Umm… jesus motherfucking christ… that was equal parts INTENSE and AMAZING.
Michael Mando deserves at least a nomination for this season... damn, what a great job - physically and mentally
Oh God no, not Wade! Not the character we don't even know, and couldn't give less of a care about. Why did you have to take such a nobody from us!?
Yawn, this show is just plain boring.
I'm exhausted. This tension, the politics, the intrigue, even to the last second. So much is happening in this episode. So much concealed under such elegant garments.
In one way I look forward to the finale next week, however I'm not sure how they are going to fit what I was anticipating to be in this episode into the last, unless it is a 3hr episode, but I think it won't be such.
The other way I'm looking forward to the finale, is I no longer will need to invest all my emotion and attention in this concentration of spectacle and the craft of each Actor performing to perfection their role, and appreciating each word, glance, and interaction with their counterparts in such a magnificent, stunning location.
I'll be ready for this finale but until then I'll be soaking in what I've watched today. What a pleasure it is to witness what the Arts can deliver if given a proper opportunity.
Thank you to the Creators, Actors, Crew, and Those That have painstakingly brought this masterpiece to us.
The conundrum has set in... I desperately want to see the last episode now, but I don't want it to be the last show. 10/10
This was basically a sequence of illogicality in terms of character placement.
How is the Third Sister faster than Leia who was on her way much longer. Even if she took the faster route: Why would Leia not have been taken the fastest one??
How doest the sleeper agent know where Obi-Wan is, but none of the inquisitors does? How does she get there so fast? And why the fuck did she not cross path with the Third Sister??
Not to speak of how incredibly unfounded and unrealistic it was for the Third Sister to immediately find the entry in the beginning...
Sorry, but as much as I want to like it. The later half did not suspend my disbelief in the least.
All one shot. Very well done. Dynamic, stressful and brilliant. The planning and rehearsing had to have been off the charts stellar.
I think watching this episode is going to be a new holiday tradition. Better than most Christmas movies.
"Why tell a deadman the future?"
I couldn't have asked for a more fitting finale for this "piece of an art" mini-series. The bar was set high. It could've been either like the GoT finale or Breaking Bad finale. So glad they stayed consistent from start to finish. Undoubtedly, this ranks among the greatest miniseries ever produced.
Many people may be dissatisfied with the finale if they expected to watch an all-out war, which contradicts the entire idea of the show.
This new school looks like my own personal hell. Those kids are so peppy and aggressively woke that it’s legit creeping me out
What is the point in these ships even having weapons systems? The star destroyer couldn't even shoot a super basic defenceless ship out of the sky! It has been utterly infuriating watching the action sequences in this show.
"I will do what I must" made me cringe. It was like bad fan fiction. The fight wasn't great, though it was definitely better than the fight back in episode 3 of the show.
Reva might just be the most pathetic force user of all time. How the hell did a couple of random farmers hold their own against her? Again, the action in this show has been consistently dreadful - just straight-up bad decisions by the writing team, and laughably poor choreography. Also, she literally just took a lightsaber to the gut hours ago and was left for dead, yet now she suddenly appears absolutely fine walking around on Tattoine? WHAT IS THIS SHOW?
Glad we got the Qui-Gon cameo at the end though.
This episode should've been named "Toda Mariko". She is one hell of a strong character.
Marc Spector, Steven Grant, and a hippopotamus walk into a mental hospital.
I'm convinced none of you know what 'filler' actually means, this episode was a banger, not the best episode but a certified banger still. Got context for Lady Ochiba, more romance between Blackthorne & Mariko (their chemistry is actually very strong), more behind the scenes politics with the council and a great set up for 'Crimson Sky'. Another great episode!
"Spectacular" "Amazing" Really? It was alright. It felt like a webisode (remember those?) than a pilot.
I don't like that they are turning a mercenary villain into a good guy just to make the series more digestible.
I also don't see it as a positive when a series is like another series. Take Better Call Saul, for example. It's very much its own thing.
It's so hard to heap enough praise on this show and do it justice. The complexity of the story, the beauty of the land. The cinematography, direction, acting from the stars to the extras, and crew giving 100% to the production of this masterpiece, it's such a pleasure to watch.
Such a beautifully told story.
This episode has left me with more questions than answers:sob:
This was really endearing, lots of cute moments.
