The “Genre” side trip actually won me over, from the first Fritz Langian crime thriller homage to Danny Boyle, to as mentioned, The Shining. Okay, Westworld gave us a chuckle. Not sure it had to “mean” anything, I thought it was fun.....Fun isn’t outlawed yet.

I am loving this. Kim’s story isn’t about Jimmy breaking poor ol’ upstanding gal Kim, it’s about her reluctance to accept that she actually loves this hustling shit. It's a nice thematic Breaking Bad parallel - Walt loved being Heisenberg, Jimmy and Kim want to be the outlaw couple.

Patrick Fabian bats clean-up in a lot of these episodes, but man, he connects every single time. He’s never been bad. Ever.

Someone get Rhea an Emmy already, please. I mean, come ON. Can we start a Kickstarter or something? Would that help? I don’t know how these things work.

Is Jimmy’s resentment at the legal establishment just ultimately his continued unresolved resentment towards Chuck?

Kim is right to blame Jimmy for not respecting her decision, but she also has herself to blame (and she knows it), because Jimmy clearly warned her at the beginning that she should think twice before going full Slippin’ Jimmy. And it was clear, knowing Jimmy as she does, that it was a no-turning-back moment: once she…

Poor Howard. That was a good one, though. “I don’t know any tugboat” got a laugh out of me

Rhea Seehorn is amazing as Kim.  

Except that it was the single most important glimpse of Saul’s backstory Breaking Bad ever gave us—it’s his explanation for why he believes that “it’s a cruel world” and Walt needs to “grow up” and understand that the people who love him will betray him. If there’s one single line it would be most meaningful for Better…

It’s interesting how the show indicts Jimmy’s resentment at the legal establishment by repeatedly showing that the people at the top of the ladder that he hates are actually pretty decent guys. We’re trained as audience members to instinctively sympathize with the protagonist, and so without really knowing better we…

Poor Howard. Long in the grave, and he still has to pay for the sins of Chuck McGill.

It was thrilling to see Mike the expert operator, plant the seeds for Lalo’s undoing and the setup come to fruition. The way some of the shots were framed just added to the noir P.I. type of vibe.

we have no reason to believe Saul was telling the truth there

“The bank manager couldn’t explain where all the extra fees are going. So I followed the money trail. The evidence was as clear as day. My bank was funding terrorism.”

But then, Jimmy was always going to end up dead to us in any sense that mattered. Don’t want to oversell the show, but I halfway understand how it must’ve been to be an attendee at the Theatre of Dionysus ... where everyone knew how things must turn out, but attendance was all about watching what had to be unwinding…

Legally, a person cannot be compelled to testify against his or her spouse. Therefore Kim is proposing marriage because she is all in, in spite of everything.

I am floored.

It’s not like unrelenting terror, but I found it solidly scary, especially considering that hardly any other invisibility-themed movies I’ve seen are particularly scary at all. 

Because this *is* a Universal horror film, specifically designed to revive a classic Universal horror movie from 1933 (and subsequent 1940s film series)? And in general, movies tend to have more in common with other movies than with novels? This isn’t particularly an adaptation of the Wells novel. Even the older…

It’s not her friends that are gaslighting her though. I think this is one of the rare circumstances where the term is used correctly. In the original movie, the main guy is doing things like flickering the lights, then telling his wife that he didn’t see anything when she questions it, which makes her feel crazy.