Dexter: Resurrection (Season 1)

Creator: Clyde Phillips
Starring: Michael C. Hall, Uma Thurman, Jack Alcott, David Zayas, Ntare Guma Mbaho Mwine, Kadia Saraf, Dominic Fumusa, Emilia Suárez, James Remar, Peter Dinklage, Eric Stonestreet, Steve Schirripa, John Lithgow, Erik King, Jimmy Smits, Marc Menchaca, C.S. Lee, Desmond Harrington, Neil Patrick Harris, Krysten Ritter, David Dastmalchian, Christian Camargo
Original Airdate: 2025

**The Following Review Contains Major Plot Spoilers**

★★★★ (out of ★★★★)

Having last seen former Miami Metro forensics expert and vigilante killer Dexter Morgan lying lifeless in the snow after being shot by his own son, the anti-hero got about as conclusive a finish as we've seen since Walter White's demise in Breaking Bad. But in one of the more shocking TV developments in recent years, Dexter returns with its best iteration yet after seemingly concluding for good after 2022's underappreciated New Blood finale. 

For those still upset how the original series signed off in 2013, that ending should have been their antidote, as Dexter's crimes weren't only exposed, but he accepted his fate, willingly facing consequences at the hands of the person he hurt most. Instead, fans proved they're still tough to please, even when given what they've claimed to want all along. But no matter how anyone feels about creator and showrunner Clyde Phillips' creative decisions, the announcement of three new impending Dexter shows (including the now cancelled prequel Original Sin) prompted justifiable skepticism.  

The idea of picking up where New Blood left off may have caused jaws to drop, but whatever ideas remained from its hypothetical second season now morphs into the brilliant Dexter: Resurrection, which isn't just a huge departure from the formula, but sets a new bar for the franchise as a whole. Armed with a fresh setting, top notch writing and acting, a dream cast and possibly its most potent villain yet, these ten thrilling episodes find a physically and psychologically spent Dexter at the end of his rope. Reckoning with his past while facing the reality he's brought more harm than good to those closest to him, he'll try not to squander a second chance at being the father he couldn't before. 

This is a different, more determined Dexter, intent on controlling his dark side to protect the only person who still matters. But after finding a safe space where his worst impulses are accepted and encouraged, he finds dangerous strings attached, just as a familiar face from his past reemerges to take him down. Full of mind blowing developments, this season finds the show firing on all cylinders, finally giving fans something they can unanimously agree on. 

Dexter Morgan (Michael C. Hall) has awakened from a ten week coma after suffering a near-fatal gunshot wound at the hands of his son Harrison (Jack Alcott), who's since fled Iron Lake for New York City. Still believing his father died, he works as a bellhop at the Empire Hotel while Dexter continues to recover. But when Harrison snaps, killing a sexual predator to prevent the rape of a hotel guest, the crime immediately grabs the attention of meticulously wired NYPD homicide detective Claudette Wallace (Kadia Saraf) and her skeptical partner Oliva (Dominic Fumusa). 

Upon hearing of the killer's familiar body disposal method, Dexter heads to NYC to help Harrison. Unfortunately, former Miami Metro police captain, colleague and friend Angel Batista (David Zayas) trails behind, more determined than ever to prove Dexter's guilt. But as deceased adoptive father Harry (James Remar) reappearing as his inner consciousness, Dexter watches Harrison from afar, forging a friendship with kindly rideshare driver and new landlord Blessing (Ntare Guma Mbaho Mwine). 

It's only when serial killer Ron "Red" Schmidt (Marc Menchaca) is branded with Dexter's own "Dark Passenger" moniker for murdering the city's drivers that his vengeful yearnings take hold, leading him to a secret society of serial killers funded by billionaire philanthropist Leon Prater (Peter Dinklage). But as Batista closes in on Dexter, an impressed Prater takes a real liking to his newest recruit, despite suspicions from icy, loyal head of security Charley (Uma Thurman). Now Dexter not only needs to protect his cover, but also Harrison, who he's on the cusp of reconnecting with. 

You'd figure it would be impossible to explain away Dexter surviving that apparently fatal gunshot wound at the end of New Blood, but the writers cleverly manage to do this logically. And while there are still minor plot holes, it's surprising just how cleverly they account for him not being booked on murder charges, clearing the table for a next crucial chapter. 

As Dexter fights for his life, some of the show's most pivotal figures reappear to him in a vision, offering valuable insight into his past and potential future. It plays as kind of a series highlight reel, with John Lithgow's Trinity Killer, Jimmy Smits' Miguel Prado and even Erik King's Sgt. Doakes returning to remind him that Harrison needs his best. Of course, the most important voice occupying Dexter's mind is his Dark Passenger, conveyed through the hallucinatory presence of late father Harry. 

