If there are still people complaining about the second season not being here and the first one only having 13 episodes: The original Spanish series currently (June 2018) has 15 episodes (part 1: 9 episodes, part 2: 6 episodes), each episode being 70 minutes long! That‘s what you‘re seeing here. Netflix made 40-55 minute episodes out of them, resulting in 13 episodes for the first part and 9 episodes for the second part, so that’s 22 episodes overall. A little confusing, but everything is right in Trakt.tv. There are 15 episodes in the spanisch release and 22 episodes in the Netflix release. And it‘s two parts in Netflix, not two seasons (yet).
The first 9 episodes aired in spain are the first 13 episodes in Netflix and the last 6 episodes aired in spain as a second part, are also the second part in Netflix, but with 9 episodes. It’s that simple ;)
And for those of you being like „Fix it!“ ... Trakt.TV pulls data from other databases (TMDB, TVDB), so that‘s where data comes from. Those databases are community driven, so if there actually would be an error, you could fix it yourself. But there isn‘t, so everything‘s fine! :)
Easily the best Star Wars tv show, even after only 3 episodes. A Star Wars show that actually has nuance??!?
Having continued to watch weekly, here's just a bit of why it's so good: Dialogue that treats its audience as intelligent, writing and themes that actually address what Empire and Rebellion really mean, side characters who immediately make an impression even with limited screen time, incredible set design that feels real rather than CGI, spy thriller intensity bubbling underneath every scene, imbuing TIE fighters and stormtroopers with actual menace, new nuggets of interesting worldbuilding, emotional scenes between interesting characters, and some of the best set-pieces of Star Wars TV (episodes 3 & 6 in particular). It's Star Wars for adults, not in the sense of gore, violence, or sex, but in the sense of nuance, complexity, and weighty themes. It's astounding that Star Wars can be this good, especially since all their recent shows and films have been lackluster copies of past highs.
Art is subjective of course, you can like what you like, but these are just some of the reasons that this show is getting as much praise as it has been. I think Star Wars is a setting, a feeling, and it can sustain different types of genres and themes. It can be light-hearted action-adventure, and that's fine if that's what you want it to be, but this show proves that it can do other things. Star Wars can keep expanding into numerous different genres if it's done with the care and thought that this show has been given.
[8.8/10] Better Call Saul has never been closer to Breaking Bad. That’s not just because the episode opens with this show’s first glimpse of Jimmy as the Saul Goodman we met on the prior show, in the midst of his fleeing from justice. It’s just because Gus Fring seems to nail down the plans for the facility that will one day be Walter White’s laboratory. It’s not just because Jimmy visits The Dog House, the fast food restaurant and hangout where Jesse Pinkman sold meth.
It’s because this is an episode about people who are outstanding at what they do, who have near unrivaled skills, and what direction that takes them in. That was the larger story of Breaking Bad, a story about a man who had an undeniable talent, and who could not set it aside when the recognition and lucre came with a side of human misery, and who didn’t know when to walk away until it was too late. It’s a show that lived on the conflicted thrills of watching someone so skilled ply their craft, and earned its emotional resonance from both the uncertainty and foreboding sense of where it would lead him.
“Quite a Ride” positions Jimmy in the same way, as someone who has a gift for persuasion, the ability to make an anthill sound like Mount Everest, and a lack of scruples that mean he doesn't mind skirting the law if it suits him. The difference is that Walt was running from a life he resented, whereas Jimmy seems to be running from his own grief.
There’s a version of Jimmy that could maybe have been happy, at least temporarily, working at the mobile phone store in a semi-normal way. Sure, his efforts to convince a passing customer that he can evade the taxman by buying these phones that are allegedly selling like hotcakes isn’t exactly on the up-and-up, but it’s a pretty straight job by Jimmy’s standards.
But it’s not enough, at least not when he has a moment of quiet, a moment to let his grief catch up with him. Sitting on the couch, watching Dr. Zhivago, Jimmy starts to tear up, as the pain of the events with his brother seem to flood back in a way he’s been able to keep at bay. So Jimmy turns to his drug of choice, his favorite distraction, and the thing that makes him feel better than anything else -- a nice, lucrative hoodwink.
He buys a heap of burner phones from his own store, and ventures to The Dog House to unload them to whatever criminal element is around to purchase them, in another one of the show’s sterling montages. There’s a sense in these scenes that Jimmy is both at the top of his game, but also wants to be punished for it. He doesn't know when to leave well enough alone, and seems to be pulled between the part of himself that wants to see exactly how far his talents will take him, and the part that wants to push him into something so bad that it’ll be the wake up call that snaps him out of this.
That wake up call comes. It doesn't happen when Jimmy wanders into a crowd of bikers who are enough to scare away the rest of the riff raff. It happens when the three young hoods who turned him down earlier in the night rough him up and take his spoils from the evening. He returns home, worse for wear, and after a sweet scene of Kim tending to his wounds, he agrees to go to the shrink she recommended.
He seems to realize that this isn’t healthy, and enough is enough. Just the image of Kim standing across from him, a symbol of his conscience and the better life he can have, is enough to spur him to be better and not let another night like this happen again.
