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There's a lot of copy and paste in this show, at least in the first two episodes. It's Girls In Space not Star Wars and it only goes to show that catiness and bitchiness is still strong in this future.
They are trying to capture 'The Mandalorian' style of acting but without Helms on so there's a ton of emptiness. There's a 'Tom Cruise' knock off and a ton of just standing around with arms crossed.
No wonder Favreau is pissed at Feloni for buckling and letting Darth K-Kennedy to insert her nonsense into this show yet again. She is the cancer that's destroying Star Wars and LucasFilm completely.. her departure cannot come quick enough. Ahsoka was to be the first show KK free, but she forced her grubby nose and demands into this show too in key areas.
Roll onto Mandalorian Season 4.
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@tropolite Damn, you should consider selling your insider information. That's some deep knowledge of behind the scenes stuff! I am envious!
Skippable episode, to be honest
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I disagree but I'm wondering why you feel it can be skipped. What is your rationale?
This was supposed to be THE season but practically nothing happened.
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@tinod If you don't want any context and just want stuff being blown up, go watch a Transformers movie. This episode was epic for people who actually care about the character interactions.
Shout by Uncle Baby Billy
It’s pretty hilarious to see people all weak at the knees because Frenchie is “suddenly gay”. That bro has been displaying bisexual tendencies since season one. He admitted to “turning tricks” to make ends meet, and told MM to be “open minded” when love sausage wrapped his piece around him at Herogasm.
But it does suck that his relationship with Kimiko is seemingly on the outs. It’s been building up for a while so hopefully that’s just a curveball being thrown by the writers. I’ve always loved their dynamic.
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The people screeching about Frenchie probably also still think Homelander is the good guy :joy:
Shout by Harish
The boys is officially Lgbtqai+jdj×nln÷ye8#nd etc show. Thank you amazon. Can you please make mark Grayson trans.
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You've been watching with your eyes closed for the past 3 seasons if you've just caught on lol
Found myself feeling incredibly bored, again.
Also, the "modern" take on some of the characters, their actions, and certain lines of their dialogue is so tiresome.
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:point_up:Grumpy guy who barely pays attention to the show gets mad because two women kissed.
This used to be one of my favorite shows, and I'm terribly disappointed at how easily they managed to ruin it... What happened, did Netflix or Disney buy it!?
How did the series suddenly become so 'woke' after the 4th season!?Firstly, the new addition to the Homelander team turned out to be Afro-American girl, of course...
Secondly, how on earth did Frenchie turn out to be gay? For the first three seasons, he was portrayed as super macho, protecting Kimiko fiercely and showing interest in her, and then they completely reversed his character...What on earth is happening to TV shows and movies at general these days? There isn't a single decent series left that stands for something without being filled with Afro-Americans and members of the LGBT community...
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Let me guess...you also still think Homelander is the good guy :joy:
This used to be one of my favorite shows, and I'm terribly disappointed at how easily they managed to ruin it... What happened, did Netflix or Disney buy it!?
How did the series suddenly become so 'woke' after the 4th season!?Firstly, the new addition to the Homelander team turned out to be Afro-American girl, of course...
Secondly, how on earth did Frenchie turn out to be gay? For the first three seasons, he was portrayed as super macho, protecting Kimiko fiercely and showing interest in her, and then they completely reversed his character...What on earth is happening to TV shows and movies at general these days? There isn't a single decent series left that stands for something without being filled with Afro-Americans and members of the LGBT community...
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@pr07o7yp3 Just say you're racist and hate gay people bro.
Shout by buræquete
How does this at all related to the high republic period, we see nothing apart from these witches and stuff, so boring, the chanting part was like some musical, so cringe. Also witches supposed to use magic, not force, this is all wrong.
Good job making Jedi look evil and witches sweet & peaceful, what the actual f? Jedi never took away children without parents consent. Also kids are already too old, why would even Jedi test them, they are not supposed to be eligible at this age, why even bother?