Remar's role as Harry only gains greater significance after seeing how Christian Slater's take on the elder Morgan in Original Sin shed additional light on the impetus of he and Dexter's complicated bond. And it's also why this season functions as a closer companion to the prequel than original series, with the two trading barbs back-and-forth throughout. Ghost Harry may be hilariously sarcastic and disapproving, but Dexter gives it right back as he expresses serious hesitancy at the notion of reentering Harrison's life.

Moonlighting as a rideshare driver shortly after arriving in NYC, an emotionally paralyzed Dexter knows Harrison needs help but has no idea how to approach a son who still thinks he killed him. And while Jack Alcott impressed in New Blood, many didn't count on him getting the chance to reprise this role again, much less add so many new wrinkles to a character who's endured a lot. 

Though Dexter and Harry are both responsible for the deaths of their son's mothers, Harrison isn't necessarily destined to follow in their flawed footsteps despite also being "born in blood." Like Dexter, Harrison has the ability to fit in anywhere, finding a job and a place to temporarily crash, even managing to easily make friends without the social awkwardness that defines his dad. Where he differs is in feeling remorse for a crime committed not out of an uncontrollable urge, but a desire to help someone. It's his very fear of becoming Dexter that stands as the most conclusive proof he isn't.  

Harrison just goes too far in the moment, recognizing this in a self reflective way Dexter never could when his reckless behavior harmed those he loved most, like Rita and Deb. It's a moral distinction that more closely aligns Harrison with his late mom than a dad who continues to view himself as a "Dark Avenger." In actuality, he'd be better off taking lessons on being a superhero from his own son. 

Much of Harrison's story revolves around Dexter realizing he can't be the father Harry was for him since the youngest Morgan lacks that Dark Passenger gene. The kid just needs his dad, which doesn't mean Harrison isn't still shaped by Dexter's past, whether he's being drawn to rescuing co-worker and single mom Elsa (Emilia Suárez) or potentially pursuing a career in law enforcement. 

True to his character, Harrison's also a bad liar who finds himself in the crosshairs of neurodivergent, Bee Gee's loving homicide detective Wallace. Fittingly played by Law and Order alum Saraf as the smartest, most observant cop either Morgan could encounter, she quickly puts the pieces together, zeroing in on the nervous bellhop as her prime suspect. Watching Harrison clumsily try to cover his tracks before stammering under the pressure of Wallace's questioning, we're reminded of young Dexter's mistakes in Original Sin, minus the eager enthusiasm. 

Harrison hates himself for pulling the trigger, but also despises his dad for asking him to, even as Dexter rightly accepts the blame. It won't be until he saves his son from a growing mountain of circumstantial evidence that the ice between them starts thawing. But while everyone's new favorite UrCar driver shows promising signs of selflessness in his conversations with Harrison and bond with Blessing and his family, the darkness persists. Having already eliminated Dark Passenger knock-off Red, Dexter can't pass on joining an exclusive serial killers club, regardless of whether he was officially invited. And though his best lies always contain an abundance of truth, he's really playing with fire this time. 

Surreal as it is to see Uma Thurman in the Dexter universe, her introductory scene goes quite a distance in establishing the badass Charley as a cold, calculated fixer who doesn't suffer fools. Clad in tactical gear, she slyly maneuvers herself into Red's apartment, leaving the gift and dinner invitation Dexter claims as his own, making it that much easier to speculate just how dangerous her boss is. 

While Dinklage's Leon Prater is a serious threat, he's not your usual Dexter adversary, giving the newest member of his secret society an enthusiastically warm welcome. But with each word, expression and mannerism, Dinklage subtly hints at a god complex bubbling beneath, suggesting much more to this wealthy collector with a mysterious past. 

Dexter may be Prater's latest prize, but he's hardly the first, as confirmed by a trophy room filled with personally obtained effects and evidence from infamous serial killers such as John Wayne Gacy, Ted Bundy, Son of Sam, Jeffrey Dahmer and the fictitious "New York Ripper" Detective Wallace has devoted her career to catching. 

Of course, that elaborate display that wouldn't be complete without souvenirs from Trinity, Dexter's Ice Truck Killer brother Brian Moser (Christian Camargo) and the legendary Bay Harbor Butcher, who Prater has now unknowingly let into his inner sanctum.

The reveal of this vault might be the season's creepiest scene but what stands out more is Dexter's reaction to seeing his infamous blood slides or the gurney on which he ended Brian's life. And any lie he tells as Red reveals more than a bit of truth about himself, his mask dropping at many points, much to the delight of a giddy, starstruck Prater. 

