That last scene. That's the show i fell in love with.
The best part is that it isn't even over!
The Bar now has proof that Chuck indeed has it out for his brother (via his meltdown under oath), now Kim and Jimmy can show that Chuck was entrapping him. The Bar believes Chuck has a mental illness, and will likely buy into Jimmy's story. They claim the tape Jimmy destroyed was "evidence" but they made a copy, which is what was destroyed (a copy can't be evidence). Everything points to Chuck getting absolutely destroyed in the next episode or two.
Then that's what I believe will happen: Jimmy wins the Bar hearing. Chuck becomes the subject of the hearing (or a new hearing) due to his mental illness causing poor judgement and trying to entrap his brother to try and make him lose his license. Chuck loses his license. Simultaneously to Chuck losing his license, things are progressing with Kim and Mesa Verde, she has to make a decision, her career or Jimmy. She looks back on the things Jimmy has done and acknowledges that he can only hurt her career in the long run. She cuts ties with Jimmy, and Jimmy goes to check on Chuck to find him dead at home having killed himself.
Saul Goodman is born.
If you feel strangely sad at the funeral scene, it's because it's sinking in: we will no longer have the brilliant Michael McKean in this show :(
Overall it was a slow episode, even by Better Call Saul standards, but that's understandable considering where we pick up from. Chuck is gone and Jimmy, Kim and Howard have an increasingly strong feeling that it was no accident. I like the fact that Jimmy started the day happily, probably doing his best to brighten up Kim's morning (she only just got involved in her car crash despite it feeling like a year and a half for us) but then... stark contrast in his character during almost the entire episode as he deals with what happened to Chuck.
Jimmy's ridiculous reaction at the end suggests that far from mourning his brother, his biggest concern all along was whether he would be the one to blame for Chuck's mindset - but once he can pin it on Howard, it's all good, man. However, I think this is a coping mechanism and he truly mourns Chuck/feels guilty, which will likely manifest through destructive behaviour during the season. We saw the beginnings of a shift towards the Saul we know after his friend Marco died (end of season 1) and that wasn't even his fault... but Chuck's demise may be the point of no return.
Other than that, we had Mike doing Mike things - in this case, an infiltration in Madrigal. I thought he was trying to find out something specific, but in the end it seems he was actually working as a security consultant, which I could see becoming an issue for Lydia/Gus... but it's definitely too early to tell. One thing is for sure, there's an eerie entertainment value in the most mundane scenes with Mike, I feel like if it was 40 minutes of that I would still be fine.
One thing I love about Vince Gilligan and his team is this habit of repeating the last moments of one particular scene from the previous finale in a season premiere. They do this since Breaking Bad and I always love it because it brings you back to that moment immediately without trying to dump information on your brain while you actively try to remember the details. You don't have to be like "ohhhh right, Hector had a stroke, Gus looked at Nacho" because they show you, then continue it. On that side of things there was not a lot more other than Nacho and the other gentleman receiving orders from Bolsa... and Gus identifying a new opportunity and mentioning DEA.
(First thought: Gus' Spanish seems to have improved, which was terrible in BrBa, but they also have him talk less so far)
(Second thought: is Hank going to show up?)
I almost forgot to mention the intro but there isn't a lot to say, really. I'm starting to think these little teaser scenes of the future are... just that, teasers. Which is not a bad thing exactly, yet could be disappointing for viewers expecting more. But I could be wrong, they could always be saving some surprises, I guess it all depends on them using these future scenes in episodes other than premieres.
[7.4/10] Jimmy McGill’s role in “Smoke” begins and ends with normalcy. In his first scenes in the episode, he gets up, feeds his fish, and makes coffee -- the mundane tasks of his life in the interregnum of his suspension. And in his last scene in the episode, he does the same things, remarking on his fish’s voracious appetite, tossing out coffee grounds, and seeming like a man very much returned to his routine.
The catch is that between that first feeding and the second, he found out his brother is dead.
I don’t know what Jimmy is feeling between those two moments. Better Call Saul and writer/showrunner Peter Gould play it close to the vest. He cries no tears. Despite his usual loquaciousness and bombast, he is uncharacteristically taciturn and reserved. And while he sports more of a hangdog expression than usual throughout the episode, he is something of a blank slate in the wake of such foundation-rocking news.
“Smoke” leaves you to wonder what’s going on between its protagonists’ ears. That is, as I’m fond of saying, a feature not a bug. There’s not a lot of talking in Better Call Saul’s Season 4 premiere. Instead, there’s a lot of mulling, a lot of concerned and affected faces, of siblings who look like they’re in shock, of culprits swallowing their anxieties, of bald heads bobbing over cubicle walls and sporting the same half frown that speaks authority and disdain with one downturned crinkle of the lip.
This series takes the time to show its characters thinking, and to let the audience fill in the gaps, or wonder what’s going on rather than explicating in heavy-handed terms what’s going through each and everyone’s heads.
That’s particularly true for Jimmy here. There are signs that Chuck’s death got to him. He sees the electronics scattered in the backyard and knows the events that felled his brother were part of a relapse. He shares in the once celebratory but now palliative shots that he once offered Kim, but still can’t sleep. He seems almost in a place of catatonia, of processing the enormous shock of his brother’s grim departure, in a state that could indicate numbness or contemplation or being overwhelmed or any number of the complicated emotions that attend grief.
The episode plays similarly coy at what’s motivating Mike Ehrmantraut. He quits his job as a parking attendant, seems poised to spend more time with his granddaughter, and has all the time in the world to sit at home and watch baseball games in his newfound spare time. But when he gets that first check from Madrigal for being a “security consultant,” something clicks inside of Mike, and he can’t leave well enough alone.
