Dick Wolf’s sprawling police procedural empire hasn’t exactly gained points for breaking boundaries. For decades, “Law & Order” has been the proverbial breadcrumb trail of consistency – a reliable engine chugging along with its familiar beat. But in an interview just last year, creator Dick Wolf offered a telling analogy he likely didn’t fully process: “Law & Order is like that blue Mercedes that you know will last forever,” while his contemporary fascination turned out to look a bit more exotic “Like, Breaking Bad is the Ferrari – fantastic to watch go by but it couldn’t drive as many miles.”
Wolf himself, naturally drawn to the solidity and ubiquity of the Mercedes (Law & Order) implies an acceptance of its intended purpose. It’s there when you need a sturdy mode of transportation. Maybe not glamorous, maybe not groundbreaking – but dependable. We understand what “Law & Order” gives us every week; case-of-the day resolutions woven with moral ambiguities and the occasional bit of juicy political commentary, served up like perfectly timed plot twists sprinkled amidst an always-reliable ensemble cast.
Where things get interesting is in this stark contrast against the Ferrari analogy thrown across the table towards Breaking Bad. It’s a show not just designed for transportation as much as pure sensory experience – breathtakingly intense, shockingly audacious, undeniably risky but also incredibly seductive when you consider its limited production time and high-stakes narrative. The fleeting nature of that journey in “Breaking Bad” makes it all the more tempting – its impact is massive because it’s gone. Once those blue Mercedes rolls out of sight for another week, so, too, are our connections to its complex moral themes and characters
Wolf’s statement unveils a fascinating aspect of perception within storytelling. For a creator steeped in the success of formulaic structure like Wolf was – the very thing “Breaking Bad” broke – comparing his project unfavorably to such a wild, groundbreaking ride demonstrates an evolution, a yearning to understand narrative outside his usual domain .
There’s also a degree of respect buried within that analogy. Recognizing “Breaking Bad” as masterful despite its departure from expected format gives Wolf credit for understanding quality when he sees it even inside genres radically different than his own. It invites us, the audience, to take the metaphorical driver’s seat: Do we choose predictable stability represented by “Law & Order” or thrill in fleeting but intense moments of brilliance showcased by “Breaking Bad”?
It’s a timeless argument; comfort zone versus a taste for the extraordinary . The Mercedes and Ferrari aren’t simply car metaphors anymore. They represent two radically different approaches toward creation, consumption. And maybe the question is less about which one wins, and more about what kind of ride does YOUR personality crave this week.
