***Official "Space Blanket" for Better Call Saul*** (1 Viewer)

[Aaron Rudnicki]

Why did he tear the check up?

Come on dude.

 

[Homer J Simpson]

I am I the only one who thinks this will probably be terrible.

Probably won't be the only one who will be wrong, no.It's gonna be fantastic.

Odds far more like that it will be terrible. Spinoffs usually are.

And the Saul character was terribly written on BBad. Just a walking cliche, over and over and over and over again.

Amazing.

Gunz is literally wrong about absolutely everything. He's like a superhero and his power is being wrong.

When he and LHUCKS would disagree, the universe would slightly slow its expansion.

 

[Homer J Simpson]

Seriously digging the first episode. Lots of good potential here.

 

[Homer J Simpson]

Can't wait for tomorrow.

More Tuco!

 

[Zow]

This one might hit a little too close to home for Woz.

Loved the episode btw. Sans the unethical closing argument.

 

[Officer Pete Malloy]

This one might hit a little too close to home for Woz.

Loved the episode btw. Sans the unethical closing argument.

What did GM just say?

 

[Officer Pete Malloy]

It took me most of that scene to recognize Michael McKean.

GM alias?

Pretty tough to spot when he's in the opening freaking credits.

 

[Raider Nation]

It took me most of that scene to recognize Michael McKean.

GM alias?

Pretty tough to spot when he's in the opening freaking credits.

I looked away during the opening credits. I should probably be executed or something.

 

[Officer Pete Malloy]

It took me most of that scene to recognize Michael McKean.

GM alias?

Pretty tough to spot when he's in the opening freaking credits.

I looked away during the opening credits. I should probably be executed or something.

"...third girl that enters the reverse gangbang, the blond with the unicorn tat on her upper back, used to be a Suicide Girl. Goes by 'Haley Pills' or 'Mary Queen of Squirts' or 'Hillary Shank'. Also was in 'Orgy Camper IV' and 'Casting Ottoman 19'..."

 

[Homer J Simpson]

It took me most of that scene to recognize Michael McKean.

GM alias?

Pretty tough to spot when he's in the opening freaking credits.

I looked away during the opening credits. I should probably be executed or something.

"...third girl that enters the reverse gangbang, the blond with the unicorn tat on her upper back, used to be a Suicide Girl. Goes by 'Haley Pills' or 'Mary Queen of Squirts' or 'Hillary Shank'. Also was in 'Orgy Camper IV' and 'Casting Ottoman 19'..."

 

[Aaron Rudnicki]

Blonde chick at the law firm was in that Whitney sitcom, btw.

 

[Sebowski]

Spoiler

This thread is going to suck

 

[strykerpks]

The premier was ok. But I agree that you idiots better not #### up this thread. You dorks have ruined enough TV show threads.

 

[Good Posting Judge]

I enjoyed it. It seems like it would've been just as interesting for someone who didn't have any previous knowledge of BB. The contrast between the "flash-forward" and the rest of the show would be pretty startling if you didn't know what happened in-between.

 

[Raider Nation]

"Have patience. There are no shortcuts." -ChuckThose words by the older brother of Jimmy "The Man Who Will Be Saul" McGill are so important to Vince Gilligan, Peter Gould and all the other "Breaking Bad" alums who have continued onto the new show that I hope they all wear bracelets with that phrasing on them, like how the "Justified" staff has "WWED" (What Would Elmore Do) jewelry. Those words formed the fundamental rules of "Breaking Bad," and the reason for so much of its greatness. That show took its damn time in showing us the journey from Mr. Chips to Scarface, which made things so much more powerful than if Walt had become Albuquerque's meth kingpin by episode 4.

Almost from the start, "Saul" has different aims than its parent show: it's lighter in tone, closer to an overt comedy (though we know "Breaking Bad" could be incredibly funny), and the transformation Jimmy's going to go through between now and when he meets Walter White isn't nearly as drastic. But it's made by many of the same people, and their core storytelling principles haven't changed, starting with their incredible patience.