So it was the Jedi who raided the place and burned it to the ground to kidnap the kids hence the guilt is it? What the f? Osha is super traumatized, conflicted, old, and too attached, 10 times worse than Anakin, why go this much effort for those boring twins? ZERO sense
Wookiee Jedi was the only good thing in this whole episode.
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@tedford When it comes to people who have nothing but complaints and rants; yes, you watched a completely different episode. They didn't watch it for the enjoyment of it being a Star Wars story, they watched it specifically to find something to complain and rant about.
Shout by buræquete
How does this at all related to the high republic period, we see nothing apart from these witches and stuff, so boring, the chanting part was like some musical, so cringe. Also witches supposed to use magic, not force, this is all wrong.
Good job making Jedi look evil and witches sweet & peaceful, what the actual f? Jedi never took away children without parents consent. Also kids are already too old, why would even Jedi test them, they are not supposed to be eligible at this age, why even bother?
So it was the Jedi who raided the place and burned it to the ground to kidnap the kids hence the guilt is it? What the f? Osha is super traumatized, conflicted, old, and too attached, 10 times worse than Anakin, why go this much effort for those boring twins? ZERO sense
Wookiee Jedi was the only good thing in this whole episode.
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@buraequete Did we watch a completely different episode or something?
I think they made an error in dialogue, Barris is telling the Fourth Sister that they are still alive but there is only one man, so I think originally creators wanted severall Jedi there but ultimately they decided that there will only be one, and they forgot to rerecord the dialogue. Idk it's so weird that they left that mistake in.
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@dbmen no mistake here and no cut story either. "The Jedi", as the character is known, is non-binary so would be referred to by they and them.
It's hard to know how much leeway to give a sitcom when it comes to things that would be horrifying in real life but can seem merely goofy in the context of a television show. In real life, Robin would be justified in never speaking to either Ted or Barney ever again after they turn her hopes, her personality, her very life into a class. The show attempts to sweep that under the rug by having Ted frame it as a use for all the Robin knowledge he'd generated when they were dating, and that it's the hardest he'd ever seen barney work to keep a girl. It doubles down by having Barney apologize and attempt to explain himself. But it still feels a little strange for Robin to forgive the both of them so quickly for such a gross violation, even if the show bends over backwards to make the argument that it was well-meaning.
On the other hand, there are demands of a sitcom, chiefly that things be more-or-less reset to the status quo by the end of the episode. Even in a comedy as continuity-heavy and intertextual as How I Met Your Mother, there's a certain inertia of the familiar, where outside of the season finale or Big Event context, the basic dynamic of the group has to stay the same. With that in mind, I can, more or less, make my peace with it. It helps that beneath the inherent creepiness of the whole thing, Ted's class is pretty damn funny, from the brick joke with the Flatiron Building, to Barney being a less-than-model student, to the list of items that can distract Robin when she's mad. Marshall's barrel B-story is pretty slight by comparison, but as usual Jason Segel makes the most of it.
All-in-all, the laughs are there for the most part, even if some of the humor is broad. It's just a question of whether you can separate how horrific something like "Robin 101" would be in the real world from the silly tone it has in the heightened reality of HIMYM.
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@essenslug I can see what you're saying! I think that's the rightly charitable approach to take here, even though I do think the show goes overboard with it in later seasons (which what I assume you're referring to re "plotlines in further episodes."
CGI trying to make people look younger still sucks! Please just stop trying until it works better.
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Amen. Only part I didn't like. It would have been enough to just shave him and put some makeup on.
The main characters make such stupid mistakes at every turn, do they learn nothing? I’m liking the little brother’s story the most because I feel the characters and story are actually progressing.
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@digital_phreaker When Maximus brands the other guy why doesn't he think to reveal who he is before branding him rather than after. Maximus is so stupid that I keep wishing he'd get killed off but I'm pretty sure we are supposed to be rooting for him. This episode was his least stupid by far as every time he appears he makes big choices that don't seem logically motivated. If he made more reasonable choices things can still go horribly wrong it just requires more intelligent script writing. Why did Lucy just happen upon him at all let alone a few moments before he was going to die? They could have easily foreshadowed aspects of the story that would make sense of them passing through the same area then if they wanted to have her turn up in such convenient timing it would be tolerable in as much as it's a typical trope that's used. The Last of Us is a much better show with a very different, more serious tone and it doesn't rely on the characters being complete morons to create some kind of easy tension. This show should lean into the comedy more so that the silly writing makes more sense.
