Attack as part of a tribute album called Inner City Blues: The Music Of Marvin Gaye. The orchestral version appears on Madonna’s Something To Remember compilation album, containing several of Madge’s iconic ballads.

Also rumored to have auditioned for the Madonna biopic are fellow Euphoria actresses Sydney Sweeney, who plays Cassie Howard, and Barbie Ferreira, who plays Kat Hernandez.

Madonna is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Every move Dyson Daniels has made from the time he was 14 years old has been done with one goal in mind: making it to the NBA. From going to the NBA Global Academy at the Australian Institute of Sport to joining the NBA’s G League Ignite team ahead of its 2021-22 campaign, Daniels’ life has had one very clear objective.

This summer, that will all come to fruition. Daniels, a jumbo Australian guard, is expected to hear Adam Silver read his name early in the 2022 NBA Draft. He had a basketball in his hands from the time he was seven months old — according to his father, North Carolina native and Aussie hoops standout Ricky Daniels, he could only push it around the house — and while he’s gotten exponentially better at dribbling since then, the game has been such a constant in his life that it’s hard to imagine him doing anything else.

“I grew up playing basketball,” Daniels tells Dime. “I started when I was five years old. Dad played four years at NC State and then came up to Australia and played in the senior league in Australia. So for me, I’ve always been in basketball.”

Ricky played his basketball for the Bendigo Braves in the southeastern state of Victoria. He was named league MVP in the former Australian Basketball Association in 1999 and 2000 — Dyson was born a few years later — and in 2011, the club retired his number. A malleable, high IQ basketball player who played inside and out, Ricky would have a trio of fans in the stands who would cheer a little louder for him than the rest of the crowd — sons Dash, Dyson, and Kai.

After games, Ricky’s boys would make their way onto the floor and shoot around, even when that wasn’t always allowed.

“I think being around the basketball environment all the time, watching dad play, that made me love basketball more, and every time after he’d finish his game, we’d go shoot on the court after, even if we weren’t allowed to,” Dyson recalls. “We’d always have to get told off five times before we stopped shooting on the basketball court.”

While basketball was the first (and lasting) love, Daniels dabbled in a bit of everything throughout the sports calendar. There was cricket and tennis — the latter was the sport his mom, Brikitta, played. He credits soccer for helping him develop the lateral quickness that has turned him into a promising defensive prospect, and while he played Aussie rules until he was a teenager, he ultimately decided to focus his time and energy into playing hoops. He suited up for Victoria’s under-12 state team alongside his friend Josh Giddey, won a silver medal, and has been racking up appearances with state teams of various age levels and appearances for Australian youth national teams ever since.

At 15, Daniels signed a professional contract with the Braves, taking the floor for the team that has his father’s name and number hanging above it. A year later and he went to the NBA Global Academy’s outpost at the Australian Institute of Sport, which presented a unique opportunity to learn how to play under the NBA’s umbrella.

“I knew I wanted to be there because if I wanted to take basketball to where I wanted to, which was NBA, I knew that that was the place that I had to get to get my best development,” he says. “And then I spent two years there where I got a lot, like really, really good development.”

That development opened up three doors when it came time to choose a next step. There was the path his dad traveled en route to a professional career, college basketball, a tried-and-true way for young athletes with aspirations of playing in the NBA to get to where they want to go. There was exploring opportunities with Australia’s top professional league, the National Basketball League, which in recent years has created a springboard to the NBA called the Next Stars program and has seen players like Giddey and LaMelo Ball become lottery picks.

And then, there’s the newest option of the bunch: the recently-formed NBA G League Ignite team. Launched in 2020 as a path for precocious basketball players with an eye on making it to the league, the Ignite team puts teenagers in a basketball-obsessed environment from the jump with the primary objective being their development.

While he stressed that there would have been benefits to the NBL or college basketball, going to a place so hyper-focused on his development appealed Daniels, as did getting the chance to sit down with G League president Shareef Abdur-Rahim and the Ignite team’s coaches. While he was hired a few months after Daniels decided to join the team, Ignite head coach Jason Hart has a theory for why it’s an appealing destination for players of Daniels’ caliber.