Start with the teaser, which is a self-contained marvel in the way that so many of the best "Breaking Bad" teasers were. I don't know if it's the only glimpse we're ever going to get of the time period after "Breaking Bad" — Gilligan and Gould have been understandably cagey about this — but as an introduction to the new show, it's perfect. It's a tragic opera in miniature: the slick operator reduced to a quiet corporate drone (managing, as he predicted the last time he saw Walt, a Cinnabon in Omaha, with our first glimpses of the product being made resembling Heisenberg and Cap'n Cook at work), hiding behind glasses and a mustache that's in many ways even sadder than the one once sported by the man responsible for his current predicament. (He's also stopped trying to disguise his baldness, since it only adds to his new anonymity.) His life is simultaneously depressing and terrifying — like Jesse in Civic Plaza at the end of "Rabid Dog," he briefly mistakes a shady-looking character for a threat to his life, and you get the sense that this is a regular occurrence, creating a constant Tony Soprano-eating-onion-rings level of paranoia — and those six and a half minutes, scored to The Ink Spots' "Address Unknown," tells us all we need to know without asking "Gene" to say a damn word. The first time we hear Odenkirk's voice, it's on a videotape of one of his Saul Goodman commercials, taken out of a hiding place as a painful but necessary reminder of what he used to be: a tiny hint of color in a life that has otherwise gone all grey.

And then, having sated our curiosity about what happened to Saul after he drove off with Robert Forster, Gilligan and Gould take their sweet time introducing us to Jimmy McGill.

It's another marvelously elongated sequence, where you can literally hear a ticking clock, while the judge checks his watch in impatience over Jimmy's absence. And Jimmy's fast-talking, long-winded closing argument — in which you can see early signs of the more assured Saul Goodman persona — is just an elaborate set-up for the punchline where the prosecutor plays the video showing what the defendants actually did. The whole thing is a little wink at the audience: a way for the storytellers to tell us that they, like their new main character, are going to take their sweet time getting to the point of the story, and they hope you're entertained along the way.

Because AMC gave them extra time to play with (without commercials, the episode runs about 53 minutes), Gilligan and Gould let every scene play out a little longer than you might expect, and almost always get added value out of it. I've been so conditioned to expect drivers being filmed at length to get into some kind of auto accident (there's a certain visual vocabulary for that kind of scene that's become every bit as much of a cliche as a cop stopping his partner from killing a suspect by saying, "He's not worth it, man!") that I shouldn't have been surprised at all when the skater crashed into Jimmy's windshield. But because the sequence ran several beats longer than an ordinary scene might have, I just got absorbed in watching Jimmy work the phones and try to hustle the business, and as a result I literally jumped a few inches out of my chair when the crash came.

The introduction of the skater con artist twins, meanwhile, eventually sets up the most entertaining scene of the Albuquerque portion of the pilot (and the first "Saul" scene filmed, period), in which Jimmy gives them his origin story as Slippin' Jimmy, the most famous slip-and-fall artist Cicero had ever seen. It's just Bob Odenkirk talking under the bright NM sun, and it suggests that our hero's verbal dexterity may just be enough to carry this spin-off forward.

Jimmy's not Walter White, but as he began laying out his scheme to the twins, I started to wonder if his elaborate plan would actually go to plan, or if, like so many Walt brainstorms, would get bungled almost immediately. It of course turned out to be the latter, as the twins jumped the wrong station wagon, driven not by their white housewife target, but an elderly Latina woman whose house is occupied by a very familiar face in Tuco Salamanca.

We knew Gilligan and Gould intended to use other "Breaking Bad" characters beyond Saul and Mike, and Tuco seems like a good one to start with, not only because he was a relatively early Walt opponent (albeit not the first), but because he was killed off quickly, so there's less fidelity to the original text required. Had it been Gus Fring, or perhaps an able-bodied Hector Salamanca, behind that door, it would have felt like too much, too soon — on top of whatever contortions would be required to have their activities conform to what we already knew about them and Saul — but when Tuco poked his stupid face out the door to look around for cops or witnesses, I laughed appreciatively and thought, "Yeah, that seems about right."