Joining Dinklage and Thurman is a stacked supporting ensemble comprising of Krysten Ritter, David Dastmalchian, Neil Patrick Harris and Eric Stonestreet as the various killers, each of whom have their own twisted methodology. Ritter's "Lady Vengeance" and Dastmalchian's "Gemini" leave the largest impressions, not just due to their chilling performances, but how their characters are written and played to reflect different aspects of Dexter, who adheres to a code neither could possibly understand or abide by. 

All of these members have a loose, preconceived sets of rules, but they're really no different than Dexter's many other cold blooded victims, regardless of how closely their past traumas resemble his. With Ritter's Mia, it's a dysfunctional family history while Dastmalchian's Gareth dredges up Dexter's unresolved baggage with his own brother. 

Despite her penchant for offing sexual predators, Mia isn't the heroic vigilante the media or Dexter assumed, even if she still proves valuable in his quest to protect Harrison. Unsure whether to befriend or murder these killers, Dexter treads carefully at first, calculating the risk of everyone disappearing immediately after he's joined the group. 

Impressed and deliriously pleased by his newest recruit, we get the impression serial killer fanboy Prater might be ecstatic after uncovering Dexter's true identity, especially since most everything else Dexter reveals about his tortured soul is true. And the more we learn about Prater's Bruce Wayne-like backstory, the clearer it becomes why he's so intrigued by his favorite pupil's unusual "share" with the group. 

But whatever childhood commonalities he may share with Dexter, Prater thrives on manipulation and control, getting his kicks from others needing him to survive. Expertly conveying both sides of this meglomaniac, an Emmy-worthy Dinklage inhabits a greedy monster who wields superficial generosity as a weapon, his wealth merely a means to own people for personal amusement. 

While Prater exhibits uncontainable excitement at the members' various kills and methods, Charley acts as his loyal soldier, particularly suspicious of Dexter from day one. But even her allegiance to the boss extends only so far as we gradually learn the true nature of their arrangement, leading to some intense, vulnerable work from Thurman in the home stretch. 

With Batista continuing to close in on a united Dexter and Harrison, it's only a matter of time before it all lands on Prater's lap. If Dexter fails again in keeping Harrison safe, much of that can be traced to his own past haunting him in the form of Batista. Now that the co-worker and friend he bonded with for over twenty years knows he's the  Bay Harbor Butcher, every Batista memory is tainted by the totality of Dexter's crimes. Most especially the deaths of ex-wife Maria and Sgt. Doakes.

All of this provides David Zayas with the chance to play an obsessive, unhinged version of his beloved character who'll stop at nothing for justice, despite being recently retired. The problem lies in him having only vaguely circumstantial evidence of Dexter's guilt,along with the fact he's impersonating an active law enforcement officer. 

While we know Batista's right about everything, it's understandable why he'd start looking like a crazed madman to Wallace or just about anyone else, including promoted former colleague and friend Lieutenant Quinn (a returning Desmond Harrington).  

Though Batista's attempt to catch the Butcher in action backfires spectacularly and destroys his case, Dexter's respect for him doesn't waver. His warnings to back off aren't threats, but pleas, knowing it always ends badly for those who choose this path. And that's exactly what happens to Batista once he meets Prater, who's predictably wowed to be in the same room as the notorious Bay Harbor Butcher. Only we know Dexter could never bring himself to kill Batista, or at least not for the sole purpose of indulging Prater's sick thrills. 

It's ultimately Batista's hatred and sense of justice that consumes him, angrily sacrificing his own life to destroy Dexter, who underestimated just how much pain and damage he caused. Even without literally killing Deb, Maria, Doakes or Rita, he remains unquestionably responsible for their deaths, causing any apologies to ring hollow. 

Dexter probably knew Batista aligning with him was a long shot, and unlike in his earlier fallout with Blessing, doesn't receive the forgiveness he genuinely seeks. So hurt and rattled by Batista's dying words, all he can do now is let out an anguished, primal scream.

Dexter's relationship with Harrison is the one he ends up salvaging, simply by being somewhat transparent and accepting that his son isn't him. Prater's machinations seal his own fate once Charley realizes she's also had enough, paving the way for Dexter to deny him a dignity even his most depraved victims receive. Categorizing Prater as irrelevant and unmemorable, Dexter uses the puppet master's own words against him, spitefully foregoing the minimal attention a blood slide could provide.  

Where this resembles the original series is in a lack of cliffhangers or loose ends, with the book closing until a new season, whether that's in NYC or possibly somewhere else. Just about the only lingering thread is the question of Batista's body being found in the vault, which glaringly links Dexter and Prater. It'll be interesting to see if this raises any red flags, assuming the writers choose to go there. 

