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Better Call Saul's exceptional ensemble continues its excellent character work in "Breathe."
Better Call Saul has been unraveling the genesis of Breaking Bad with remarkable aplomb.
One of the best parts of watching "Better Call Saul" is the way in which this show can surprise us with the way it uses the camera, from the most complicated tracking shots to a simple over-the-head look down.
For the second week in a row, the saga of James McGill and the people in his proximity is the most compelling story the show has to offer.
"Breathe" was a sublime example of how an excellently-crafted, extended scene, featuring impeccable character beats, can easily outshine the grit and grime of TV's natural tendency to wow us with shocking violence.
We're only two episodes into season 4, and Rhea Seehorn already has her Emmy clip ready.
This week, Gould and Gilligan did gift us with some nice visual callbacks...
This week, we got an episode bracketed with tales from the Albuquerque criminal underworld.
The most awkward TV-criminal ICU visit since Paulie and Vito paid begrudged tribute to Carmela and Tony in The Sopranos. It's also a sign of how things are going for Jimmy that the episode's lone real bit of black comedy comes via the cartel.
Never let it be said that Jimmy isn't a fantastic orator.
Better Call Saul's slow pace is often praised, but as with last week's season opener this came across as sedated rather than slow burn, and the show could do with parcelling out some of its story a little quicker.