I think someone used their powers, it seemed the same as the jump with the psychic
Am I the only one that doesn’t like Marie?
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@abstractlegend I like her, I appreciate her humble roots and goals, but I think they're making us dislike her for now so we can lover her more somewhere down the road. They're messing with her mind, she's very gullible, but she has her heart in the right place.
Then again, she could become the next Homelander.
What’s with the shrinking bubble window thing?
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@taltole The area around the bubble is like a void or something like that, where the stuff traveling through the sphere go, as you can see Johnny getting stuck there by the end of the episode
Would be an ok episode were it not for:
- A musical scene
- Seth Rogen
- tired BLM and Antifa references
- Seth Green nude jacking off
- people not communicating to further the episodes
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@mansemat it continues to amaze me that Americans think being anti-fascist is a bad thing...
Would be an ok episode were it not for:
- A musical scene
- Seth Rogen
- tired BLM and Antifa references
- Seth Green nude jacking off
- people not communicating to further the episodes
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@mansemat The musical scene was spot on for the character and amazing.
MODERATOR EDIT: Be more respectful.
Would be an ok episode were it not for:
- A musical scene
- Seth Rogen
- tired BLM and Antifa references
- Seth Green nude jacking off
- people not communicating to further the episodes
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@mansemat *It's Seth Rogen not Seth Green ( the BLM and Antifa satire was on point though, as most satire on the show )
just who tf had the brilliant idea of not releasing the entire season at once?
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@th0rin0 so, you're binge fan? Nothings wrong with that, I prefer weekly though. But why don't you just wait till all episodes aired and then binge it?
I really don't get it when people are complaining about weekly eps :)
I have little use for evangelicals, but I have no desire to be preached at by "enlightened" Hollywood writers, either. That's not what I call entertainment. Oh, and I'll be looking forward to the episode where Islam gets this same treatment. Oh, wait. That will never, ever happen for some reason.
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@jimgysin Wake up lad. It's not "islam" that's running your corrupted country behind the scenes. The sooner ya'll wake up and realize that, the sooner you can begin rebuilding your messed up country.
Again blackfacing Annabeth.
You know how fun it is to recognize a character in advance cause you read the books? Like Dionysos and others...But then there's Annabeth: tall, blonde,....
She's a fucking small brunette here just to cast a Black person in it...
When will people finally learn that replacing anu character with another etnicity for the sakebof having this etnicity is also so fucking terribly racist!This shit is so racist.
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The author of the books, Rick Riordan, said in the very beggining, when they were announcing the auditions to Percy that they were looking for a good actor who could represent the personality of the character, they weren't looking for any specific race.
I don't see you complaining about Grover... he's a redhead, that in the official illustrations of the Demigod Diaries is also white, while in the TV show he's not like that.
Besides, it's not like they're changing a classical figure or smth with the only justification of being inclusive. it's a teen book collection, where they put Annabeth black bc they liked the actress, would you like more a shitty actor, that would be physicality like in the books, someone who couldn't play Annaneth as well as Leah did?
I would also had loved seeing them like in the books, a Percy with brown hair, blonde of the gray eyes Annabeth, and many other things... but they were not being racist just bc they didn't do that.
they're not being racist, grow up bro.
I love this show with all my heart, it's one of my comfort shows. That being said, the ONE thing i did not want to see in the finale season was a Deckerstar baby. I wish they had gone the route of the apocalypse and trying to stop that from happening instead of what they did. It's hard to care about a character that feels forced and out of place (like Lucifer literally can't procreate and hates kids lmfao). While the very end was good, and all the supporting characters got great endings, the child put a big damper on it for me. And they completely forgot about poor Trixie. There's no way she wouldn't have been there for her mom's death. Why did she never learn the truth about Lucifer? Was she just supposed to go along with suddenly having a new sister that has no father? She lost her dad and then Lucifer back to back. They did her so wrong imo.