That we only get a brief glimpse of Tuco, and that Mike appears in only one brief scene, working as a parking attendant at the Albuquerque courthouse — and refusing Jimmy the half-measures of getting out while being one sticker short — are other signs that the show intends to be at least as patient as its parent series. If Gilligan and Gould were in pure fan-service mode, the episode would've been wall-to-wall Mike Ehrmantraut, and he certainly wouldn't be in such a neutered position. But it's more important to the larger story to show the low place he's in when he and Jimmy first meet, and to focus primarily on establishing who Saul Goodman used to be than on letting Jonathan Banks growl and crack wise.

And even with the Jimmy backstory, the show doesn't lay too many cards on the table at once. We get a glimpse of the firm where Chuck worked, but only the vaguest hints of Jimmy's relationship with slick partner Howard Hamlin, or with Kim Wexler, the blonde smoking in the parking garage while Jimmy vents his fury on the trash can(*). We meet Chuck, and see that he believes he's suffering from electromagnetic hypersensitivity — a condition that's not acknowledged as an official diagnosis by the medical establishment, even if the assorted symptoms felt by people like Chuck can be real — that's leading him to live a blacked-out existence, with anything electrical kept outside his home. He comes across as simultaneously wise — especially next to his impetuous "kid" brother — and delusional, but because we don't have all the information about his condition and his departure from the firm, we have to wait and see.

(*) That it was dented on Jimmy's way into the office — and that Kim so calmly and casually set it back aright after he left — suggests this is not the first time Jimmy has used that thing for target practice.

That Jimmy is so concerned for his brother's well-being is perhaps the most important thing the pilot does, because it tells us that once upon a time, Saul Goodman was a human being who cared about something beyond acquiring money and sexually harassing his receptionist. He needs to be a person for the show to work.

And this hour, at least, works very well. It's not "Breaking Bad," but it's fun, and that's a start.

Some other thoughts:

* I'm sure the impulse to scan the background for "Breaking Bad" cameos will go away at some point, but I spent several minutes rewatching the scene where Jimmy storms out of the courthouse after getting one fee for three clients, convinced that the guy getting wanded by the security guard was a clean-cut Skinny Pete.

* AMC asked critics to not reveal three things from the pilot in advance: 1)The return of Tuco, 2)The nature of Chuck's illness, and 3)Where Saul's office is located. This isn't the same nail salon where Saul tried to teach Jesse about money laundering, but I was amused to see that the once and future con artist is literally working out of a boiler room.

* For what it's worth, I've seen two episodes beyond this one, and the main title sequence is different in all three, though there's a stylistic throughline to them. Still, it's an interesting way to differentiate this show from the last one, which stuck with the periodic table title card through all 62 episodes.

* How many other terrible accents do you figure Jimmy can do when he has to pretend to be his own secretary?

 

[Officer Pete Malloy]

"Have patience. There are no shortcuts." -ChuckThose words by the older brother of Jimmy "The Man Who Will Be Saul" McGill are so important to Vince Gilligan, Peter Gould and all the other "Breaking Bad" alums who have continued onto the new show that I hope they all wear bracelets with that phrasing on them, like how the "Justified" staff has "WWED" (What Would Elmore Do) jewelry. Those words formed the fundamental rules of "Breaking Bad," and the reason for so much of its greatness. That show took its damn time in showing us the journey from Mr. Chips to Scarface, which made things so much more powerful than if Walt had become Albuquerque's meth kingpin by episode 4.

Almost from the start, "Saul" has different aims than its parent show: it's lighter in tone, closer to an overt comedy (though we know "Breaking Bad" could be incredibly funny), and the transformation Jimmy's going to go through between now and when he meets Walter White isn't nearly as drastic. But it's made by many of the same people, and their core storytelling principles haven't changed, starting with their incredible patience.