“You only come here if you think you have what it takes, obviously, to be a pro,” Hart says. “And that’s very important. Because if you have any self-doubt, this is not the place for you. So all these young guys that are here, they feel a certain way about themselves.

“Now, just because you’re young, and you’re not ready to be a pro at 18, that doesn’t mean you won’t become an NBA player,” he continues. “I mean, Tim Duncan was in college for four years. So these guys are just a step ahead of those guys, because they believe they’re pros, and right now they’re more physically gifted than the majority of the kids in college at their age.”

From the first time he watched Daniels go through a skill workout and saw a 6’6 player with guard skills, Hart knew he was working with a potentially special basketball player. While the physical tools are easy to see, for Hart, it’s been Daniels’ mentality and workmanlike approach that have impressed him the most.

“The thing that stands out for Dyson and his teammates is that they’re so professional, they come to work every day, and they’re dependable,” Hart says. “And one thing you have to be in the NBA is those things: dependable, and you have to have availability, meaning not hurt a lot. He brings that to the table every day, and for that to be done at such a young age is pretty remarkable.”

In Daniels’ eyes, the bet he has made that the Ignite team would place his development at the forefront of his experience has paid off. Getting tossed into games with NBA officiating, NBA rules, NBA coaches, and most importantly, NBA players gave him the wake-up call that comes for many young players: he had to work on getting stronger. But beyond that, Daniels learned that he had to be able to take the strength he’d build up and apply it on the basketball court.

In the first few games, the physicality and ball pressure he faced from defenders made him realize he needed to work on tightening up his handle. Getting to the rim and finishing through contact would be huge, too. Under the careful eyes of Rod Strickland, the team’s program manager, and Thomas Scott, its head of player development, Daniels believes those skills have come a long way from the time he joined the club. Hart identifies his ability to handle the ball when asked to name Daniels’ biggest area of improvement from day one.

He’s still working on his shooting, believing in his mechanics and is driven to become a “great shooter,” although he is quick to mention, “I don’t think I’m a bad shooter, but it’s definitely something that I need to work on.” There’s still plenty of faith in his ability to make things happen on offense in the meantime, particularly when he’s getting downhill and using his feel as a passer to set up his opponents or his floater as a way to score.

Daniels’ greatest impact, though, comes on the other end of the floor. Hart lavishes praise onto his young guard’s defense, saying his ability to pester opponents is his best attribute. When asked about the players he likes to study the closest, Daniels immediately jumps to Indiana’s Tyrese Haliburton as a fellow jumbo playmaker and Chicago’s Alex Caruso for his ability to read the game and move his feet to stay in front of opposing players.

“He’s a premier defensive guard,” Hart says. “I think he’s one of the best defensive guards in the whole draft. So, I think that’s what the scouts are enamored with, his innate ability to guard the ball on and off.”

For Daniels, the challenge of being able to turn defense into offense and check players revered for their ability to win games is something he relishes.

“I’m first and foremost a defender,” he says. “I like to lock people up, guard the best player every night, get deflections, get steals, and offense is a lot easier if you play good defense. You’re able to get out and run, you don’t have to run plays and stuff like that.”

For a young player like Daniels, being in a professional environment has some advantages in accelerating his maturation process as well. He admits to dwelling on off nights too much, at times losing sleep over them, but is learning how to navigate the ups and downs of a professional season by keeping an even keel. Daniels lauds the coaches and players around him who are able to uplift him when he goes through a rough patch, and notes he’s able to contact one of the team’s mental health professionals if need be. And beyond those resources provided by the Ignite, he can always count on the expertise of the guy who’s been there with him from the jump.

“That’s when he gets a text from dad that says, ‘Let it go, move on to the next game,’” Ricky says with a smile.

Daniels is the kind of player who will never be satisfied with where he is. A gym and film junkie who loves learning about the game just as much as he loves getting extra shots up after practice, Daniels’ dreams have evolved considerably from the time he was a 14 year old hoping to make it to the NBA.

That is, for all intents and purposes, going to happen, so he’s set a new goal: he wants to be great. At the 2022 NBA All-Star Game in Cleveland, Daniels participated in the Rising Star game on Friday night, then got to take in the festivities on Saturday and Sunday. He made it a point to get “used to the feeling of the norm of what it’s like to be at an All-Star weekend,” and while the bitter cold of Cleveland was a bit of a nuisance, he plans on participating in the NBA’s premier midseason event as his career goes on.