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@mmorgnn Absolutely agree about Trixie! I feel like after the show moved to Netflix they started sidelining her more and more, and this season it was especially noticeable. I guess she found out the truth at some point when she was older? I don't think Chloe and Rory would've kept all of it a secret from her. But I still think we should've seen it. I also hate that she didn't even interact with Lucifer this season and then he was gone forever. The only reason I can think of as to why she wasn't by Chloe's side is that she either had already died (if Chloe lived to some absurdly old age then it wouldn't be impossible) or she lived far away and was on her way and didn't make it in time. What a weird choice not to have her there though. Would it really have been so hard to find an older actress to play her in that scene?
If this were a videogame, this episode is a side mission that you didn't care much about after completing it.
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@the_argentinian But it's not a videogame. It's a drama, about people, not missions. As such it is a very significant episode indeed.
Review by Andrew Bloom
VIP9[9.0/10[ An incredibly tense hour of television. What's so impressive is that Better Call Saul accomplished this despite us knowing that, of course, Jimmy and Gus both survive. It comes down to such fantastic performances from everyone involved. You immediately buy how shaken and terrified Jimmy and Kim are, and how frightened even the normally steady Gus is at the point of Lalo's gun. Vince Gilligan's direction is outstanding, with a Hitchcockian flair for light and shadow that sets the foreboding mood of all these set pieces. And the score does the rest, helping the audience to feel the emotion of these scenes even if we rationally know the fates of several of those at the most risk.
My only mild beef is that Gus' survival feels like a bit of a cheat. It's still not clear to me why he did the gun in the superlab, and the dialogue kind of shrugs at the idea. Even in the dark, it seems like Lalo would have done better against Fring than he did. But details like Fring seeming to make one last desperate ploy to survive, still suffering wounds despite his body armor, and admitting he was over his skiis with this whole thing in the end helps make it passable. On a moment-to-moment basis, the scenes absolutely work, which covers for a lot.
What struck me the most is that closing image -- Howard and Lalo, two very different men, sharing the same fate and the same grave. It's a sign that the barrier between Jimmy's legal life and Saul's criminal life has been firmly shattered. Both lives, both worlds, are bound up in these deaths now, with the psychic weight hanging over Jimmy and Kim for the last five episodes. This never happened, but they, and Mike, will all still have to live with it. I can't wait to see how.
EDIT: If you'd like to read my usual, longer review of the episode, you can find it here --
https://thespool.net/reviews/tv-recap-better-call-saul-season-6-episode-8/loading replies
@essenslug Sometimes he's basically supernatural
Review by Andrew Bloom
VIP9[9.0/10[ An incredibly tense hour of television. What's so impressive is that Better Call Saul accomplished this despite us knowing that, of course, Jimmy and Gus both survive. It comes down to such fantastic performances from everyone involved. You immediately buy how shaken and terrified Jimmy and Kim are, and how frightened even the normally steady Gus is at the point of Lalo's gun. Vince Gilligan's direction is outstanding, with a Hitchcockian flair for light and shadow that sets the foreboding mood of all these set pieces. And the score does the rest, helping the audience to feel the emotion of these scenes even if we rationally know the fates of several of those at the most risk.
My only mild beef is that Gus' survival feels like a bit of a cheat. It's still not clear to me why he did the gun in the superlab, and the dialogue kind of shrugs at the idea. Even in the dark, it seems like Lalo would have done better against Fring than he did. But details like Fring seeming to make one last desperate ploy to survive, still suffering wounds despite his body armor, and admitting he was over his skiis with this whole thing in the end helps make it passable. On a moment-to-moment basis, the scenes absolutely work, which covers for a lot.