What follows is another one of Better Call Saul’s superlative sequences, where Mike proves that all you need is a badge, a clipboard, and the air of innate authority to go anywhere and do pretty much anything. It’s a visual feast as Mike skulks through a cubicle farm, rumbles through a maze of industrial shelves, and observes and corrects a host of Madrigal employees like he owns the place. It’s a sequence where the show’s dry sense of humor comes out, with Mike overhearing a breakroom debate over who would win in a fight between Bruce Lee and Muhammad Ali before providing his eye roll-fueled but definitive answer. Whoever wins, Mike isn’t content to sit idly by, but uses his misadventures to advise the nearest Madrigal outpost on what and where it’s going wrong.
“Smoke” leaves it characteristically hazy why Mike is doing all this. Maybe Mike is, true-to-form, scoping out this arrangement. Despite Lydia’s warning that his “salary” is a rounding error, it’s possible that Mike wants to make sure both that he’s seen doing some security consulting in case anyone starts asking questions, and also wants to make sure the people he’s getting into bed with on this are on the up-and-up. It might also be that sense of honor, that if he’s receiving a service and paycheck from these people, he wants to do the job he’s being paid for, and perhaps even show Lydia (and by extension, Gus Fring) what they’re getting.
Or it may just be that Mike cannot sit still. We know from Breaking Bad that Mike stays active in his line of work, one way or another, for a long time to come. Even if we didn’t, he doesn't seem like the type of man who would be fulfilled by or satisfied with watching baseball and drinking beer all day for very long. Mike is good at what he does, and when you have a talent like he does, not to mention someone who seems to appreciate it, it’s hard to let it go to waste.
And Gus might be in need of Mike’s services very soon. The part of the episode involving him and Nacho is the most “Breaking Bad prequel” portion of these proceedings. It’s the straightforward conclusion to Nacho completing his plan to induce a reaction in his boss. It gives Gus the chance to artfully try to fill in the power vacuum that Hector’s incapacitation creates, lest war follow. And his henchman’s scoping of Nacho ditching the evidence suggest he’ll have an angle to play.
These scenes are fairly slight, doing more to clean up after Hector’s reaction in the previous episode and hint at what might be the offing than moving things along. They’re about teasing a war in the New Mexico drug scene, but more about Nacho’s state of mind. You feel his jangle nerves, his concerns about the storm that might be ahead, his worries that Gus or Juan Bolsa know what he did. The episode spend a great deal of time just letting the viewer watch Nacho grow anxious and stew.
The truth is that not much happens in “Smoke.” A hell of a lot happened in last season’s finale, without much, or in some cases any, time for denouement or for the show to catch its breath. So a good chunk of this premiere is purposefully light on incident, more about the fallout of those series-shifting events and the effect they’ve had on Nacho, Mike, and Jimmy than about the next big bang in the Better Call Saul timeline.
That timeline seems to be speeding up though. The Jimmy McGill we meet at the end of “Smoke” seems closer to the man we meet in Breaking Bad. For most of the episode, he is almost inscrutable, with it unclear whether he’s stunned or unaffected or somewhere in between in his flat affect throughout the proceedings.
But the episode contrasts him with Howard, who is clearly broken up about this, and it presents a strange flip. Howard seems like the family member, while Jimmy seems like the staid business partner. Howard reads back an admiring obituary, and Jimmy doesn't even want to listen to it. At the funeral, Jimmy is shaking hands with all of Chuck’s colleagues and contemporaries, while Howard is comforting Chuck’s almost widow.
And the clincher of all of this is how Howard waits for Jimmy after the funeral, so he can offer a confession. Howard blames himself for Chuck’s death, knowing that someone as deliberate as his former partner didn’t let the lantern erupt by accident. Howard is broken up over his belief that him forcing Chuck out of HHM set him down this path, and he is trying to bare his soul and clear his conscience by confiding in the brother whom he imagines would be most hurt by this.
But unbeknownst to Howard, that confession only confirms to Jimmy that he was the superseding cause of his brother’s demise, that Jimmy’s own tip off to the insurance company is what set this whole thing in motion. And yet, Jimmy doesn't care, or at least doesn't want to be seen to outwardly. In a move that prompts a brief but palpable moment of disbelief from Kim, Jimmy starts whistling and going through this day, the day his brother was laid to rest, like it’s any other day.
Who knows if this is Jimmy giving into the man he’ll eventually become, the one who won’t accept blame for anything and has a casual obliviousness to those who stand in his way. Who knows if this is the sort of thing that slowly but surely pushes Kim out of his life. Who knows if Chuck’s last words to him truly obliterated whatever sort of affection Jimmy might have had for his brother, or even convinced him to be the amoral slimeball that Chuck told him was his true nature which he should embrace.
We don’t know what’s going on in Jimmy’s head during “Smoke.” All we know is that it ends with a version of Jimmy McGill who seems closer to Saul Goodman than ever, who seems ready to brush off his own brother’s death because that’s just the way things are, who is calm and cool and unbothered by any of it. And we know that it begins with a Cinnabon Gene who is anything but, who is unnerved and frightened by something as simple as a mistyped social security number, or an Albuquerque air freshener.
We still know the beginning and what seems to be the end game for Jimmy McGill’s adult life, and we know the beginning and what seems to be the end of his mourning for his brother. But Better Call Saul honors the complexity of, and trusts its audience to figure out, what happens in between.
This film is based in portuguese Jesuit priests, they could at least choose one portuguese actor for this. But maybe American-British actors can represente the influence of west europe in Japan.
MOAR MINIONS! They should make a movie just for minions..