The closing image of Dexter on a yacht as he disposes of Prater is the scene we didn't know we needed, calling back to his days in Miami. And with unfortunate cancellation of Original Sin, it might be the closest we'll get, at least for now. With Dexter wrestling with the reality of who he is, this season was all about Harrison helping him learn how to better control and accept it. And while we all know Michael C. Hall's versatile enough to tackle any other project right now, this showcased exactly why he shouldn't. Much like the actor who plays him, Dexter's back where he belongs, even if it'll be an excruciating wait to see what comes next.                                                                                                                          

Veronica Mars (2014)

Director: Rob Thomas
Starring: Kristen Bell, Jason Dohring, Krysten Ritter, Ryan Hansen, Francis Capra, Percy Daggs III,
Chris Lowell, Tina Majorino, Enrico Colantoni, Gaby Hoffman, Jerry O' Connell, Martin Starr, Ken Marino, Max Greenfield, Amanda Noret, James Franco
Running Time: 107 min.
Rating: PG-13

★★★ (out of ★★★★)
  
Following the announcement that beloved cult series Veronica Mars would be kickstarted into a feature film to simultaneously be released on VOD and into theaters, I was surprised just how much more interested I was in the controversial crowdfunding issue than actually seeing it return in any form. But after considering it, that indifference makes perfect sense. The first season of Rob Thomas' Veronica Mars is unquestionably flawless, deserving of its standing amongst the most creatively realized single season television dramas of the past decade. It took the unremarkable premise of a high school private eye and turned it into something that transcended the genre with its writing, tone and execution. Arriving at a time when serialized, self-contained storytelling wasn't popular and shows didn't revolve around strong female protagonists, telling one story throughout a season or even an entire series was unheard of. After turning loyal watchers into "fans" and forcing casual viewers to catch up later through word-of-mouth or social media, a cult was born.

In 2004 delivering one season of TV at such high quality was an anomaly. Not anymore. In fact, many showrunners have now done it multiple times, slightly diminishing Thomas' accomplishment, even if he got there first. A second solid season aired followed by a third that deserves to be forgotten and mostly is. But that first season is still magnificent and represents the best kind of episodic storytelling the medium has to offer. That's why it's so disappointing that network brass and even many fans insisted on turning the show into something it wasn't, failing to realize the gift they were given. They wanted it to be The Gilmore Girls or 90210 and the CW network responded by attempting it, causing the show to limp to the finish line in a far lesser state than it started. For further proof look no further than the fact that re-runs started regularly airing on SoapNet of all places.

With its legacy somewhat tarnished and that magical first season in the rearview mirror, trepidation toward this project is understandable. Worse yet, it exists to provide "fan service," which is partially responsible for unraveling the show to begin with.  Freed from the constraints of network television, this is a big test for Thomas, as we finally find it whether he was a single season wonder or it was outside factors that caused the series' eventual downfall. So with that in mind, how did he do?

Picking up nine years after the events of the third season, Veronica (Kristen Bell) has left her hometown of Neptune, California, graduated law school and moved to New York City, where she's in a relationship with college boyfriend "Piz" (Chris Lowell). While awaiting an offer from prestigious law firm Truman-Mann, she's contacted by her ex Logan Echolls (Jason Dohring), who's been serving in the Navy and is under investigation for the murder of his girlfriend Carrie Bishop, a former Neptune High classmate who went on to find fame as troubled pop star "Bonnie DeVille." Veronica agrees to fly back to Neptune under the condition of helping him and his still obnoxiously hilarious best friend Dick Casablancas (Ryan Hansen) find an attorney to build a believable defense.

With her ten-year class reunion approaching and the case becoming more complicated, Veronica's soon drawn back in to the chaotic life she thought she left behind, much to the chagrin of her former sheriff father Keith (Enrico Colantoni). He's running Mars Investigations while sickened by the corruption overrunning Neptune under sleazy Sheriff Dan Lamb (Jerry O'Connell). With the help of old friends Wallace (Percy Daggs III) and "Mac" (Tina Majorino), Veronica has to find Carrie's murderer and exonerate Logan, all while coming to terms with the past and figuring out what it means for her future. 

The movie answers one of its biggest questions right away in how much background Thomas intends to give the uninitiated, with a brief, narrated prologue that's quick and painless, yet doesn't waste the time of diehards who know every detail of the mythology. Archival footage marks the extent of Amanda Seyfried's role, as we find out how Thomas handles the absence of the series biggest star. Since her character's long dead, the passing acknowledgment of Lilly Kane seems to be a pretty easy solution. With a nine-year gap to be accounted for, it was the right move to keep the Veronica voice-over (which the series eventually fazed it out) since it's as good a device as any to catch viewers up to speed provided it isn't abused. Thankfully, it isn't.