What struck me the most is that closing image -- Howard and Lalo, two very different men, sharing the same fate and the same grave. It's a sign that the barrier between Jimmy's legal life and Saul's criminal life has been firmly shattered. Both lives, both worlds, are bound up in these deaths now, with the psychic weight hanging over Jimmy and Kim for the last five episodes. This never happened, but they, and Mike, will all still have to live with it. I can't wait to see how.
EDIT: If you'd like to read my usual, longer review of the episode, you can find it here --
https://thespool.net/reviews/tv-recap-better-call-saul-season-6-episode-8/loading replies
@andrewbloom what is your highest ranked movie/tv piece ? So this is your 9, what is the highest you gave?
Review by Andrew Bloom
VIP9[9.0/10[ An incredibly tense hour of television. What's so impressive is that Better Call Saul accomplished this despite us knowing that, of course, Jimmy and Gus both survive. It comes down to such fantastic performances from everyone involved. You immediately buy how shaken and terrified Jimmy and Kim are, and how frightened even the normally steady Gus is at the point of Lalo's gun. Vince Gilligan's direction is outstanding, with a Hitchcockian flair for light and shadow that sets the foreboding mood of all these set pieces. And the score does the rest, helping the audience to feel the emotion of these scenes even if we rationally know the fates of several of those at the most risk.
My only mild beef is that Gus' survival feels like a bit of a cheat. It's still not clear to me why he did the gun in the superlab, and the dialogue kind of shrugs at the idea. Even in the dark, it seems like Lalo would have done better against Fring than he did. But details like Fring seeming to make one last desperate ploy to survive, still suffering wounds despite his body armor, and admitting he was over his skiis with this whole thing in the end helps make it passable. On a moment-to-moment basis, the scenes absolutely work, which covers for a lot.
What struck me the most is that closing image -- Howard and Lalo, two very different men, sharing the same fate and the same grave. It's a sign that the barrier between Jimmy's legal life and Saul's criminal life has been firmly shattered. Both lives, both worlds, are bound up in these deaths now, with the psychic weight hanging over Jimmy and Kim for the last five episodes. This never happened, but they, and Mike, will all still have to live with it. I can't wait to see how.
EDIT: If you'd like to read my usual, longer review of the episode, you can find it here --
https://thespool.net/reviews/tv-recap-better-call-saul-season-6-episode-8/loading replies
@stormsm I believe my highest rated Better Call Saul episode is "Chicanery" aka the one with Chuck on the stand. I've also given 10s to a handful of films. I believe the most recent ones are Schindler's List and Inside Out.
Review by Andrew Bloom
VIP9[7.5/10] You’d like to think that Kim knows right from wrong. She tries, or at least tried, to hold Jimmy back from his worst impulses. She has regrets over the lengths he goes to on her behalf and the people he hurts in the process. She genuinely fights for the little guy, giving up a lucrative practice to provide top notch legal services to those who can’t typically afford it. She turns over unhelpful evidence to prosecutors because it’s the right thing to do. She is, in a world of hucksters and crime lords, a good person.
But she didn’t have the best role model growing up. In some ways she’s the opposite of Saul. The young Jimmy McGill watched his scrupulous-to-a-fault father and saw the sucker he never wanted to become. The young Kim Wexler watched her unreliable screw-up of a mother and saw a cautionary tale that set her on the straight and narrow. And yet, whether we want it or not, whether we rebel or not, parts of the people who raise us seep into our future selves and can’t help but influence who we become.
So when “Axe and Grind” opens with a flashback, we see a miniature ruse pulled off by Kim’s mom. Beth Hoyt cuts an incredible vocal and physical likeness of Rhea Seehorn, which adds force to the way the elder Ms. Wexler’s false protestations to get her daughter off the hook pave the way for Kim’s later skullduggery. The chance to instill some morals is lost, the dressing down a facade. It ends with a mother who seems proud of her daughter’s coloring outside of the line, who shoplifts the earrings Kim was caught for swiping as a reward, and who tells her only child that it’s all okay, so long as she gets away with it.
