snoozejonc

This is a classic Jimmy and Kim episode.

There is little plot detail I can mention without spoiling, but it is safe to say that the scenes involving Jimmy and Kim are some of their most compelling together. There are some minor contrivances, but the writing is clever and the Saul Goodman arc no longer feels in half measure. Some take umbrage with Kim's final decision, but character behaviour is the writers prerogative. I have witnessed people treat each other much worse in relationships and they endure regardless. Bob Odenkirk and Rhea Seehorn are both brilliant.

Mike has some strong cartel scenes that (contrivances included) work very well.

There is something decent humour, particularly during the always wonderful filmmaking scenes. I love the "under the porch" phone call, which is funny and links well to Breaking Bad.

9.5/10 for me but I round upwards.

Jimmy is in full Saul mode in this one and the humour is consistent in a variety of scenes. I particularly enjoy the elaborate schemes he comes up with to causes delay. The darkness of the BB/BCS world needs the lighter moments for balance. The scenes involving the character Sobchak are also funny. You can though see events are likely to turn down another dark path again, so there is only so much joy it gives. Bob Odenkirk is very entertaining, and Rhea Seehorn give another strong performance.

A major part of the episode is the follow up to Mike's previous events in Namaste. These offer good elements of backstory to his relationship with Fring. Several moments like well to Breaking Bad. Jonathan Banks is on great form as always.

Namaste for me is mostly memorable for the Jimmy/Saul moments that the show does so well. The scene involving Howard is a classic. Having seen the show on its initial release, I know where it all leads, but also remember it being quite intriguing.

The relationship of Jimmy and Kim continues to be the main driving force in the overarching narrative. Now we see their professional lives intersecting more the tension feels like it is building. You feel that sense of dread for both by wondering what the Salamanca's have planned.

I like the writers use of the characters Hank and Gomey in a meaningful piece of backstory. The scene with the fryer and dead-drops works very well. How it all connects to the cartels conflict, Jimmy and eventually Walter White is very clever.

The writers continue Mike's struggles with some plausible follow up to the character's behaviour with his family. His daughter-in-law is portrayed as handling the situation sensibly and his reaction is a fairly predictable self-destructive scene.