In most other shows I'd find it ridiculous to have characters get married after knowing each other for only three days but everyone in TUA is just unhinged enough for something like this to work. And I'm always here for the "let's have a party before the world ends" trope.
I like that they finally gave new Ben some depth, took them long enough!
Reginald being nice (or at least pretending to) is totally weirding me out and I'm loving it.
Klaus is definetely carrying this season so far.
Everytime Allison spoke I could not help but roll my eyes. The adaucity to not even accept Viktor's apology which in no way she even deserved... ugh. Her emotions are very much justified, I don't blame her at all for grieving and being angry but after forcing herself on Luther and not even apologizing for it and then going on to murder Harlan in cold blood, I just cannot stand looking at her anymore. She's irredeemable.
This was truly heartbreaking…Worlds collide as Jimmy’s life morphs into Saul’s longterm burden. Seeing Howard be killed so swiftly was gut-wrenching. I particularly love the juxtaposition between Nacho’s heroic/final victory death and Howard’s tragic demise - Jimmy and Kim tarnished his reputation and his death will now cement his defamed legacy and undercut all the success his life and career had seen. Love how both death scenes feel very inevitable and using that fact to heighten the tension and bask in the moment of the scene. I can’t praise the BB/BCS team enough. Emphasized bravo to Patrick Fabian, putting on an award worthy performance all season long.
Wrapping it up with the title "Captain America and the Winter Soldier" was a nice touch :)
[8.6/10] It’s a fool’s errand to wish for happy endings in the world of Better Call Saul. But I had a faint hope for Nacho. I pictured him getting out somehow. I envisioned him finally escaping from the life that he fell too deeply into and starting again. I imagined Jesse Pinkman arriving in Alaska and making a connection with Ignacio Varga under an assumed name, Mike’s two surrogate sons coming together and looking after one another the way he might have done himself. It’s a nice thought, one too nice for the consequences this universe tends to have in store for its major players.
Instead, Nacho is dead. And we are left to take comfort in the few saving graces of his unfortunate demise. He went out his way, choosing his own “good death” rather than being the plaything of other people’s wills like he’s been for so much of the series. He did so to guarantee the safety of his father, with whom he shared a pained final phone call, freighted with meaning. He claimed one final measure of control, of destiny, to make his death worth something, to him and the people he cared about.
These are small blessings and small comforts. I teared up at the fateful moment when Nacho takes his own life rather than subject himself to the plans of the drug lords around him. Because this is a tragedy. Because this went south just as Nacho’s father said it would. Because Nacho thought he could beat it, avoid the pitfalls, and instead was sucked down by the inevitable gravity of this life. Because despite his best efforts, Mike Ehrmantraut lost another son.
These are not showy, emotional men. So their tiniest expressions speak volumes. The scrunch of Mike’s mouth when he knows Nacho’s gone that reveals his pain and disgust with this whole thing. The slightly raised eyebrows of Gus Fring that show his quiet terror that, with one word, Nacho could blow this whole thing up. And the almost imperceptible nod shared by Nacho and Mike, an acknowledgment of deeds that say more than any words either man has. This is a grim, even sentimental experience for all, made that much more forceful by how Better Call Saul underplays it.
God help me, Michael Mando deserves an Emmy for this episode alone. He, like so much of this incredibly talented cast, has deserved recognition for a long time now. But this is a masterclass. The sheer physicality he puts on display when Nacho buries himself in the sludge of an old tanker truck, the unspoken well of pain and regret pouring out of him when he hears his father’s voice one last time, the sheer vitriol on display when he curses the Salamancas and declares himself the author of all their pain. The shades of desperation, resignation, and self-immolation Mando communicates are virtuosic to the last. If this is truly his final performance on the show, he goes out with his masterpiece.
But it’s not all Nacho in this episode. We get more advancement in Kim and Jimmy’s plan to undermine Howard. This is one of their smaller efforts, but there’s a sufficient amount of tension in Huell(!) and a keymaker using their combined skills to duplicate Howard’s car keys before his valet can catch wise. One of this show’s great skills is taking fairly mundane parts of these scams and ratcheting up the tension. The interplay between a teenage valet rushing back to a parking garage, cut with the grooves of the key and the stairwells of the building, set to a classical soundtrack, makes a comparatively straightforward part of this plan seem like a big deal.
