I have been hoping to be able to write about the show for weeks, but have been stymied by a few things. First, my brain is so crowded with other matters fighting to be written about, none of them victorious, hence Blog Stalemate. Secondly, a writing project due in the next couple of weeks takes up whatever active brainwaves I can gather. Third, by the second episode of this season, I had a clear sense that Better Call Saul is a novel, not a collection of short stories – not even thematically related short stories – and we don’t write reviews of novels until we’ve finished reading them, right?
But tonight’s episode got me thinking somewhat coherently, so here goes:
- No, it’s not Breaking Bad, but as I wrote last season, it doesn’t suffer at all for it, and Gilligan and Gould have managed to create a fascinating, suspenseful show, all the greater of an achievement since we know that a good many of the characters we see onscreen are going to die in a few years and one of them is going to end up in witness protection managing a Cinnabon. Doesn’t matter. Somehow, they’ve managed to create a world that engages us.
- I love the leisurely pace of this show. It’s leisurely in unspooling plotlines and leisurely in scene-building. Scenes go on twice, three times as long as they would on other shows, even your other artsy prestige dramas. One of the things this pace does is give us a chance to see some sustained, excellent acting. Tonight I was particularly struck by Kim and Howard’s walk down the hall – him, absolutely stone faced until they hit the conference room when the he breaks out the smile for the clients, and her nervous glances. And the thing was, Howard’s stone-face wasn’t just generic non-reaction. Given the time the scene took, you had time to watch him and read the level of control he was attempting to exert over the situation through the impassivity.
- Second was Kim’s scene with the opposing lawyer in the restaurant. Rhea Seahorn has had a lot of time reacting onscreen, and she’s fantastic at it – you get such a real sense of someone listening and processing what she’s being told.
- What’s intrigued me the past two episodes is how little screentime Bob Odenkirk has had in the program named after his character. The focus has all been on Kim and Mike, with a bit of Chuck. That’s another reason it’s a challenge to write about, but the basic takeaway is clear, even if the specifics aren’t yet – Jimmy McGill’s actions have consequences for other people’s lives, and here’s what they are.
- Now, here’s the light that clicked for me tonight – I had been thinking this whole time that the way this was going to play out was “Jimmy gets fed up, something happens with Kim – she dies or just leaves his life – and he becomes Saul because he’s sad and disgusted. ” Tonight I thought…wait. What if, instead it’s, “Kim and Jimmy have discovered this mutual passion for the scam, for manipulating others to get what they want – and get turned on, which is much the same thing…and go into the flamboyant personal injury law thing together. ” And there’s your season 3, with the inevitable Thing-That-Takes-Kim-Away at the end of that.
- Pretty interesting…..but after tonight, with Jimmy warbling his siren song Bali Ha’i, and Kim responding in a way, by initiating a scam, not for any gain, but just for the thrill of it, and her hesitation at the kind of dream job (albeit complicated) she’s been going through reams of post-it notes to find…the groundwork seems to being laid.
- I’m less interested in the Mike story. It doesn’t drive me away, but it doesn’t fascinate me either, as much as I enjoy seeing the characters involved on his end (Tuco, Nacho, etc). I do confess that I’m a bit taken out of Mike’s story by the discontinuity related to his granddaughter’s age – that is, if she’s the age she is no on Saul, she’d be a teenager in Breaking Bad, when she’s the same age as she is in Saul. Call it the Bobby Draper Disease, I suppose.
- Breaking Bad was about sin. If you want to understand Breaking Bad, read Genesis 1-11, which recounts the Original Sin, rooted in pride, and then how that sin impacts us as individuals, impacts family life, and eventually impacts the wider community. The central relationship of Breaking Bad was between Walter White and Jesse – a perversion of the teacher/mentor -student relationship at every turn, a callous turning of the “Good Teacher saves the Wayward Student” motif.
- Better Call Saul seems to be about identity. Who are we, really? Is who we are innate? Can anyone ever really change? And what is it in life that prompts us turn that innate self for good or ill?
- But I think I’ll have to read a few more chapters to be sure.