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<h1 class="articleHeadline"><NYT_HEADLINE version="1.0" type=" ">The Dark Art of ‘Breaking Bad’</NYT_HEADLINE></h1>
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In the first three seasons of the AMC series “Breaking Bad,” Aaron Paul — or rather, his meth-dealing character, Jesse Pinkman — has been slapped, mauled and beaten purple by, respectively, a hit man, a sociopath and a federal drug-enforcement agent. If he were a piñata, the candy would have poured out of this guy long ago. And apparently there is little mercy for Paul in the new season on the way. For there Paul was, one day in late May, standing on Tijeras Avenue in downtown Albuquerque, being tasered by a brawny man in sunglasses. </p>
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<p class="caption">The goal, Gilligan says, was to turn "Mr. Chips into Scarface." </p>
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The street had been blocked off, and a crew of dozens waited as the actors rehearsed the assault with Vince Gilligan, the creator, head writer and show runner, who was also directing the episode. </p><p>
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“Maybe we play this moment just a little longer, so we know for sure he got zapped,” Gilligan said. “Otherwise, Jesse would fight back more.” </p><p>
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“Yeah, I like that,” Paul said. </p><p>
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“And let’s go back to the brass-knuckle-looking taser,” Gilligan said. </p><p>
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“Fly in the brass-knuckle taser!” a nearby crew member shouted into a walkie-talkie. </p><p>
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As the cameras were moved into place, Gilligan, who is 44 and speaks in a lyrical Southern drawl, reminisced fondly about some of the torments he has inflicted on Jesse Pinkman. One of the most gruesome was a plunge through the roof of a Port-a-Potty in a junkyard in Season 2. </p><p>
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“The original version was that he was going to get bit by a guard dog,” Gilligan said, leaning up against a rail and squinting against the New Mexico sun. “But the guard dog would have cost us $25,000, and we didn’t have the money. So we came up with the $5,000 outhouse gag. Which is quite a bit more memorable.” </p><p>
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Mordantly amusing ordeals are a specialty on “Breaking Bad,” which begins its fourth season on July 17. Credit the show’s forbiddingly grim premise: A 50-year-old high-school chemistry teacher named Walter White (played by Bryan Cranston) finds out he has terminal lung cancer and starts making crystal meth, hoping to leave behind a nest egg for his son and pregnant wife. Walter, it emerges, is a chemistry wizard, and after teaming up with Pinkman, a burnout student he once flunked, the pair drive a ramshackle R.V. into the desert and confect the purest, most coveted meth that local dealers have ever known. With the death penalty of his diagnosis looming, Walt wakes from the slumber of an unfulfilling life, evolving from feckless drudge to reluctant part-time criminal, then gradually to something worse. </p><p>
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In its first season, “Breaking Bad” seemed like the story of the nuttiest midlife crisis ever, told with elements that felt vaguely familiar. The structure — felonious dad copes with stress of work and family; complications ensue — owed an obvious debt to “The Sopranos,” and the collision of regular people and colorfully violent thugs nodded to Tarantino. The story and setting were an update of the spaghetti Western, minus the cowboys and set in the present. </p><p>
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But it was soon clear that “Breaking Bad” was something much more satisfying and complex: a revolutionary take on the serial drama. What sets the show apart from its small-screen peers is a subtle metaphysical layer all its own. As Walter inches toward damnation, Gilligan and his writers have posed some large questions about good and evil, questions with implications for every kind of malefactor you can imagine, from Ponzi schemers to terrorists. Questions like: Do we live in a world where terrible people go unpunished for their misdeeds? Or do the wicked ultimately suffer for their sins? </p><p>
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Gilligan has the nerve to provide his own hopeful answer. “Breaking Bad” takes place in a universe where nobody gets away with anything and karma is the great uncredited player in the cast. This moral dimension might explain why “Breaking Bad” has yet to achieve pop cultural breakthrough status, at least on the scale of other cable hits set in decidedly amoral universes, like “True Blood” or “Mad Men,” AMC’s far-more-buzzed-about series that takes place in an ad agency in the ’60s. The total audience for “Breaking Bad” is only slightly smaller than that of “Mad Men” — 19.5 million versus 22.4 million cumulative viewers in their respective third seasons — but the top three markets for “Breaking Bad” are Albuquerque/Santa Fe, Kansas City and Memphis; neither New York nor Los Angeles are in its top 10. The show, in other words, doesn’t play on the coasts. It gets chatter, just not among what has long been considered the chattering class. </p><div id="pageLinks"><ul id="pageNumbers"><li> 1 </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum2');" title="Page 2" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=2&_r=1">2</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum3');" title="Page 3" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=3&_r=1">3</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum4');" title="Page 4" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=4&_r=1">4</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum5+');" title="Page 5" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=5&_r=1">5</a> </li></ul><a class="next" onClick="s_code_linktrack('Article-MultiPage-Next');"
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<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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