But after such chicanery, Huell asks Saul a simple but telling question -- why do you do this? The dialogue implies that Huell needs the funds, that this is one of few options for him. Jimmy, on the other hand, is a lawyer. His wife is a lawyer. They could get by without this. Jimmy claims that Huell doesn’t understand, that this is for the greater good, that even if the tactics are underhanded, the desired result is good, which makes taking these risks worthwhile.
And yet, Kim and Jimmy seem to revel in the chase. There’s something personal in this for both of them. The thrill of it seems to light both of their fires. All of it suggests their motives for continuing with something that, to Huell’s implicit point, they don’t have to pursue, may not be as altruistic as Saul pretends. More to the point, they have more to lose in all this than either one of them seems ready to acknowledge.
There’s a lifeline though. One of the prosecutors, Suzanne Ericsen, who once called Jimmy a scumbag, offers to let him turn state’s evidence. She pieces together not only the real deal with Lalo, but how Jimmy didn’t want to be the cartel’s lawyer. After Kim turns over some incriminating evidence she’d be better off suppressing in the name of fairness, Suzanne shares this offer with her, with the idea that he might listen to her in a way he wouldn’t listen to Suzanne.
Suzanne frames it as an opportunity to do what’s right after being steeped in something dirty. Kim frames it as a choice between being a “friend of the cartel” or a rat. But neither of them seems to fully countenance it in the way the viewers, who can process it in the context of the show as a whole, can. It’s a chance for Jimmy to do what Nacho didn’t -- to get out of this, to step away before it’s too late.
It’s too late for Nacho. He tries valiantly to avoid the worst of the blowback. His descent into the muck to avoid his killers is as symbolic as it is terrifying. His kindness (and cash) for a friendly mechanic who offers him help when he needs it and asks for nothing in return shows the decency within a troubled and ultimately doomed young man. His grief, not just at never being able to see his father again, but at confirming Manuel Varga’s worst fears and predictions about his son, is palpable.
There is something admirable in Nacho in his final days, when he accepts the inevitability of his end. He cannot change that. He’s made too many bad choices to reach this point. But he can use his life, the value it still has, to protect the person he cares about most.
The sharpest thing Nacho does is leverage the value of whether he’ll tell the Salamancas the truth, or whether he’ll play along. He realizes the rare power he holds over Gus, rather than the other way around. He doesn’t use it for comfort or to try to buy his own way out. He just wants to protect his dad and uses the last thing he has of value to do it.
It wouldn’t work, though, without his similarly paternal bond with Mike. For all his “Not my call” talk with Nacho, Mike is a man of honor. The only way a promise from a snake like Gus means anything to Ignacio is that it comes backed by Mike.
There’s a rapport between the two of them, an understanding, a familial intimacy that adds the wholesomeness and tragedy of it all. Mike insists on being the one to rough Nacho up to look the part of someone working against Gus’ operation rather than for it. Beforehand, they share that drink together, an acknowledgment or respect and care. And Mike puts himself out there to be an “insurance policy” for the plan, there to ensure, in his heart of hearts, that it goes down the way they planned it, that Nacho doesn’t have to suffer. He looks through the scope in the way he did back in season 2’s “Klick”, and sees someone who understands the lengths a father and son will go to in order to protect one another as well as he does.
Except, when the time comes, Nacho goes off script. He palmed a piece of glass, presumably from the cup Gus broke an episode ago, and uses it when the time’s right. Rather than simply announcing, as Fring insisted, that he was in league with Alvarez and paid off by rivals in Peru to sabotage the Salamancas, he goes a step further.
He laughs at the prospect of “the chicken man” being involved as a joke. He swears his hatred of the whole Salamanca family, offering up the motive for him to do this without any need for being aligned with Gus. He takes credit for Hector’s sugar pills, pointing to Gus’ intervention as the only reason Hector is still alive. In brief, he makes the story better and more plausible than even Gus had in mind. It’s clever, proving his worth even in his final moments, giving Fring everything he could possibly want to throw the heat off of him, in the hopes that it will convince the crime lord to keep his word and spare his father. After so long, so many missteps, Nacho seized control and went out on his own terms, if only a little.
The palmed glass becomes vital to slipping through the zip ties that bind him. He seizes Don Bolsa’s gun and holds it to the man’s head, so everyone can point their guns at him. And then, with the weapon in hand, he can kill himself, rather than subject him to the Salamancas’ torture or other humiliating or excrutiating ways to leave his world. His death is still a sad, terrible, regrettable thing, but it comes with a moment of self-actualization, where for a moment at least, Nacho is not the pawn of these men. He is their equal. And then he is gone.
