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His check-ins with Tyrus (Ray Campbell) are short and sweet, but there are still hints of someone asking for a return for his end of the bargain. Of course, Nacho is still saying actual words. From the desperation in Nacho willing his phone to stop vibrating or the concerned looks out of the motel window when he eventually makes his way to temporary safety, there’s a trust from writer Peter Gould and director Michael Morris to give Mando space to say everything there is to say with an intense stare and a furrowed brow. But Mando, like so many others in this cast, can get across entire novels’ worth of emotion just on his face. It would be easy for a show like “Better Call Saul,” where its characters are often in mortal danger, to feel static after a while. Quicker than you can say “chest of drawers,” we’re off to follow the aftermath of last season finale’s compound raid, with Nacho (Michael Mando) on the run from any revenge-seekers. 'The Essex Serpent' Review: Tom Hiddleston and Claire Danes Wrestle with the Unknown in Constrained Seaside DramaĪMC Chants 'Doctor Strange!' as Analysts Pour an Icy Jumbo Soda on the Optimismįrom 'Reality Bites' to 'Fatal Attraction,' Keep Track of All the Upcoming Film-to-TV Adaptationsģ0 Disturbing Foreign Films to Watch, from Gaspar Noé to Takashi Miike If the Gene we see, switching between staring into nothingness and peeking over his shoulder somewhere inside an Omaha shopping mall, is a hollowed-out man, this crash course in his opulent cartel lawyer lifestyle points to a guy who was trying to fill a void long before he had to flee the Southwest.
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While this opening sequence may not have the man itself, “Better Call Saul” here offers another few extra strokes in the tapestry that its predecessor series didn’t have the time to fill in. The tragedy of those Cinnabon scenes isn’t in where he is, it’s what he’s left behind. Like each of its season-starting cold opens, it’s a sad reminder of the fate that Jimmy McGill ( Bob Odenkirk) is doomed to face.
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A monochrome cascade of ties (set to the instrumental that helps lend its name to the episode) gives way to a lavish, full-color tour of the erstwhile Chez Goodman, as a full crew works to wipe an ostentatious palace of everything but the wallpaper. Rather than start this final chunk of story with a flash-forward to Jimmy under yet another new identity, remembering instances of regret in his life and pain he has caused others, “Wine and Roses” starts with a headfake. All rights reserved.So this is how Season 6 begins, not with a Gene but a teardown.
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