There’s not much in the way of a grand unifying theme to “Axe and Grind.” As a prelude to the mid-season finale, it is more of a tapestry, a chance to check-in with all the major players and move the pieces into place for next week’s “D-Day.” But it represents one more choice for Kim, one opportunity to vindicate the moral best that she’s capable of, or to decide that vengeance masquerading as justice is more important. Given the tragic nature of the show, it’s hard to guess which one she’ll pick.
But along the way, we get a chance to see glimpses of other major characters and storylines moving apace. My favorite is Mike watching his granddaughter and daughter-in-law from afar, refusing Tyus’ insinuation that he should remove the hired protection he has watching their house. It’s a reminder of what Mike is doing this for, the reason he got into business with someone as cold-hearted as Gus Fring, and what he’s unwilling to sacrifice in the name of getting the job done.
There’s a grim efficiency to Mike, a cool competency in scenarios that would rattle the best of us. But it’s counterbalanced by the heart of the man, his connection to his loved ones and loved ones past who were hurt by their association with him, the type of loss he never wants to see happen again.
Speaking of Gus, the head of the Fring organization doesn’t appear in this episode, but Giancarlo Esposito is in the directing chair. It’s a great outing for him and the team, with sharply-composed shots that are not showy, but come with a visual panache that makes less-than-explosive scenes still hold the viewer’s focus. The performers all do strong work, and it speaks to how naturally the show’s castmembers have shifted into directing when the opportunity arises.
Of course, none can top Saul Goodman when it comes to directing, and in this final season, we get one more return for his makeshift film crew! It’s nice to see the trio in action as part of Kim and Jimmy’s scheme with the mediator, and it’s nearly as nice to see another Mr. Show alum, John Ennis, make a cameo. For all the grand moral questions and lethal encounters among drug runners features in Better Call Saul, there’s a supreme joy and comedy to seeing Saul orchestrating his audio-visual masterpieces. There’s an alternate universe where he’s an under-the-radar but industry-lauded force behind the camera, and not the conman-turned-jurist-turned conman we know and love.
But if that were the case, who knows what would become of Francesca, Saul’s assistant, interior decorator, and reluctant accomplice. It’s nice to see her get a little bit of shading, showing genuine excitement to see Kim again and genuine enthusiasm for her chance to redecorate Saul’s office. Only the depths of what she’s committed to soon become apparent, as the her boss’s clientele wreaks havoc on her upholstery and “water features”, while the man himself makes her complicit in his dirty deeds re Sandpiper. We know from Breaking Bad that she continues to hitch her wagon to Saul’s train, but it’s easy to see how her enthusiasm wanes amid such...difficult circumstances.
Still, her unfortunate circumstances are nothing compared to the ones now facing one of Werner Ziegler’s “boys.” Lalo uses the gift from last week to track him down in the middle of the German wilderness, and seems poised to interrogate him in a half-Audition, half-Misery situation.
I’ll confess, the Lalo sections of Better Call Saul often feel like they come from another show. I really enjoy Tony Dalton’s performance, and there’s a shark-like menace to Lalo that makes him a formidable opponent for sharp players like Gus, Mike, and Nacho. But sometimes he seems larger-than-life in a way that's out of step with the show: Spider-Manning his way through a ceiling, sneaking out a suburban window without detection, and besting a hired good holding an ax with little more than a hidden razor blade. I prefer seeing characters in this universe succeed thanks to their wits or their determination, not via incredible physical feats, and Lalo’s had more of the latter of late.
Still, there is some down to earth trouble to deal with in “Axe and Grind”. The episode goes out of its way to make Howard seem sympathetic before Kim and Jimmy unleash their plan to ruin him. We watch the lengths he goes to in order to prepare the perfect, nigh-literal peace offering of a cappuccino for his wife, who callously dumps his artistic coffee creation into a travel mug. Her casual aloofness for how much Howard is trying to accommodate her, to have her care about him, to see that he’s trying, only to be politely but coldly rebuffed at every turn is quietly heartbreaking. It is a reminder that there are layers to each of these characters, struggles each is going through beyond what Saul and Kim are privy to, that make us wonder if Hamlin deserves the full-fledged ruination that waits for him, no matter what mistakes he may have made in the past.