It’s very easy to say he’s going to accomplish that, it’s another thing to actually do it. But after spending a season around him, Hart is confident that Daniels’ desire to succeed at the highest level is the sort of thing that gives him a chance to stick around and potentially win a championship some day.

Less than a decade ago, when the average episode of Game of Thrones cost $6 million, co-showrunners Dave Benioff and D.B. Weiss had to practically beg HBO for an extra $2 million to make “Blackwater” as epic as they imagined it. How quaint. By the final season, every episode of Thrones had a $15 million price tag. The Mandalorian is also around $15 million, while Disney+’s Marvel Cinematic Universe shows like WandaVision, Loki, and The Falcon and the Winter Soldier reportedly have a $25 million budget.

Stranger Things is about to blow them out of the (Black)water (Bay). In a fascinating article about how Netflix‘s days of “carefree spending” might be over, the Wall Street Journal revealed how much every episode of the sci-fi show’s fourth season will cost.

The holy grail for Netflix is to find shows like Squid Game that are inexpensive and yet become hits. Virgin River, at a cost of roughly $3 million per episode, is a relatively low-budget soap opera with no big stars, but has been a huge success for Netflix. That means it is more efficient than pop-culture hit Bridgerton, which costs more than three times as much, say people familiar with the streamer’s efficiency measurement. Under-the-radar, relatively low-cost hits are necessary to balance out the costs for big-ticket programming such as the special-effects-filled show Stranger Things, whose new season has a per-episode cost of $30 million, according to people close to the show.

At $30 million/episode, Stranger Things doesn’t appear to cost that much more than Loki‘s $25 million. But the difference is that Loki season one was only six episodes long; season four of Stranger Things has nine episodes. A single episode of Stranger Things costs as much as the last three Best Picture winners combined. That’s some Lord of the Rings-level spending.

Stranger Things returns for season four on May 27.

(Via the Wall Street Journal)

On the latest episode of The Kardashians, Kim Kardashian recalls making her debut on Saturday Night Live. Though she and ex-husband Kanye West had been separated at the time, West allegedly flew to New York City from Los Angeles to support Kardashian on her big night.

On The Kardashians, Kim said, “He literally took a coach, commercial flight, sat in a seat next to the bathroom. […] He said he didn’t sleep all night long just so he can get in town early enough to meet up with Dave [Chappelle] and go over jokes and really, like, help.”

Despite West’s efforts, the two did not reconcile, per Kim’s established boundaries. “Kanye and I are staying at separate hotels,” she said. “I’ve been really clear with him as far as, like, where we stand in our relationship.”

Before Kardashian’s appearance on SNL and before West released his 10th album, Donda, the two hadn’t spoken in eight months, as Kardashian said on the Not Skinny But Not Fat podcast to host Amanda Hirsch.

“We went about eight months without even speaking to each other at the beginning of the divorce,” Kardashian said. “And then, you know, we started talking again and I went to the Donda premiere. He would still see the kids and stuff, just him and I took a minute of not talking. And I think it all, in relationships, it’ll be like that. I only hope for, I hope we are the ‘co-parenting goals’ at the end of the day.”

Earlier this month, West dropped out of a headlining slot at Coachella. Rapper Fivio Foreign tweeted that West “is on a Island relaxing clear’n his mind & healing from all the stress of Society.. He appreciates the support for the Album [Foreign’s debut, B.I.B.L.E., on which West is featured and credited as a producer] & the response.”

The Philadelphia 76ers are one game away from the Eastern Conference Semifinals after a thrilling comeback win over the Toronto Raptors on Wednesday night. Philly picked up the 104-101 win in overtime thanks to the heroics of Joel Embiid — beyond once again putting up numbers with a 33-point and 13-rebound performance, Embiid hit a game-winning turnaround three with less than a second left on the clock to get the Sixers one game away from a sweep.

As Embiid walked off the floor in Toronto, he ran into noted Raptors fan and guy who has courtside seats for their home games, Drake. The two apparently went back-and-forth with one another during the game, according to Tobias Harris.