Another life wasted. Another existence snuffed out in the middle of the desert. Another son lost amid the plata y plomo. In a beautiful opening sequence, we see the flora growing over the spot where Nacho died, growth perhaps fueled by his remains. Amid such desolation grows a beautiful azure flower, the rain come to wash it all away. There, catching its droplets, is that same shard of glass, the one that gave Nacho his last bit of freedom, before the collective weight of these larger forces could firmly and finally take it away.
It would be too much to call Nacho a good person. At his best, he was still a drug dealer thriving on others’ addiction and misery. He may have been a touch nobler, a touch younger and thus more excusable, than the psychos he worked for. But he was still a bad guy doing bad things.
And yet, there was something recognizable in his fall and folly. Too many of us see shorter, yet more dangerous paths to the things we want, and believe we can avoid their greatest perils along the way to our hope for spoils. We see Nacho’s regret, his emptiness, his sense of being trapped in this before he realized how deeply he had fallen. We see how his desire to protect his dad -- from Hector, from Gus, from his own mistakes -- led him to this point, where he was in too deep with no good options.
Nacho may not have been perfect, but he was pitiable; he was recognizable; he was loved. There is always tragedy in the death of someone loved. Jimmy is also loved. He has his chance to get out, to turn to the police like Nacho’s father instructed his son.
But Ignacio didn’t listen. He’ll never have a chance to escape. He won’t ever meet Jesse in Alaska. Exit ramps are rare. Happy endings are in short supply in this world. And in the end, there weren’t enough of either left for Manuel Varga’s little boy.
When Marvel makes a better Uncharted than the Uncharted movie :joy:
That ending was wild though. Can't wait for the next episode!
Genuinely one of the most horrifying death I've ever witnessed in a TV show. The entire final sequence is scarier than most horror movies these days.
This episode broke me. Masterful episode!
Worst episode ever. So boring.
[8.3/10] I could write an entire review just trying to decode all the little images that “The Guy for This” deposits. One of the things that set Breaking Bad and Better Call Saul apart is their penchant for that type of symbolism, letting the visual convey as much of what the audience is supposed to take away as the dialogue. So when an episode opens with ants slowly but surely descending on Jimmy’s ice cream cone, and ends with the aftermath, you know it’s supposed to mean something.
The easiest interpretation is that it’s a visual metaphor for the slow degradation of what Jimmy has. You’re enjoying something sweet, something good, and then the unexpected happens to turn it all upside down. Then one scavenger shows up to take a cut, then they tell a few more, and a few more tell a lot more, until eventually, the whole hive is there. Finally, you return to find what you had melted, with nothing but insects wanting their taste crawling around.
You can stretch that to Jimmy’s plot here, where his connection to one little bit of crime with Tuco led him here. You can stretch it to his broader arc this season, where his new practice colors outside the lines, but is mostly on the up-and-up, until he gets involved with the cartels and suddenly finds himself surrounded by them. Or you can read it as his story across two shows, where ever since he earned his law degree, his inability to put Slippin’ Jimmy to rest opened the door for bloodsuckers to come to him and lead him into this swarm.
Or maybe it’s just a cool shot of melted ice cream.
Either way, whatever that sequence means, it's cool to see the plot mechanics spin into place. The thing that really drives Better Call Saul is its incredible character work, bolstered by outstanding performances, which connect to piercing themes and an aesthetic bent. But it also knows how to spin a twisty plot that leaves you on the edge of your seat waiting to find out what happens next. As much of a stupendous slow burn as this series usually is, when it starts tying things together, it makes you bite your nails waiting for the boom.
Here, that results in a series of scheme that tie all corners of the show together, and even ties into Breaking Bad. It starts with Nacho’s suggestion that Lalo bring Saul in to handle the situation with Krazy 8. Lalo actually has a pretty good plan, which involves getting Krazy 8 back on the street by ratting out to the police, but about Gus Fring’s operation rather than the Salamancas. It’s a clever way to solve two problems at once: keeping a low-level guy who’s never done jail time from cracking in the joint while also using the police to put pressure on a rival.