Clever choices are also made with the opening titles and theme song, which I won't spoil. But what's surreal is just seeing the characters ten years later, but in the context of a feature film. It took some adjusting to since it does look and feel different with the sheen of a higher end production, yet still strangely the same. Visually speaking, it's the best VM has ever looked on a technical level with Thomas and director of photography Ben Kutchins capturing the color palette of the series' early days, as well as Neptune's noirish atmosphere.

The tease that age has mellowed Veronica and she's left her rebellious streak behind to settle down with Piz and start a legal career is short-lived. It isn't long before she's back home making quips and trading one-liners with her dad, the writing still as quick and snappy as before, and Bell's delivery of it just as perfect. She slides back into this character like riding a bike with the actress clearly relishing the rare chance to step back into the role she was born to play. In that respect, it's almost as if no time passed at all. What's interesting about the murder set-up is how it transforms Veronica back into the outsider she once was when the show began, bringing everything full circle. All fans can at least agree that the father-daughter relationship between Keith and Veronica is the most missed aspect of the show and Thomas definitely doesn't disappoint in following through with the full implications of that reunion.

Veronica's reconnection with Logan is admirably treated with a restraint I wasn't expecting considering my biggest concern was that relationship taking over the picture, much like it eventually did the series. If one thing can be pointed at as creatively torpedoing the show, it's that. Unsurprisingly, there's one scene involving this I could have done without, but at least it's built up to well and handled painlessly. Until Veronica joins a monastery, I'll just have to accept to the fact that the depiction of their relationship is a necessary evil, but one hardly as integral to the show's initial success as many believe. Dohring actually gives a really interesting performance here, doing away with some of the more milquetoast elements of Logan that emerged pre-cancellation while reintroducing the darker, angrier aspects of the character. We know he probably didn't commit the crime, but Dohring thankfully doesn't play it like that. While few will be happy to see Piz again but his presence does make story sense and Chris Lowell, who's done okay for himself since, is a much better actor now than then.           

What's most surprising is how serious everything is treated while still somehow retaining much of the fun. In a PG-13 rated film we're treated to swearing, bar fights and shootouts that wouldn't have been possible during the series' run due to budget constraints and network interference. And the class warfare aspect of Neptune is not only emphasized but kind of enhanced with a legitimate sense of danger looming. There's a feeling that the first time our favorite characters could actually be hurt, or perhaps worse.

The nine-year layoff for the characters is a blessing in disguise, as their aging assures the series can longer be pigeonholed into a genre it never quite belonged. It's also a slight detriment, since part of the original thrill came from a story of such epic scope revolving around high schoolers. Supporting players Wallace, Mac and Dick are given much more to do here than they were in all of the show's third season and help move along the plot rather than merely stop in for appearances sake. The big surprise in that regard is Weevil (Francis Capra) who's given a subplot that's almost downright shocking, playing on the character's shady past in a clever way.

Unexpectedly, the film is filled to the brim with cameos, one of the more notable coming from James Franco, who probably jumped at the chance to appear considering how he seems to have his hands in everything in pop culture. Bigger roles go to Gaby Hoffman as an obsessed Carrie Bishop impersonator who could also be a key witness/suspect in her murder and hugely successful show alum, Krysten Ritter, returning as Veronica's frenemy Gia Goodman. The part is expanded accordingly to capitalize on her presence, reminding us how we underestimated the actress' versatility the first go around.

My personal favorite recurring character, goofy private investigator Vinnie Van Lowe (Ken Marino!) also makes a comeback, integrated briefly into the case. And yes, Max Greenfield does show up as Deputy Leo. It's hard to think of any big names left out whose absence damage the film, with maybe the exception of the original Carrie Bishop, Leighton Meester. The murder plot was probably conceived with the actress in mind so her unavailability is a blow, as it's easy to imagine she could have brought a lot more to it now. Jessica Chastain or Aaron Paul returning just isn't realistic but boy would that have been a shock had either appeared.

There is some clunkiness to the central mystery, but what really does work is how the film incorporates modern technology and social media into the investigation of the crime. This is technology that didn't exist (at least to this extent) during the show's run, so it's only fitting for a series that was always slightly ahead of the curve to now be able to pull the trigger on it. Thomas and crew delivered as promised, wrapping the show's and its title character's return into a thematic package about the battle between holding on and letting go.