Video eventually popped up of Embiid and Drake exchanging pleasantries after the game, with Embiid insisting that Drake is in his usual seat for Game 4 so he can witness a sweep.

“That’s what you call a f*cking superstar,” Embiid said. “Get your ass up, I’m coming for the sweep, too. You better be there.”

Drake said he would, but unsurprisingly predicted it’ll be a 3-1 series after Game 4. That game will take place on Saturday afternoon, and is scheduled to tip off at 2 p.m. ET on TNT.

The streaming wars are growing heated with recent news of Netflix losing subscribers for the first time in their history. The reasons for the decline are many-fold, and that includes a repeated price hikes throughout the pandemic, even during a time of inflation. Netflix also ruffled feathers with the Dave Chappelle controversy, and it hasn’t helped (as far as timing goes) that the platform also plans to crackdown on password sharing, so don’t expect to use mom’s account forever. Netflix also lost their Russian subscriber base, and in short, it’s going to take some digging (and probably some ads) for Netflix to recover. However, HBO and HBO Max are doing just fine. In fact, they’ve increased their subscriber numbers over the past quarter.

Via The Hollywood Reporter, AT&T has reported quarterly financials that reveal how, between HBO and HBO Max, the two can now count 76.8 million global subscribers. Yes, that’s still far below the reported 221.64 million subscribers with Netflix, but still, HBO and HBO Max are on the upswing (to the tune of 3 million more subscribers) with less streaming time under their combined belt. THR has the numbers in more detail:

HBO and HBO Max domestic subscribers reached 48.6 million as of March 31, up 1.8 million from 46.8 million as of the end of 2021. HBO and HBO Max added 12.8 million subscribers over the 12 months ending in March, including 4.4 million domestic users, AT&T reported.

Of course, there are plenty of factors here, including a wide range of beloved hit shows, including Hacks and The Flight Attendant along with a substantial Warner Bros. library on HBO Max. Also, the Sex And The City followup, And Just Like That…, proved to be more of a draw (even with a horror villain like Che Diaz on the scene) than one could have reasonably expected with a second season on the way.

However, there’s another secret weapon on HBO Max’s side. Via ComicBook (and according to Parrot Analytics), the most-streamed show on HBO Max is not even an original show for the streamer. Rather, the honors there go to South Park, which still has plenty of bite after all these years. Those bastards!

(Via Hollywood Reporter & Comic Book)

When Billie Eilish first came to international attention, she was an absolute phenomenon. That can be tough for anybody to deal with, especially a teenager. Now, though, Eilish says some words from John Mayer helped her reconsider her situation.

In a new Billboard interview, Eilish was asked what having a “long and healthy career” looks like to her and she answered:

“It’s really a real thing that I think about a lot. […] It’s really hard to maintain a timeless kind of career, and the longer I exist as Billie Eilish, I’m more and more aware of like, ‘Let’s look at this through a different lens.’ Because when I was ‘hot’ or whatever, when you have that first moment of, ‘Boom, everybody’s looking at you,’ […] it feels like that will literally never go away, in all the bad ways and all the good ways. It was actually John Mayer who said something to Finneas that made me think about it.”

Eilish then asked Finneas what Mayer said and Finneas started, “We were at an airport in Wisconsin in the summer of 2019, and it was really crazy, like all of the TSA agents were filming Billie, it was like a zoo.”

Eilish interjected, “Everywhere we went, I mean, it was a nightmare.” Finneas continued, “I was like, ‘Everything is just crazy right now.’ And John was like, ‘Ah, Billie’s white hot.’ He was like, ‘It’s like seeing an animal on safari.’”

Eilish added, “And it’s scary. It feels like it’s never going to end because when you’re new, that is like nothing else. But it changes. It doesn’t last for a really long time.”

Finneas added, “Which is good,” to which Eilish replied, “Which is very, very good.”

Read the full interview here.

We’re all pretty much aware that the dealings on Wall Street are unfair at best and straight-up corrupt at worst. It’s something that is outright celebrated in our media. Movies like The Wolf Of Wall Street and The Big Short have pulled back the curtain enough to reveal that the infrastructure of Wall Street is designed to make it so that the rich get richer off the labor and livelihoods of those with less (while being funded by the mega-rich and starring other rich people who are often heavily invested in Wall Street!).

