Kim’s increasingly tense and resentful toward Jimmy, who cluelessly carries on as if they didn’t reel in Mesa Verde disreputably. She’s already uncomfortable around Paige, who’s still incredulous at what she believes was HHM’s address snafu.
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Kim will eventually succumb to her own hastily constructed reality. Then we see Gene, icing spatula in hand, collapse to the ground. The moment he breaks character - skipping past Saul and going right for Jimmy’s primal instinct as a public defender to shout advice at a shoplifting teen - any illusion of ordinariness is made plain as just that. future Jimmy/Saul, whose quality of life relies on staying firmly inside the lines of his slavish routine at Cinnabon. Kim is more than capable of spending a whole night tweaking punctuation on paperwork if it tamps down her guilt. Mike can spend hours tearing down a station wagon until he finds some proof that he’s been bugged. However, he finds salvation and some possible business dealings with some unlikely, potentially not-so-obedient youth.Everyone in Better Call Saul is a bit obsessive.
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Jimmy drives an ugly car (a banana yellow Suzuki Esteem), he really doesn’t like his job and can’t seem to make ends meet. Gilligan and Peter Gould promise to show how this man made a name for himself, in more ways than one.įrom this initial flash-forward, we push back to the early 2000s, when Saul Goodman was the less legendary Jimmy McGill. Breaking Bad’s run stayed with viewers for its stunning character transformation, and Better Call Saul makes a similar promise.
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In an image that may not have the iconic stature or longevity as Walter White staring down the desert with a gun in tighty whities, but just as much resonance on the series that follows, Jimmy McGill slowly comes into focus as he revisits his Saul Goodman commercial. As soon as that tape begins playing, Saul’s face dissolves into a look of wanting and regret, the glimmer of light from the screen a lone source of color in an otherwise grey existence. He watches over his staff, returns to an empty home, tends to a drink, shuts his blinds and digs for the traces of his former self. The answer comes in the form of a videotape with a “Better Call Saul” advert on it.īob Odenkirk spends the first five minutes of this series in complete silence.
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( Breaking Bad devotees likely smirked at the sight of the fast food chain, given Saul’s prediction at the end of that series.) As the lyrics of the song go during this melancholy, black-and-white opening, “I’ve searched only to find, address unknown.” The man who used to be Saul Goodman is still searching for something: an antidote for the humdrum rhythms of working-class life. It shows a tragic epilogue to the events of Gilligan’s prior series, as sad-sack manager Saul kneads dough underneath an unflattering moustache at a Cinnabon in an Omaha shopping mall. The first hour of a special two-night premiere began with a stark, stunning cold open.
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This pilot is all about re-introducing a character we only thought we knew from his sly appearances as Walter White’s slimy attorney on Breaking Bad. However, from the opening minutes of Better Call Saul, what seemed at first like a wacky expansion option that could not possibly live up to its source could just be what the network needs to recover from Walter White’s exit. “Why ride on someone else’s coattails?” The same questions could be directed toward AMC, the network that decided to fill the Breaking Bad-sized hole in their schedule with a spin-off of their Emmy-winning series. “Wouldn’t you rather build your own identity?” a man asks struggling Albuquerque attorney Jimmy McGill.