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Odenkirk and Banks carry their respective portions of "Mabel" with ease and innuendo in an episode that enlivens its familiar aesthetic with a peppier-than-normal pace.
Being teased is never a great deal of fun, but watching Mike at work is always fascinating, and the smarts and confidence on display are exactly why we keep up with this show, week after week.
Bing bang boom. That's twenty unimpeachable minutes of television, with maybe half a page of dialogue, tops. I'd watch Mike work for the full hour, no complaints.
Better Call Saul is a show that likes to take its time, a conceit made possible -- and pleasurable, really -- by the fact that we already know where this story is going to end.
What's set up now is some kind of confrontation that I eagerly await.
Hard-striving, good-natured Jimmy McGill was fading before our eyes. It's going to be fascinating seeing how Saul takes his place.
It's tough to think of a series with as distinct a visual asethetic as Better Call Saul which is also willing to vary that aesthetic so much in a single episode.
Sometimes it can move very slowly compared to its predecessor, but coming straight off of the action from last season with a fantastic soundtrack really pumped up the action this week giving it a great head-start.
Like so many things in life, on Better Call Saul, good things come to those who wait.
Bob Odenkirk is so wonderful in this role. Nobody does the hang-dog look better, and he conveys so much with a mournful look or a darting eye than most actors can do with their entire body.
One of Better Call Saul's best traits is its refusal to take any shortcuts in telling a story; it takes the Chuck route, if you will.
The patient, methodical, disciplined storytelling and striking visuals are exactly what make Better Call Saul one-of-a-kind.
On a technical level, Better Call Saul is still an absolute marvel, with a style so crisp and clean, you'll wonder why every prestige drama doesn't look this good.