This is why the retail investors who were galvanized by Reddit’s r/WallStreetBets to pull off the Game Stop short squeeze inspired so many. They stuck it to the man! It was a win for the little guy! And now the saga is getting renewed attention thanks to MSNBC’s upcoming documentary Diamond Hands: The Legend of WallStreetBets.

Set to premiere on May 15th at 10 pm on MSNBC (and subsequently on Peacock), Diamond Hands: The Legend Of WallStreetBets chronicles how an army of retail investors, the financial realities of 2020, a pandemic, stimulus money, and the gamification of the stock market made more accessible by retail trading apps like Robinhood collided to rock the foundation of our financial system. And Diamond Hands isn’t the only recent documentary to make some noise about the issue.

Jon Stewart, on his Apple TV + show, The Problem With Jon Stewart, did a great job of explaining how Robinhood, payment for order flow, and something called “dark pools” work in favor of the super-rich while making regular people feel like they have a seat at the table. Similarly, HBO’s two-part docuseries, Gaming Wall St. which is narrated by a perfectly cast Kieran Culkin of Succession fame — whose Roman Roy is totally the type of person who would despise Reddit retail investors — breaks down just how extensively the system is actively being exploited by Wall Street. It’s only a matter of time before some studio casts the Zoomer equivalent of Christian Bale and Leonardo DiCaprio to star in the inevitable Game Stop movie.

These docs and shows are essential viewings if you’re a young investor entering adulthood at a time when inflation is at an all-time high. Especially if you’re actively debating the value of college and taking student loans, knowing that wages are stagnating (especially wages with CEO salaries removed), and you’re living amidst a yo-yo-ing pandemic that continues to threaten the livelihoods of every working-class citizen. Maybe you’re already tuned to the possibilities the right play can provide you, but we’re all going to need to level up our knowledge when it comes to stocks because we’re living in very similar circumstances to those that led to the Game Stop short squeeze in the first place. (Or, to be more accurate, “shit hasn’t changed.”)

More to the point, if you’re a young investor it’s important to come to terms with the fact that the system is not democratized, and does not operate in your favor. As the gamification of the stock market continues, financial literacy is crucial. Especially because we’re dealing with a system that doesn’t seem to be getting any better despite everyone screaming at the top of their lungs about all of its flaws.

The news moves fast but forgetting about the Game Stop short squeeze is exactly what Wall Street wants us to do.

Better Call Saul just started airing its final season this week, but AMC is already making moves to make sure Bob Odenkirk isn’t gone for long. In a new press release, AMC has announced that Odenkirk’s new series, Straight Man, has already been officially greenlit for a first season after the network revealed earlier in the month that the show was on a “fast-track” for development. How fast? AMC is gunning to premiere the new series, which stars Odenkirk as “the unlikely chairman of the English department in a badly underfunded college in the Pennsylvania rust belt,” in 2023.

Straight Man will adapt the novel of the same name with writers Aaron Zelman and Paul Lieberstein also serving as showrunners for Odenkirk’s third series for AMC.

“The saying goes ‘the third times a charm,’ but when it comes to Bob Odenkirk on AMC, the first and second times were about as charming, captivating and viscerally entertaining as it gets,” Dan McDermott, president of entertainment and AMC Studios for AMC Networks said in a statement. “As Better Call Saul begins its epic sixth and final season, we could not be more excited by the prospect of keeping Bob at home on AMC and watching him breathe life into another nuanced, complicated and unforgettable character.”

Odenkirk is also jazzed at the prospect of headlining another prestige drama for the network.

“I am thrilled that AMC is embracing the unique scenario and characters in Paul and Aaron’s adaptation of Straight Man,” Odenkirk said. “I have loved the mix of comedy and drama in Better Call Saul, and this is another story with a unique dynamic, and the kind of closely observed character writing and exploration that AMC has become the touchstone for. It’s going to be fun to play and watch!”

The final season of Better Call Saul is currently airing on AMC.