Start with the teaser, which is a self-contained marvel in the way that so many of the best "Breaking Bad" teasers were. I don't know if it's the only glimpse we're ever going to get of the time period after "Breaking Bad" — Gilligan and Gould have been understandably cagey about this — but as an introduction to the new show, it's perfect. It's a tragic opera in miniature: the slick operator reduced to a quiet corporate drone (managing, as he predicted the last time he saw Walt, a Cinnabon in Omaha, with our first glimpses of the product being made resembling Heisenberg and Cap'n Cook at work), hiding behind glasses and a mustache that's in many ways even sadder than the one once sported by the man responsible for his current predicament. (He's also stopped trying to disguise his baldness, since it only adds to his new anonymity.) His life is simultaneously depressing and terrifying — like Jesse in Civic Plaza at the end of "Rabid Dog," he briefly mistakes a shady-looking character for a threat to his life, and you get the sense that this is a regular occurrence, creating a constant Tony Soprano-eating-onion-rings level of paranoia — and those six and a half minutes, scored to The Ink Spots' "Address Unknown," tells us all we need to know without asking "Gene" to say a damn word. The first time we hear Odenkirk's voice, it's on a videotape of one of his Saul Goodman commercials, taken out of a hiding place as a painful but necessary reminder of what he used to be: a tiny hint of color in a life that has otherwise gone all grey.

And then, having sated our curiosity about what happened to Saul after he drove off with Robert Forster, Gilligan and Gould take their sweet time introducing us to Jimmy McGill.

It's another marvelously elongated sequence, where you can literally hear a ticking clock, while the judge checks his watch in impatience over Jimmy's absence. And Jimmy's fast-talking, long-winded closing argument — in which you can see early signs of the more assured Saul Goodman persona — is just an elaborate set-up for the punchline where the prosecutor plays the video showing what the defendants actually did. The whole thing is a little wink at the audience: a way for the storytellers to tell us that they, like their new main character, are going to take their sweet time getting to the point of the story, and they hope you're entertained along the way.

Because AMC gave them extra time to play with (without commercials, the episode runs about 53 minutes), Gilligan and Gould let every scene play out a little longer than you might expect, and almost always get added value out of it. I've been so conditioned to expect drivers being filmed at length to get into some kind of auto accident (there's a certain visual vocabulary for that kind of scene that's become every bit as much of a cliche as a cop stopping his partner from killing a suspect by saying, "He's not worth it, man!") that I shouldn't have been surprised at all when the skater crashed into Jimmy's windshield. But because the sequence ran several beats longer than an ordinary scene might have, I just got absorbed in watching Jimmy work the phones and try to hustle the business, and as a result I literally jumped a few inches out of my chair when the crash came.

The introduction of the skater con artist twins, meanwhile, eventually sets up the most entertaining scene of the Albuquerque portion of the pilot (and the first "Saul" scene filmed, period), in which Jimmy gives them his origin story as Slippin' Jimmy, the most famous slip-and-fall artist Cicero had ever seen. It's just Bob Odenkirk talking under the bright NM sun, and it suggests that our hero's verbal dexterity may just be enough to carry this spin-off forward.

Jimmy's not Walter White, but as he began laying out his scheme to the twins, I started to wonder if his elaborate plan would actually go to plan, or if, like so many Walt brainstorms, would get bungled almost immediately. It of course turned out to be the latter, as the twins jumped the wrong station wagon, driven not by their white housewife target, but an elderly Latina woman whose house is occupied by a very familiar face in Tuco Salamanca.

We knew Gilligan and Gould intended to use other "Breaking Bad" characters beyond Saul and Mike, and Tuco seems like a good one to start with, not only because he was a relatively early Walt opponent (albeit not the first), but because he was killed off quickly, so there's less fidelity to the original text required. Had it been Gus Fring, or perhaps an able-bodied Hector Salamanca, behind that door, it would have felt like too much, too soon — on top of whatever contortions would be required to have their activities conform to what we already knew about them and Saul — but when Tuco poked his stupid face out the door to look around for cops or witnesses, I laughed appreciatively and thought, "Yeah, that seems about right."

