Better Call Saul: Wiedersehen

 "We should only use our powers for good..."

This is a fascinating penultimate episode. An awful lot happens, and there's so much character development... but it's still not clear how the finale is going to shape up. Well, aside from Werner escaping and trying to go home because he misses his wife. This is nicely done, and logically follows on from subtle hints that have been recently dropped. The lab is progressing, and starting to look like the lab we know from Breaking Bad.  Morale with the other Germans is high. There's a cool sequence with the demolition.

But then there's new guy, Lalo Salamanca, who we (and Nacho) first saw last episode. Suddenly he's in charge, using a clearly annoyed Nacho as an underling and throwing his weight around. He visits his "Uncle Hector, now disabled as we knew him in Breaking Bad... and, in a bizarre little mini-origin story, gives him the bell. This is a symbolic changing of the guard from one Salamanca to another. He's smarter than Hector, confident, and I love his comment that his uncle is  "Same old Hector... just wants to kill everybody".

He's going to annoy a lot of people, of course. His confrontation with Gus, two intelligent alpha males sizing each other up, is fascinating. But I rather fancy Gus' chances. Lalo isn't long, I suspect, for this world.

We start the episode with Kim and Jimmy on another scam, Kim by now absolutely a natural at the lying and all that comes with it. The two of them are on exactly the same page. Jimmy confidently expects to be reinstated as a lawyer... and he now has a new potential clientele, who know him as Saul Goodman. It looks like the future is being set up...

But he fails his reinstatement hearing.

And Jimmy doesn't take it well. The mask slips. Jimmy, a selfish, malevolent, entitled *** behind the surface charm, lashes out at Kim, who in turn tells him some home truths: she always comes running to him.

They seem to reconcile, but... what now? I don't know, but this is extraotrdinary television.

Better Call Saul: Fall

 "This is not what fine looks like..."

This episode is eventful, as penultimate episodes of seasons often are. We see Mike's first day as a contractor, for purposes tof proper money laundering, with Madrigal, whom we remember from the final season of Breaking Bad... along, of course, with Lydia.

We also see consequences happening to those who are under pressure. Nacho, unable to wait any longer for the poison to take effect on Hector, is forced to come clean to his appalled father, who must submit to Hector after all, the one thing he didn't want to happen. Meanwhile, conscientious and professional Kim is burning the proverbial candle at all possible ends to make up for what Jimmy isn't doing, overworking and spreading herself too thin. There's a nice bit of foreshadowing early on: the concluding car crash, redolent in metaphor, isn't meant to be a surprise.

Jimmy is oblivious to what Kim is doing for him, of course. Much of the episode focusres on his truly evil mind games with the Sandpiper old fols, manipulating them into accepting the settlement now rather than a larger one later... as Howard says, it's purely because Jimmy needs the money. Slippy Jimmy with stop at nothing for his own selfish needs, and he cares not who suffers along the way.

Chuck, meanwhile, is far more urbane, respdctable and, in some ways, principled. Yet, if his condition isn't real (the jury, I think, is very much out), he may be just as much a con man as his father. And his decision to go scorched Earth on Howard and the firm, rather than accept retirement, is very much a prallel with Jimmy. Both brothers are very much capable of cdestroying others to get what they want. Both of them are far more terrible than they seem.

A brilliant and eventful episode, first class telly... but the characterisation is even more suble than it may at first seem. Superb.

Better Call Saul: Sunk Costs

 "Just so you know, this isn't a typical week around here..."

And suddenly it's all go. We have two narratives, with both Jimmy and Mike, in which events are moving quickly and fateful decisions bdeing made. With Mike, we sort of know the eventual outcome. With Jimmy... I fear for Chuck. I'm calling it: Jimmy is right. Chuck will die alone. This very season.

It's fascinating seeing the calm conversation between Gus and Mike, Gus- not Mike- very much the alpha male, framed as a man of power against the unique New Mexico landscape. Mike agrees, having no choice, to let things lie with Hector. Yet he spies a loophole; Gus and Hector are rivals, not friends. So he merely moves his vendetta to more subtle means, involving trainers, overhead power lines and cleverness.

But Jimmy, oh Jimmy, arrested, put in those frankly unnecessary cuffs and that absurd orange jumpsuit, accused of crimes that could ruin him. And Chuck actually tried to claim it’s for Jimmy’s own good… but it’s not: the eventual preferred plea deal will disbar him. Chuck, as ever, wants to end Jimmy’s lawyerly activities.

And Kim, poor Kim, she who is graced this episode with a montage of her very own. At first Jimmy seems to refuse her offer, but she ends up representing him. This lovely, talented lady is going to be dragged down by a man so very, very unworthy of her love.

Obviously, this is superb telly. That goes without saying.

Breaking Bad: I.F.T.

 "This spice feels like it's been through a couple of guys already..."

This episode, for the first time, feels a little transitional, not so much an event in its own right but setting up all the pieces for future moves to be played. It's all brilliantly shot, and remains quality drama, but for the first time in an episode of Breaking Bad you can perhaps see the artifice of the plotting a little more.

It's an episode where Walt and Skyler dance around each other in a battle of wills, as Walt/Heisenberg pushes again Skyler's edict that he's to leave the house and have no contact with the kids, both using the baby as weapon disgracefully but with Walt/Heisenberg essentially calling Skyler's bluff and gaining what seems to be the upper hand, for now. And poor, innocent, Walt Jr is an important catalyst here. These scenes are full of extraordinary subtlety from the script and, espdcially, both Bryan Cranston and Anna Gunn.

Meanwhile a depressed Jesse, living in his unfurnished house, rings Jane's phone again and agaknjust to hear her voice on the answerphone... until he no longer can. This a rather nice little microcosm for going through the stages of grief so, with Saul acting as the devil on his shoulder, it's back to cooking for him.

We also have Hank being sent back to El Paso which, much as he tries to pretend otherwise, terrifies him utterly. The events of the episode have me fearing for him; it's a brutal world out there, as we see in the opening film, shot like a Western and tinted in yellow to appear like a different world as Danny Trejo's Tortuga meets his comeuppance in scenes full of tension and reminiscent of something by Tarantino and Rodriguez. It's in this context that the plot to kill Walt is paused for a while as Gus vetoes any revenge while he and Heisenberg have "business"... but this pause has its limits, and is dependent on more cooking...

You can see the joins a bit here. But there's also real excellence here, as always in Breaking Bad.