The idea that Keith wants better life for his daughter than one in Neptune and is downright disappointed and angry at the possibility she'd consider throwing it away really resonates. In fact, it resonates in a way the series hadn't at the end of its run. It does surprisingly look and feel like authentic Veronica Mars and there's far less of a drop-off in the quality of writing than you'd expect. It's really as good as it could have possibly been, at many points recalling the mood and tone of the first and second seasons rather than the far lesser one that succeeded them. And although it's been called it, this doesn't merely come off as a reunion show with Thomas attempting to do more than reassemble the cast and call it a day.

None of the events or characters feel jammed in and it's unnecessary for us to adjust our expectations for who is and isn't there like we did for Netflix's revival of Arrested Development. It's unfair to compare such wildly different reboots (in separate mediums nonetheless) but it's really the closest thing to this situation we've got, proving how creatively risky bringing back defunct properties can be. While a solid effort, even diehards couldn't claim that fourth season holds a candle to the previous three, or even slightly resembles the show it was.

The waters should have been even choppier for VM, but unlike AD, its saving grace is that it went out struggling with some unfinished business. And since the show's quality fluctuated and it didn't deliver three perfect seasons like that series did, expectations are lower. It also has to deliver one powerful extended episode instead of an entire season, with the catch being that it has to look and feel cinematic, which it does. Add to that the pressure of the mainstream paying attention because of this untested funding and distribution model. Casual eyes have never really been on this series before and even if it is made to appeal primarily to fans, there has to be some entry point for everyone else. Or does there?

Whether this film appeals to those who haven't seen the show doesn't really even matter. When you consider how much work it took to resurrect this and the circumstances under which it eventually happened, the movie's potential success is dependent on the fan base being just large enough to eliminate risk for Warner Bros. This is being sold as a product with preexisting loyalty and familiarity so casual viewers just won't have the same long-term investment in the characters. But that doesn't mean someone who's never seen an episode wouldn't enjoy it. It just means they'd likely enjoy it on an entirely different level. As a smart mystery thriller.

As much potential as there is for this saga to continue or for the series to undergo a full-blown resurrection, ending it here would also be fine. Rob Thomas and this cast should never have to beg for money or hustle this hard because Warner Bros. won't financially support the series. The studio couldn't even manage to follow through on their basic publicity and marketing obligations. But regardless of those issues, there's no denying the Kickstarter approach works best for a property exactly like this. It wasn't about making Veronica Mars "happen" since that ship sailed a while ago, but rather giving the series the victory lap it deserves. And they delivered, making this trip back to Neptune one worth taking.

Ranking The 'Breaking Bad' Art Project Posters (Worst to First)

Pop culture art has really exploded in popularity in recent years and it's easy to see why. It's highly collectable, somewhat affordable, and more importantly, it just simply looks better. There's something to be said for the handmade, personal touch that can't be replicated by a studio or network promotional department just slapping a photoshopped image on a sheet of paper. It's real artwork, and there's no other series on TV that's ever lent itself to such a treatment as well as AMC's Breaking Bad.  So when it was announced this summer that in honor of the show's fifth and semi-final season (review forthcoming) the website Breaking Gifs would be launching an official online art project commissioning today's top artists and designers to depict the series' "most memorable scenes, characters and shocking moments" in 17 hand-pulled, limited edition screenprints, anticipation amongst fans was justifiably shot through the roof.

While I agree with those who feel the prints designed for Lost a few years ago in a similar limited poster series were a bit stronger overall, there are some serious gems here that anyone would be lucky to own. Out of this batch I'd only call one a total stinker, so that not a bad average. I also can't help but think this series may not be over as they could easily start up again next summer when the final 8 episodes air. Especially when you consider that this fifth season has already produced a slew of unforgettable moments and images just begging to be immortalized in print (like THIS, THIS, THIS and THIS). You can view all the additional pieces over at Gallery 1988, who hosted of the recent Breaking Bad art show. Here are all 17 prints, ranked from worst to first. Obviously, there are some MAJOR PLOT SPOILERS AHEAD.

*Click images to enlarge

17. "Heisenberg," by Todd Slater
Ugh. Sorry, but this is awful. If I told you this was supposed to be depicting one of the most iconic moments in TV history you'd think I was crazy. At least crazier than (a guy who kind of resembles) Walter White in what's supposed to be his famous breakdown in Season's 4 unforgettable episode, "Crawl Space." Looking more like a photo on the wall rather than a hole in the floor, it's amazing how Slater failed to even properly capture the tone of the scene. And especially a big surprise considering he's a really great artist. Is that shadow supposed to be the shape of a coffin? Ugh again. Almost worth purchasing as a joke. Almost. At least there's still a similarly themed but far superior print by Glen Brogan that captures most everything this failed to.