The only catch for the title character is that he doesn't want to be involved in this. What’s particularly interesting about this interlude is how Saul’s brought in because Nacho has seen his resourcefulness first hand. Lalo even comments on his “mouth” in the same way that Tuco did. And yet, while Saul can use his gift of gab to get out of plenty of situatiions, he can’t manage to avoid doing this job. Even when he tries to offer alternative solutions or price himself out of the proffered task, Lalo pushes past it.
So he gets in and works his old Slippin’ Jimmy charms. Not only does he coach up Krazy 8 about what to say to the police, but he helps grease the wheels of justice when his “client” actually has to face them. And those police turn out to be...Hank and Gomey!
It’s a nice way to integrate them into the world of Better Call Saul. I’ll admit, for a show that’s already gotten a little too cute with its connections to the world of Breaking Bad (see also: the origin of Hector’s bell), I don’t know that we really needed this pair back in action on the spin-off. But if they’re going to be included, this is a great way to do it. Not only does the show nicely reintroduce the pair of DEA agents, hinting at who’s arrived before their faces fill the frame, but it makes them formidable opponents for Jimmy’s efforts to make good on his, shall we say persuasive, clientele.
That’s because Hank sniffs out the ruse. Even when Jimmy does the whole “lawyer trying to prevent his client from giving away the game” routine, Hank doesn't buy it. The show nicely walks the line with Hank, making him still the crass bulldog of a man he was before we found him sympathetic, but showing some solid police instincts with him. His banter with Gomey is still on point, but he’s also smart enough to go toe-to-toe with Jimmy and extract some concessions in his usual hard-headed way.
The plot means that Jimmy needs to mainly come out on top here. He gets Krazy 8 out on the “contingency” of the cops finding something based on his information and making arrests. He secures safe passage for his client so that he doesn't get fingered as a rat by his criminal associates. And he even tries to protect Krazy 8’s well-being by limiting his police confidential informant status to these two cops and these two cops only, giving Better Call Saul a convenient excuse to keep our favorite DEA special agents in the fold.
The one catch is that Jimmy tries to make this a one-time deal and can’t. He tries to beg off after laying out the terms of the deal to Lalo and Nacho, pleading that he has too busy of a schedule to keep up, but Lalo says he’ll make time. The ants have swarmed, the ice cream is melted, and he’s a part of this now, whether it was in the plan or not. That’s what Nacho tells him -- it doesn't matter what he wants -- when you’re in, you’re in.
It’s just one of many lines of dialogue in this episode said to one person and meant for another. Nacho is nominally talking to Saul about how he’s stuck with them now, but he’s really talking to himself. Whether Nacho wants to be in a life of crime or run away, he doesn't have a choice. He’s in too deep now, and there’s little, if anything, he can do to extricate himself.
That’s because he has to play all sides at this point. He tries to help fix things with Lalo, to continue ingratiating himself to his boss, by getting Saul to solve the Krazy 8 problem. But that just leads Lalo to trying to sic the DEA on Gus, which means Nacho needs to warn Gus about what’s coming, which mean he continues to be in the precarious position between two dangerous crime bosses who are trying to take one another out.
And yet, the most powerful scene in the episode comes when Nacho is confronted by his father. Mr Varga shows up to Nacho’s apartment to tell him about an offer he received to buy his store. But Nacho’s father is smart too, and like Lalo and Hank and even one recalcitrant would-be homesteader, he sees through the bullshit.
Mr. Varga knows that his son is fronting the money, trying to get his dad to leave town. But he refuses to leave. He refuses to take dirty money. He has a principle, and he won’t bend it for his son. You feel for Nacho, because he’s trying to protect his father through all of this. Whatever he wants or doesn't want, he doesn't have a choice at this point. The ants have swarmed him too, but he’s doing everything he can to keep his dad out of the muck. Mr. Varga is just too much a combination of stubborn and honorable to take the deal.
That puts Nacho and Kim in strangely similar positions. Her goal in this episode is to get an old man to move off his property, because it’s in the way of a major Mesa Verde development a la Up (or, Kelo v. New London if you’re legal-minded). She too tries to play nice with the old man standing on ceremony, offering him money, trying to make him see reason, only to be rebuffed due to the principle of the thing.
