An ambitious interpretation of the critically celebrated and widely popular crime drama Breaking Bad , this book argues that not only should the series be understood as a show that revolves around the dramatic stakes of dignity, but that to do so reveals - in new ways - central aspects of serial television drama as an art form.

The 10th anniversary edition, now with a new preface by the author "A wonderfully smart, lively, and culturally astute survey." - The New York Times Book Review "Grand entertainment...fascinating for anyone curious about the perplexing miracles of how great television comes to be." - The Wall Street Journal "I love this book...It's the kind of thing I wish I'd been able to read in film school, back before such books existed." - Vince Gilligan, creator of Breaking Bad and co-creator of Better Call Saul In the late 1990s and early 2000s, the landscape of television began an unprecedented transformation. While the networks continued to chase the lowest common denominator, a wave of new shows on cable channels dramatically stretched television’s narrative inventiveness, emotional resonance, and creative ambition. Combining deep reportage with critical analysis and historical context, Brett Martin recounts the rise and inner workings of this artistic watershed - a golden age of TV that continues to transform America's cultural landscape. Difficult Men features extensive interviews with all the major players - including David Chase (The Sopranos), David Simon and Ed Burns (The Wire), David Milch (NYPD Blue, Deadwood), Alan Ball (Six Feet Under), and Vince Gilligan (Breaking Bad, Better Call Saul) - and reveals how television became a truly significant and influential part of our culture.

For many health care professionals and social service providers, the hardest part of the job is breaking bad news. The news may be about a condition that is life-threatening (such as cancer or AIDS), disabling (such as multiple sclerosis or rheumatoid arthritis), or embarrassing (such as genital herpes). To date medical education has done little to train practitioners in coping with such situations. With this guide Robert Buckman and Yvonne Kason provide help. Using plain, intelligible language they outline the basic principles of breaking bad new and present a technique, or protocol, that can be easily learned. It draws on listening and interviewing skills that consider such factors as how much the patient knows and/or wants to know; how to identify the patient's agenda and understanding, and how to respond to his or her feelings about the information. They also discuss reactions of family and friends and of other members of the health care team. Based on Buckman's award-winning training videos and Kason's courses on interviewing skills for medical students, this volume is an indispensable aid for doctors, nurses, psychotherapists, social workers, and all those in related fields.

Breaking Bad, hailed by Stephen King, Chuck Klosterman, and many others as the best of all TV dramas, tells the story of a man whose life changes because of the medical death sentence of an advanced cancer diagnosis. The show depicts his metamorphosis from inoffensive chemistry teacher to feared drug lord and remorseless killer. Driven at first by the desire to save his family from destitution, he risks losing his family altogether because of his new life of crime. In defiance of the tradition that viewers demand a TV character who never changes, Breaking Bad is all about the process of change, with each scene carrying forward the morphing of Walter White into the terrible Heisenberg. Can a person be transformed as the result of a few key life choices? Does everyone have the potential to be a ruthless criminal? How will we respond to the knowledge that we will be dead in six months? Is human life subject to laws as remorseless as chemical equations? When does injustice validate brutal retaliation? Why are drug addicts unsuitable for operating the illegal drug business? How can TV viewers remain loyal to a series where the hero becomes the villain? Does Heisenberg’s Principle of Uncertainty rule our destinies? In Breaking Bad and Philosophy, a hand-picked squad of professional thinkers investigate the crimes of Walter White, showing how this story relates to the major themes of philosophy and the major life decisions facing all of us.

The antihero prevails in recent American drama television series. Characters such as mobster kingpin Tony Soprano (The Sopranos), meth cook and gangster-in-the-making Walter White (Breaking Bad) and serial killer Dexter Morgan (Dexter) are not morally good, so how do these television series make us engage in these morally bad main characters? And what does this tell us about our moral psychological make-up, and more specifically, about the moral psychology of fiction? Vaage argues that the fictional status of these series deactivates rational, deliberate moral evaluation, making the spectator rely on moral emotions and intuitions that are relatively easy to manipulate with narrative strategies. Nevertheless, she also argues that these series regularly encourage reactivation of deliberate, moral evaluation. In so doing, these fictional series can teach us something about ourselves as moral beings—what our moral intuitions and emotions are, and how these might differ from deliberate, moral evaluation.