16.  "The Cousins," by Jeff Boyes
Solid artwork, even if it looks like it should be airbrushed onto the side of a bike or truck, or the back of a leather jacket. That seemed to be the intention, so a success in that regard. Still, it's pretty ordinary. But is there anyone craving a memento of these characters? If we had to go there, it would have made more sense to do an illustration of their sensational parking lot shootout with Hank in Season 3.

15. "Emilio's Disposal," by Dave Perillo
Well, this is what it is and mostly works. A pivotal first season moment is captured in a so-so print. I'm not sure Perillo's light touch exactly matches the dark intensity of show but it's fairly obvious that contrast is the entire point here. Well done as a humorous diversion, though it's tough to imagine anyone hanging it on their wall.

14. "Hector Salamanca," by Tom Whalen
Ding. Ding. Ding. Many were crazy about this when it dropped but I'm a little less enthusiastic. It's clever once you figure out what it is, but it's so minimalistic it may take even the most diehard fans a couple of seconds. Whalen's a Disney artist so this isn't exactly an ideal fit and it kind of shows, as it's a bit cartoonish. Don't get me wrong, it's a nice print, but it seems like a golden opportunity was lost to depict the terrifying, heavy breathing countenance of actor Mark Margolis.

13. "Saul Goodman," by Chris DeLorenzo
Love the character, but this is just okay. Maybe I'm just disappointed that the awesome Constitutional wallpaper in Saul's office wasn't worked into a poster in some way. This is very Hitchcockian though. Really like the "Beneke Fabricators" ad on the bottom left. Nice touch. Now, there's someone who needs their own poster asap (Beneke vs. Area Rug?) But considering how hilariously sleazy Bob Odenkirk is in the role, this rendering does seem a bit ordinary. If there was a print to go over-the-top with, it was this.   

12. "Episode 5.01," by Jermaine Rogers
Yo! Magnets! The only Season 5 print in the series is a good one, if a bit comic book-y. Then again, maybe that's fitting considering this was exclusively available at Comic-Con. Great to see a cool supporting character like "Old Joe" on a poster but after viewing this season's premiere ("Live Free or Die") the image of Walt and Jesse in an intense stare down doesn't make much sense. Or at least it didn't then. I'm wondering if Rogers saw the episode before designing this. Probably not, or we'd more likely be looking at an image of a magnet-happy Jesse jumping excitedly in the junkyard or Walt with hair and a beard mysteriously sitting in a Denny's on his 52nd birthday. Either is preferable.

11. "Mexican Shootout," by Rich Kelly
My second favorite BrBa moment (right behind "Crawl Space") spawns one of the more polarizing prints in the series. At first glance I didn't care for it at all, probably in part because I felt no illustrator could do this sequence justice. The more I look at it though, the more it grows on me. It helps to be familiar with Kelly's other similarly abstract work to appreciate what he's going for. No, it doesn't look like Jesse and Gus' face is blanked out but sue me for thinking that approach is kind of strangely cool. It also fits because the entire sequence is so heart-pounding it almost feels like it's remembered in a blur anyway. If some of the other prints were too cartoonish or comic looking, this is the cover of an intriguing graphic novel. Say what you want, but it nails the tone of the scene and there's nothing ordinary about it.

10. "Wayfarer 515," by Justin Santora
Another unusual piece and easily the most minimalistic of the bunch, depicting the Season 2 plane crash indirectly caused by Walter White's irresponsibly heinous actions. What I like about it is that it really works as a piece of art that would look classy hanging on someone's wall, whether or not they had any idea about the show or not. In that respect, Santora accomplished something none of the other artists could. No one without intricate knowledge of the series would have a clue what this is supposed to be. As a work of art, it's pretty clean and flawless. How much you appreciate a restrained piece like this will likely come down to personal taste. But what doesn't?

9. "Los Pollos Hermanos," by Jessica Deahl
Love it. Anything featuring Walt's legendary Pontiac Aztek gets my vote. This Southwestern style image  brings to mind something out of a classic Western, which you could argue the show actually is.  I'm probably in the minority but the cheesy tagline on the bottom, while not entirely necessary, is a clever touch that makes the print double add for Gus' prized fast food franchise. Also great that you can actually spot him through the window. This is probably one of the strongest pieces as far as visually exploiting the show's terrific settings and locations. Great use of colors. Currently serving as my desktop background for good reason.

   
8. "Lily of the Valley," by Phantom City Creative
I'll probably catch flack for ranking it this low because it is a visually great call back to the what's undeniably one of the show's most indelible closing images, but I'm just not as crazy about it as everyone else seems to be about it. That's mainly due to the incorporation of that skull as one of the petals, which seems to be an unnecessary touch that not only takes away from the striking simplicity of the image, but also spells everything out a little too much for an audience that knows exactly what it is anyway. Other than that it's difficult to find much fault with it. Brilliantly subtle. Except for that skull.