He’s only the second of three stubborn old men in “The Guy for This” though. The episode only briefly checks in on Mike, who’s drinking himself to death as he continues to mourn Werner. While the bartender tries to get him to leave, telling him he’s had enough, Mike won’t budge. He turns over his keys and orders another. He demands the bartender take down a postcard of the Sydney opera house, with the implication that it reminds him of Werner’s yarn about his father’s involvement in. He’s ready to inflict pain on random toughs, because he himself is raw. Mike is frustrated at what he’s had to do as part of his job, and it’s eating him up in that old familiar stoic-but-wounded Mike Ehrmantraut way.
That, again, oddly puts him in line with Kim. One of the big themes of “The Guy for This” is what people will do for money and how much of their soul and principle it costs them in the process. Kim is trying hard to maintain hers. She’s excited at the prospect of doing nothing but pro bono cases for a day. She is perturbed, to say the least, at her boss pulling her away from them to do less-meaningful but more lucrative work for her firm’s biggest client. And what sets her off, makes her play hardball with the homesteader, is when he accuses her of being all about money, despite what she tells herself. She hits back because it’s an accusation that clearly hit home with her and hurts.
It hurts especially because she’s been trying to distinguish herself from Jimmy here. Her retort to the homesteader is that he thinks he’s special, that he thinks the rules don’t apply to him, and that he’s wrong. Just because he doesn't like the outcome doesn't mean he can just set aside the law. Like Nacho’s words, those words are offered to one man but meant for someone else. She refuses to express these sentiments to Jimmy, sentiments she deeply believes, so she vents them to this man, safely in this situation, when her own mettle is tested.
(As an aside, my prediction for the series is that the breaking point -- if you’ll pardon the expression -- for Kim and Jimmy is going to come when Kim’s pro bono clients start leaving her for Saul Goodman because he can get them better results using nefarious means.)
So Kim tries to prove herself to this stubborn man, who refuses to leave his property despite a contract that says he has to. She tries showing him homes he could move into. She offers to help him move. She tries to explain how she’s more like him than she thinks, someone from a poor background who never owned anything and understands the value of having something that’s yours. She tries to prove that she’s not the type of person he thinks she is, only to be rebuked with his pronouncement that she’s someone who’ll say whatever it takes to get what she wants -- someone like Jimmy.
The ants are not the only bit of visual symbolism in the episode. Early on, Jimmy comes home to see Kim drinking on their balcony. He meets her there with two fresh ones, resting her empty on the railing. Kim gazes at the bottle as it sits there precariously, representing a certain recklessness in Jimmy that she’s tired of. She doesn't say anything, because she can’t. But when she goes inside, disgusted after hearing Jimmy talk about how this is the most profitable day Saul Goodman’s ever had, she grabs it, representing her rejection of that ethos.
And yet when she comes home after the verbal skirmish with the homesteader, the tables are turned. She joins Jimmy on the balcony. She shares a smoke with him, a continuing symbol of their bad kid camaraderie. Jimmy doubles down on his prior bottle-based recklessness, playing loose-and-catch with an empty of his own.
But Kim doubles down. She stops pussyfooting around and just throws her drink into the parking lot. Jimmy follows suit with his current beverage. And from there, they just take turns yeeting their full beers for the hell of it, until some unwanted attention sends them back indoors.
That image carries some potency too. Kim tries. She doesn't want to be swarmed like the others have. But no matter what she does, no matter how well she means, the world seems to treat her like Jimmy anyway. So if that’s the outcome no matter what she chooses, if she’s in this whether she wants to be or not, she might as well enjoy it. Pour one out for Ms. Wexler, and then toss it over the side. Let it mean whatever you want it to.
The first 3/4s of this episode are so generic and full of plot holes that I felt compelled to write a review. Every time Galadriel appears I feel I'm watching Mulan... The music can be so generic and underwhelming sometimes... Random 12-hour charge from the ships to save a village they had no idea it existed and was attacked in the first place. Randomly the queen knows Isildur very well and somehow, she decides: "oh yeah kid, go and fight because you're itching for battle with 0 experience", and oooh so it happens he rushes and his dad is in peril!... wtf???!!! are you for real? Same bullshit fight with the elf and the huge orc while Bronwyn coming to save him was so predictable... This is the worst episode of all so far. I'm sure Disney would've done a better job. The good like always are the costumes and the makeup, great looking orcs. last part of the episode is good, and leaves us with a cliffhanger. I wonder if they'll finally deliver next week