Kim, however, is running as well. Instead of grief, she’s running from guilt, and instead of devolving further into a life of questionable morality, she’s hurtling herself headlong into an effort to regain her ethical moorings. That means working as a public defender in her spare time, going toe-to-toe with the same local prosecutor that Jimmy himself used to joust with. But unlike Jimmy, Kim isn’t just using subterfuge and bombast to get criminals off. She’s using prosecutorial screw-ups to hold the other side accountable, telling the young man she works out a deal for to get his life right or she won’t be there to bail him out, and goes above and beyond to help a young woman too scared to show up to court do what she needs to do.
This is all wildly successful, because Kim is damn good at what she does. She knows how to put the prosecution through their paces; she knows how to read a young screw-up the riot act in the hopes that he won’t be back here, and she knows how to be sympathetic but forceful with her clients who need both a helping hand and a little push.
The problem is that it means Kim is shirking her responsibilities elsewhere, specifically with Mesa Verde. She blows off a call from Paige, her contact at the bank, so that she can see things through with her pro bono client. It’s the negative image of Jimmy’s choices in this episode -- a decision that’s foolish and a little self-destructive, but noble, and one Kim promises never to make again. Both Kim and Jimmy are trying to regain their souls, but in very different ways, and for very different reasons, even if both use their god-given skills to great effect in the process.
Mike is employing his expert skills as well. The top of the line, undetectable meth lab that Gus is putting together is part of his grand plan, and so he needs people he can rely on. That’s why he brings in Mike to scout the architects for his place. For one thing, Mike’s shown -- through his escapades at Madrigal -- that he knows how to cover every detail to make sure that their illicit dealings aren’t found out or shut down -- something the show again conveys with a great visual sequence involving point of view shots from under a hood and communicating the passage of time through quick cut changes in sound and lighting in the back of a rocky van.
But he also knows people, like we saw last week, and he can tell when someone is blowing smoke at him and when someone’s being straight. That’s why Gus trusts him, and why Mike sends the boastful guy who claims he can build the lab in six months packing. And it’s why when Werner Ziegler, the nauseous German architect who tells his would-be employer straight up that the job is not impossible, but that it will be difficult, time-consuming, and expensive. Mike and Gus are birds of a feather, they’re frank, thorough, and careful, and it means when taking on a project of this size, they want people who’ll treat it the same way.
We know, though, that no matter how cautious Mike and Gus are, how close they come to bringing this long-brewing plan to fruition, that it all ends in ruin. No matter how well you plan, how good you are at what you do, there are unpredictable elements that can disrupt everything. For Gus Fring, that unpredictable element is Walter White, but for Jimmy McGill, it’s Howard Hamlin.
After his incident with the burners and the muggers, Jimmy seems on the straight and narrow again. But then, during a trip to the courthouse to check in as part of his suspension, he runs into Howard in the bathroom, who looks worse for wear. This typically ever-composed individual is out of sorts, looking disheveled, complaining about insomnia, and stressing over a case that he admits isn’t particularly significant. It’s clear -- to both Jimmy and the audience -- that Chuck’s death has gotten to Howard, that’s Kim’s speech landed, that the very thought is torturing him. It’s enough for Jimmy to offer some kindness, recommending the same shrink that Kim passed on to him.
It’s then that the worm turns. Howard tells Jimmy that he’s already seeing a therapist twice a week. It’s startling admission to Jimmy, one that changes his path yet again. Howard has all the advantages Jimmy doesn't -- his wealth, his position, and his father’s name. He has lived as traditionally successful a life as someone like Jimmy could imagine, the kind of life Jimmy was once trying to emulate.
But Howard is haunted by the same grief Jimmy is, and he’s no better for all the more that he has. Howard’s visible unmooring in the wake of the same loss sends a message to Jimmy -- that following the right path, doing what’s expected of you, doing things the normal way, don’t get you where Jimmy wants to go, and don’t seem to make you better either. So when he speaks to the D.A. about his plans after reinstatement, he speaks of wanting to go bigger, go better. His refuge from grief is his refuge from everything -- to follow his talents to their apex until it either makes his dreams come true or leads to his end.
“Quite a Ride” suggests the former rather than the latter. We know the heights that Jimmy will hit: the Saul Goodman billboards and commercials running 24/7, the suitcase full of money, the cheesy but lucrative law office he maintains. But we also know his fall, his paranoid, button-down life as Cinnabon Gene, that requires him to be demure and inconspicuous, the greatest punishment there is for someone like Jimmy.
And maybe “Quite a Ride” suggests and end even beyond there. After Jimmy is laid out by the thugs who rob him, he lays on the ground in pain as the camera pulls back skyward. It’s the same shot Breaking Bad used in Walt’s final moments. It’s a visual echo and a portent, one that seems to preview what a myopic quest to make use of your own greatest talent, regardless of the ethical or practical consequences for you and the people you love, gets you. We know where that sort of quest ended for Walt, and as he veers ever nearer to going full Saul, Jimmy gets a taste of that too.
Better Call Saul has never been closer to Breaking Bad, and that’s bad news for Jimmy McGill.