7. "Breaking Bad," by Ken Taylor
Taylor's probably the most renowned artist on here so it stands to reason that any BrBa poster of his should easily wipe the floor with all the others. Not exactly, but it is still pretty damn impressive and justifiably sold out in what seemed like milliseconds. I'm not sure how i feel about the all green and it's a bit cluttered with too many heads, but that's the price you pay when you have an ensemble with so many rich supporting characters. Likely to fans' delight, this marks Skyler's only appearance on a print, but she's rendered really well (as is Hank). I would have left off the cousins but you probably could have guessed that already. Maybe not the best work Taylor's ever done, but what does it say that it's still better than most of these?

6. "The White Residence," by Mark Englert
Aztek alert! Englert's an expert at these types of landscape prints and this is definitely no exception. How can you go wrong with a portrait of the White residence? This house has basically been a character in and of itself, providing the show with so many of its most memorable scenes and moments. Of course, it's great to see the trusty Aztek back in the driveway where it belongs and I love the touch of the pizza on the roof and Walt being visible through the window. Odds on Flynn/Walt Jr. eating breakfast? Englert forgot to photoshop the shadow out of the driveway but that's nitpicking. It's a beauty that needs to be hanging on my wall instead of languishing on this page.

5. "Jane," by Frank Kozik
Plane Crash Kills! I had my fingers crossed they'd do a print for Jesse's doomed, heroin addicted girlfriend Jane and this Warholesque graffiti collage by legendary 90's rock poster artist Frank Kozik exceeded even my wildest expectations. Those finding fault are likely missing its entire point: That this actually seems like the kind of macabre piece that art-obsessed Jane would own or design herself. No poster fits its character more than this one. The colors, the skull and planes, the typography and even that chemical equation for heroin on the bottom. Maybe not the absolute best in the series, but hands down my personal favorite.

4. "Superlab," by Kevin Tong
Wow. Just wow. Imagine all the work that had to go into this. And not just the artwork either. I'm talking about all the details concerning Walter White's "Protocols, Procedures and Practices." Tong had to actually fill in all the steps for cooking and the equipment. Plus, you gotta love all the inside jokes he squeezed in like the "Do's" and "Don'ts" with Jesse blowing up his suit, Mike looking on in disappointment and the danger of flies and other contaminants. Talk about having all your bases covered. This is why Season 4 is unbeatable. It's all on this poster. And what a design idea. Nearly as impressive as the lab itself.

3. "Gus," by Anthony Petrie
Two of the show's most iconic moments eerily merged into one unforgettable image. Symbolically linking the flight crash bear Walt fished out of his pool in Season 2 to Gus' explosive demise in Season 4's famous "Face Off" doesn't seem like such a stretch at all when its presented in such a visually striking manner by Petrie. One of these elements would have likely made for a fine print, but together it's twice as impactful. Before looking at this I never really considered the freaky symmetry of the two events, but yeah, it totally makes sense to do this. It's also just about perfect, shining the spotlight on the two characters haunting the conscience of Walter White. If he still has one.

2. "The Rise and Fall of Jesse Pinkman," by Rhys Cooper
Everyone was probably anxious for Jesse to get his own print and this sure doesn't disappoint, depicting his gut-wrenching decision at the end of the Season 3 to kill Walt's superlab assistant Gale Boetticher and the dark path that led him there. And if that's not enough, you even get Hank, Walt, Gus, Saul, Jane(!) and the (recently deceased) Mike Ehrmantraut together on a single print. And they're all illustrated incredibly, through that hall of mirrors style illusion with the crystal meth. In terms of capturing likenesses, Cooper's artwork is the strongest of the series. Pretty much a must-own for any diehard fan.

1. "My Name is Walter Hartwell White," by Daniel Danger
The first print of this series is also the best. An absolutely stunning work that actually would earn its place in any art gallery. Those as completely sucked in as I by the puzzling opening minutes of the pilot episode will appreciate this. What's with the RV? Why is that guy in his underwear in the middle of the desert? Why is he pointing a gun? We got those answers, and are still getting them, even as the show enters its final season. And all that is Breaking Bad is encapsulated in this beautiful orange-tinged landscape portrait of the New Mexican desert. I like how the RV is plainly noticeable but you have to look closely to even be able to make out Walt, as if he's completely lost and swallowed up by the scenery. Like he's nothing. I could stare at this all day. There were probably many ways to go about depicting this moment, but Danger took the simplest, and most effective route.