Eccentric new clients keep Jimmy afloat while Chuck's agoraphobia erupts into a police standoff, forcing Jimmy to choose between cashing in on oddballs and safeguarding his brother's fragile... Read allEccentric new clients keep Jimmy afloat while Chuck's agoraphobia erupts into a police standoff, forcing Jimmy to choose between cashing in on oddballs and safeguarding his brother's fragile image.Eccentric new clients keep Jimmy afloat while Chuck's agoraphobia erupts into a police standoff, forcing Jimmy to choose between cashing in on oddballs and safeguarding his brother's fragile image.
- Nacho Varga
- (credit only)
Featured reviews
The tedious consultations serve to illustrate the closing of a vicious loop that plagues Jimmy throughout the series. He utilizes underhanded methods to compensate for the universe's slights against him (as he sees it). This way he can prove to Chuck that he can be a legitimate lawyer and dutiful citizen, thus repaying the debt he owes Chuck for giving him a second lease on life. Unfortunately, this "chicanery" always yields unintended consequences, and never gives Jimmy the satisfaction he impatiently yearns for. It's as if the mistakes of his past life bleed into his new one in the form of karmic retribution. This premonition is almost palpable for Chuck, manifesting in his condition and his compulsion to insulate himself within his "space blanket".
Kim's role as a mediator in Jimmy's relationships with Chuck and Howard is also made more apparent. She urges him towards more noble pursuits where she believes he can thrive and satisfy his brother's aspirations for him (ie. Elder law), and makes an effort to defend his honor when Chuck and Howard antagonize him. While her initial intentions are certainly respectable, she sees herself become an enabler of Jimmy's self-destructive tendencies while also being corrupted by them herself (symbolized elegantly in their smoking scenes). Their relationship is one of the more beautifully tragic I've seen in television, and this episode explores an interesting aspect of it.
We also see hints at the depth of Mike's character. For unknown reasons (as he said, "Nobody wants to leave home,") he was forced to abandon his life as a Philadelphia cop, and now lives a modest life as a parking booth operator while keeping careful watch over his estranged daughter-in-law and granddaughter. At the episode's conclusion his past literally comes knocking at his door, and it seems like his connection with Jimmy might come in handy.
While not the most riveting first watch, it becomes much more engaging with subsequent viewings. 8.5-9/10.
This episode - entitled 'Alpine Shepherd Boy' - has been one of the best so far. So many ideas have been opened up in just one hour. Every character in this week's installment were there for a reason. There was no single minute of filler. Everything needed to be there, and everything was spot on.
One of the best things about this episode was the music. It just matched up so well with every scene. We went from Breaking Bad meth- cooking montages to Better Call Saul old women eating jello montages, but somehow it's just as good. Cinematography was, as always, really good as well.
Man, when the end of this season comes the wait for season two is going to be really painful. Time has flied so fast this past month because of this show. Can't wait till next week.
Additionally there is some fantastic humour in Jimmy's attempts to link with new clients in the early scenes as he interacts with various colourful characters. Likewise his schmooze at the retirement home is very entertaining. These are my favourite moments and lift the episode significantly.
It is a fairly uneven episode that shifts in tone frequently. Focus shifts almost entirely to Mike towards the end, which involves some great moments of visual storytelling that sets up the next episode well.
Bob Odenkirk is outstanding as always and receives great support from Michael McKean and others.
For me it is an 8.5/10, but I round upwards.
Did you know
- TriviaIn keeping with the running theme of the each title in Season 1 ending with the letter "o", the original name for this episode was "Jell-O". However, possible conflicts from using the brand name caused the episode to be renamed "Alpine Shepherd Boy".
- GoofsSaul (Bob Odenkirk)'s client pays with a mix of old and new style twenty-dollar bills. The new-style bills were released in late 2003 so she should not have any at this point.
- Quotes
Roland Jaycox: You're disgusting!
Jimmy McGill: Hey, I'm not the one with the sex toilet... I hope you make a lot of money with that thing. Chandler's gonna need it for his therapy!
- ConnectionsFeatured in BTDubs: Doors, Links, and Eeeveelution (Better Dub Saul) (2021)
- SoundtracksOpening Credits Theme
Written and Composed by Dave Porter
Details
- Runtime
- 45m
- Color
- Sound mix
- Aspect ratio
- 16:9 HD