Uli’s first flight, a late-night joy ride with his brother, changes their lives forever when the engine stops and the boys crash land, with “Texas to the right and Mexico to the left.” Before the accident, Uli juggled his status as both an undocumented immigrant and a high school track star in Harlingen, Texas, desperately hoping to avoid being deported like his father. His mother Araceli spent her time waiting for her husband. His older brother Cuauhtémoc, a former high-school track star turned drop-out, learned to fly a crop duster, spraying pesticide over their home in the citrus grove. After the crash, Cuauhtémoc wakes up bound and gagged, wondering where he is. Uli comes to in a hospital, praying that it’s on the American side of the border. And their mother finds herself waiting for her sons as well as her missing husband. Araceli knows that she has to go back to the country she left behind in order to find her family. In Mexico, each is forced to navigate the complexities of their past and an unknown world of deprivation and violence. Ruthless drug cartels force Cuauhtémoc to fly drugs. “If a brick goes missing, Cuauhtémoc dies. If a plane goes missing, Cuauhtémoc dies. If Cuauhtémoc goes missing, they find Cuauhtémoc (wherever he’s at) and Cuauhtémoc dies.” If they can’t find him, they will kill his mother. They have photos of her in Matamoros to prove they can enforce the threat. Meanwhile, Uli returns to his family’s home in San Miguel and finds a city virtually abandoned, devastated by battles between soldiers, cartels and militias that vie for control. Vividly portraying the impact of international drug smuggling on the innocent, Peña’s debut novel also probes the loss of talented individuals and the black market machines fed with the people removed and shut out of America. Ultimately, Bang is a riveting tale about ordinary people forced to do dangerous, unimaginable things.

In this stylish crime thriller, Haley Mori, a downtrodden alternative-model, happens upon a secret society of elite models in NYC that are using their platforms to sell narcotics. Seeing a possible escape from a lifetime of crushing debt, Haley becomes involved and works her way up the rank, making new alliances and enemies alike while getting a taste of a power she never knew she craved. Collects issues #1-4. "Such a good first issue with personality exploding off the page. Emily's paneling is sickening, and if y'all aren't reading it yet you are f***ng up. Period." -Danny Lore (Champions, Queen of Bad Dreams)

With its twisty serialized plots, compelling antiheroes, and stylish production, Breaking Bad has become a signature series for a new golden age of television, in which some premium cable shows have acquired the cultural prestige usually reserved for the cinema. In Breaking Bad and Cinematic Television Angelo Restivo uses the series as a point of departure for theorizing a new aesthetics of television: one based on an understanding of the cinematic that is tethered to affect rather than to medium or prestige. Restivo outlines how Breaking Bad and other contemporary “cinematic” television series take advantage of the new possibilities of postnetwork TV to create an aesthetic that inspires new ways to think about how television engages with the everyday. By exploring how the show presents domestic spaces and modes of experience under neoliberal capitalism in ways that allegorize the perceived twenty-first-century failures of masculinity, family, and the American Dream, Restivo shows how the televisual cinematic has the potential to change the ways viewers relate to and interact with the world.

The New York Times bestselling author of The Origins of Political Order offers a provocative examination of modern identity politics: its origins, its effects, and what it means for domestic and international affairs of state In 2014, Francis Fukuyama wrote that American institutions were in decay, as the state was progressively captured by powerful interest groups. Two years later, his predictions were borne out by the rise to power of a series of political outsiders whose economic nationalism and authoritarian tendencies threatened to destabilize the entire international order. These populist nationalists seek direct charismatic connection to “the people,” who are usually defined in narrow identity terms that offer an irresistible call to an in-group and exclude large parts of the population as a whole. Demand for recognition of one’s identity is a master concept that unifies much of what is going on in world politics today. The universal recognition on which liberal democracy is based has been increasingly challenged by narrower forms of recognition based on nation, religion, sect, race, ethnicity, or gender, which have resulted in anti-immigrant populism, the upsurge of politicized Islam, the fractious “identity liberalism” of college campuses, and the emergence of white nationalism. Populist nationalism, said to be rooted in economic motivation, actually springs from the demand for recognition and therefore cannot simply be satisfied by economic means. The demand for identity cannot be transcended; we must begin to shape identity in a way that supports rather than undermines democracy. Identity is an urgent and necessary book—a sharp warning that unless we forge a universal understanding of human dignity, we will doom ourselves to continuing conflict.

Looks can be deceiving. I knew that most people took one look at the ink and the impossibly big and strong body it covered and decided I was a brawler...a bruiser...a beast. However, I was hardwired to be a thinker, not a fighter. I should have chosen to use my brain and talents to be one of the good guys, a hero, a man with dignity and worth. I turned my back on dignity and sold my soul to the highest bidder, deciding to dance with the devil, instead. I couldn't figure out how to help myself, so there was zero chance I knew how to save someone else. That someone else was Noe Lee. She was the unkempt, unruly thief who was just as smart as I was and twice as street savvy. She was annoyingly adorable beneath the dirt and grime, and she was in trouble. In way over her head, I told myself it wasn't my job to keep her from drowning. In the Point, it was sink or swim, and I wasn't the designated lifeguard on duty. I shut the door in her face, but now she's gone...vanished...disappeared without a trace. It took less than a second for me to realize that I wanted her back. When a woman comes along that melts all the frozen, hard things you're made of; you'll do anything you have to, to bring her home. What you see is not always what you get...and with a man like me there is more than anyone ever bargained for.