In 1998, Jimmy McGill (Bob Odenkirk) – the crooked lawyer eventually known as Saul Goodman on Breaking Bad – performs ABBA’s “The Winner Takes It All” at karaoke in celebration of him passing the New Mexico bar. Jimmy, singing completely off-key, urges his high-powered lawyer brother, Chuck McGill (Michael McKean), with whom he has a tense relationship, to join him. Chuck resists at first. He hesitates to sing after Jimmy pulls him on stage, only to take over the entire song just before the chorus, singing like a Broadway star. “The winner takes it all, the loser standing small,” Chuck sings as Jimmy, always the loser, stands behind his brother, the titular winner, on a night that’s supposed to be about him.

The scene says everything you need to know about Chuck and Jimmy. They never would have found each other, or if they did, they wouldn’t give each other the time of day. But they’re brothers and forever bound to each other whether they like each other or not. This scene also lets its actors showcase their seemingly unlimited talents: Odenkirk gets to perform karaoke terribly, showcasing his comedy background and McKean gets to show off his singing voice. The clever writing (“The Winner Takes It All” was carefully chosen) and Odenkirk’s dynamic performance add dimension to an entertaining but complex scene. This flashback from the season four finale, aptly titled “Winner,” demonstrates what’s so good about Better Call Saul, which takes place in the early 2000s, several years before the events of Breaking Bad.

Better Call Saul, which has just begun its sixth and final season on AMC (which will catch up to Breaking Bad and include Bryan Cranston and Aaron Paul reprising their roles as Walter White and Jesse Pinkman respectively), moves at a glacial pace reminiscent of the early seasons of Mad Men. Its confident, patient storytelling gives its characters ample screen time to develop and change, mostly for the worse. It focuses so narrowly on character and relationship development that the pace has deterred viewers from watching it, especially when compared to Breaking Bad, which is why it hasn’t reached near the scale of popularity as Breaking Bad, which, for a time, was as inescapable as Game of Thrones, Stranger Things, Squid Game or Bridgerton. (None of which, for the record, are as good as Better Call Saul.)

Better Call Saul marinates, then slow cooks. Breaking Bad’s rapid, plot-driven pace forced it to sacrifice quiet character moments and relationships in order to catch the character up with the story. This is not necessarily a bad thing: Breaking Bad is a brilliant show and was truly groundbreaking during a period of groundbreaking television at the peak of its Golden Age. But some relationships and characters didn’t get the time to develop fully, particularly its female characters such as Skylar White and Marie Schraeder. Better Call Saul slowly digs into its characters’ characteristics and backgrounds, uncovering more and more about both new characters like Salamanca right-hand man Nacho Varga (Michael Mando) and familiar faces like Mike Ehrmantraut (Jonathan Banks) without running out of material.

Perhaps the greatest thing about Better Call Saul is its deceptive premise. We always knew what Breaking Bad was about the destruction of Walter White, an average man corrupted by his thirst for money and power. We thought we knew what Better Call Saul would be: the story of a lawyer who becomes Saul Goodman, the criminal lawyer. It is that except Slippin’ Jimmy McGill already cuts corners and already does whatever it takes for his clients. Jimmy slips into the more corrupt Saul Goodman persona every season, but its true breaking bad arc unfolds in lawyer Kim Wexler (Rhea Seehorn), Jimmy’s best friend, on and off again girlfriend and eventual wife. Although we know the fates of many characters including Tuca Salamanca, Gustavo Fring, and Mike Ehrmantraut, another trick Better Call Saul uses to its advantage is the unknown. For as many characters on the show whose fates are familiar, there are characters who, while huge presences in Jimmy’s life, are not on Breaking Bad. Better Call Saul manipulates our lack of knowledge by putting characters such as Kim Wexler in precarious situations, knowing the audience is questioning her fate because she is not ever seen or mentioned on Breaking Bad.

Breaking Bad was built for streaming in a pre-streaming era, while Better Call Saul is a Golden Age of Television cable show in the streaming era. Glimpses of Saul Goodman’s quiet, depressing life after Breaking Bad as a Cinnabon manager, the complexities of brothers, and Albuquerque lawyer drama do not sound all that appealing, but Better Call Saul makes it gripping. We didn’t ask for an origin story about the colorful criminal lawyer from Breaking Bad, and we were confused when it was announced. But Better Call Saul is an absolutely necessary prequel that’s integral to the story of Breaking Bad, not the other way around: without Better Call Saul, its predecessor is incomplete.