That was a weird episode. An interesting one, and one filled with intriguing plot developments – but the two separate threads of the show were as aesthetically and thematically disconnected as they have ever been.

As Mike’s storyline rapidly hurls towards the high-stakes crime of Breaking Bad, Jimmy’s story has suddenly become a full-blown law procedural. Both are effectively told and wonderfully written, but I felt the direction was a little off this week. Without Vince Gilligan’s steady hand and visual composition, we were treated to some very Breaking Bad-esque sped-up sequences and over-saturated highways. Better Call Saul has done this before, but it’s been a long time. It just feels like a big change from last week, which is a problem given that this episode starts moments after the previous one.

That being said, the writing keeps it tied together. The script is courtesy of Gennifer Hutchison (previously a writer on Breaking Bad), and she clearly relishes getting to play around with Gus Fring once again. That scene with Mike on the highway near the beginning of the episode was wonderful. It must have been an intimidating task to write dialogue between two characters who don’t talk that much, but Hutchison rises to the challenge with aplomb. Mike and Gus are two people that we know will be in each other’s lives for a long time, and Hutchison gives their first meeting all the tension and intrigue one might expect. Crucially, they both get something that they need out of the conversation, which foreshadows their working relationship. More with these two, please.

Now let’s talk about the other half of this show. After the whole fiasco last week that went down at Chuck’s house, Jimmy’s in some deep trouble. His back-and-forth battle between Kim with regards to his legal representation was one of the standout moments of this episode, as it provided a terrific showcase for Rhea Seehorn and Bob Odenkirk’s chemistry. If anything, this shows that even when the show threatens to come unmoored, it will always be dragged back to earth because of the superlative writing and acting involved.

Other highlights of the episode included: Chuck’s smile turning to quivering fear in the wake of his younger brother turning the tables on him, the sneak flash-forward at the beginning of the episode, as well as the shot of Kim and Jimmy smoking outside their legal practice, silhouetted by the warm light from inside. I also loved the whole sequence of Mike setting up the trap for Hector Salamanca’s associates, from how he bought the drugs to how he brilliantly made them think that hunters were in the area. These scenes of Mike planning and executing a plan continue to be a delight to watch. We’ve been treated to one in each of the first three episodes of the season, and I’m loving every minute of them.
Better Call Saul still remains essential viewing, but some of this direction felt too sharp of a change from last week. We are undoubtedly headed into Breaking Bad territory (and it’s about time), but hopefully they’ll find a better way to smooth out the change over the rest of the season. Despite some of my small issues with this episode, it set up some tantalizing storylines that should be a pleasure to watch play out over the next seven weeks.

4/5 Manila Folders