Kim is the author of that ruination (with Jimmy’s buy-in and assistance of course), but she may not be there to see it happen. Clifford Main shows up to watch her argument and offers her possible entry into a significant equal access to justice program that only sterling “up-and-comers” gain admission to. He probes whether she might have something to do with Howard’s protestations of interference from Jimmy and his allies, but she says the right things, speaking highly of Howard and HHM in a way that reassures Clifford nothing’s afoot.
The most wholesome moment in a less-than-wholesome episode comes with Jimmy’s genuine excitement for his wife at hearing the news, and encouragement that Kim be excited to. They kiss. They celebrate. They tell one another that Kim need not be there for the events that will destroy Howard Hamlin. She can have both. Kim can be the crusader for justice who travels to Santa Fe to rub elbows with the biggest names in legal aid, and she can mastermind a scheme to take down a professional rival and white shoe jerk in Albuquerque.
Except she can’t. In one of those coincidences that shouldn’t work, but clicks because it works against our heroes rather than for them, Jimmy goes to buy a celebratory bottle of tequila, the same kind he and Kim scammed Ken Wins out of in season 2. Only he spots the actual mediator for Sandpiper, who’s sporting a full cast, an unforeseen wrinkle that will destroy the plausibility of the staged photos necessary for their plan.
Saul winces in defeat. He calls Kim en route to her big pro bono meeting and tells her it’s time to pull the plug and live to fight another day. Kim has a choice. She can keep driving and decide that this opportunity to do right by the underserved who’d be helped by the resources she could marshal in Cliff’s organization, or she can turn around and try to put out this fire. She can take extreme measures to bring down one man or do some professional pitching to help countless.
In an earlier scene, Kim and Jimmy run into the veterinarian who’s helped Jimmy and Mike find jobs in the past. They need to secure some chemical assistance to help pull off their latest ploy. But in the process, they find out that he’s giving up his life as a black market gatekeeper, devoting himself to his real work full time. Jimmy’s aghast that he would sell his “little black book” (which features a business card for a certain vacuum company), a source of low-risk, high-yield passive income. Kim retorts that it doesn’t matter when you know what you want.
Kim’s given up quite a bit to choose the life that she has. She gave up the associate grind at HHM to find some place she could fly higher. She gave up great progress and recognition at Schweikart & Cokely to pursue her pro bono work full time. She has repeatedly given up the life of traditional traditional success in order to pursue a higher calling, a greater type of justice, than she could achieve greasing the wheels for Mesa Verde or climbing the corporate ladder. She wanted those things, and she sacrificed quite a bit in service of that calling.
But she also knows the kind of skills she can deploy elsewhere when she needs or want to. She saw in her mother how to sell moral indignation as a cover for getting what you desired in the first place scot free. She saw how to break the rules and earn a measure of approbation for not getting caught.
Kim Wexler knows right from wrong. She genuinely wants justice and equity for the people she represents and thousands more who deserve a fighting chance. But at the end of the day, she knows what she wants, and she wants Howard Hamlin’s head more.
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@tesbreag Thank you so much! I absolutely have to check the wikis sometimes to reorient myself. My take on why Kim and Jimmy are taking down Howard is three-fold. 1. It's a practical decision, since undermining Howard will help the Sandpiper case settle and provide Jimmy with his finder's fee from the settlement funds. 2. It's a personal vendetta for Kim, given the way Howard was a jerk to her as an associate, and said any number of nasty or condescending things to her since. Most notably, he offered some curt words to her at the end of last season that set her off on this plan. 3. It's a projection from Jimmy, who's still mad at his brother, but can't hurt Chuck anymore since he's dead, and is thus happy to take it out on Howard (hence his various pranks last season). But I also think it's complicated and subject to multiple interpretations.
Wtf were those last 20 minutes in Germany? A waste of time!
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@the_argentinian Bruh :face_with_raised_eyebrow: A waste of time? You're kidding, right?