That we only get a brief glimpse of Tuco, and that Mike appears in only one brief scene, working as a parking attendant at the Albuquerque courthouse — and refusing Jimmy the half-measures of getting out while being one sticker short — are other signs that the show intends to be at least as patient as its parent series. If Gilligan and Gould were in pure fan-service mode, the episode would've been wall-to-wall Mike Ehrmantraut, and he certainly wouldn't be in such a neutered position. But it's more important to the larger story to show the low place he's in when he and Jimmy first meet, and to focus primarily on establishing who Saul Goodman used to be than on letting Jonathan Banks growl and crack wise.

And even with the Jimmy backstory, the show doesn't lay too many cards on the table at once. We get a glimpse of the firm where Chuck worked, but only the vaguest hints of Jimmy's relationship with slick partner Howard Hamlin, or with Kim Wexler, the blonde smoking in the parking garage while Jimmy vents his fury on the trash can(*). We meet Chuck, and see that he believes he's suffering from electromagnetic hypersensitivity — a condition that's not acknowledged as an official diagnosis by the medical establishment, even if the assorted symptoms felt by people like Chuck can be real — that's leading him to live a blacked-out existence, with anything electrical kept outside his home. He comes across as simultaneously wise — especially next to his impetuous "kid" brother — and delusional, but because we don't have all the information about his condition and his departure from the firm, we have to wait and see.

(*) That it was dented on Jimmy's way into the office — and that Kim so calmly and casually set it back aright after he left — suggests this is not the first time Jimmy has used that thing for target practice.

That Jimmy is so concerned for his brother's well-being is perhaps the most important thing the pilot does, because it tells us that once upon a time, Saul Goodman was a human being who cared about something beyond acquiring money and sexually harassing his receptionist. He needs to be a person for the show to work.

And this hour, at least, works very well. It's not "Breaking Bad," but it's fun, and that's a start.

Some other thoughts:

* I'm sure the impulse to scan the background for "Breaking Bad" cameos will go away at some point, but I spent several minutes rewatching the scene where Jimmy storms out of the courthouse after getting one fee for three clients, convinced that the guy getting wanded by the security guard was a clean-cut Skinny Pete.

* AMC asked critics to not reveal three things from the pilot in advance: 1)The return of Tuco, 2)The nature of Chuck's illness, and 3)Where Saul's office is located. This isn't the same nail salon where Saul tried to teach Jesse about money laundering, but I was amused to see that the once and future con artist is literally working out of a boiler room.

* For what it's worth, I've seen two episodes beyond this one, and the main title sequence is different in all three, though there's a stylistic throughline to them. Still, it's an interesting way to differentiate this show from the last one, which stuck with the periodic table title card through all 62 episodes.

* How many other terrible accents do you figure Jimmy can do when he has to pretend to be his own secretary?

The premier was ok. But I agree that you idiots better not #### up this thread. You dorks have ruined enough TV show threads.

 

[Raider Nation]

At what point in the final season did Vince and Peter start talking to you about the idea of this being a thing?Bob Odenkirk: They talked to me about it in the third season. Vince cornered me and said, "What do you think about a spin off?" And I said, "If you write it, I'll do it," essentially. But he said, "I think there's something here.” He was delighted by the character. So from that point on, it was brought up fairly often. And I would always say the same thing, "If you write it, I'll do it."

So did you feel like that gave you a certain level of a job security that, say, Giancarlo Esposito did not have?

Bob Odenkirk: No, they could have killed Saul off at any time. And it was just talk. I take Vince pretty seriously. Because everyone was joking that there's going to be a spin off, but he meant it. He was clearly serious about it. But I didn't think he gave me any job security. It's show businessm my friend. Don't count on anything. I think we might be getting a second season of “Better Call Saul!”

I think it actually already is official. I think you're okay. You're in the clear.

Bob Odenkirk: That's as close as you can come to having job security.

Bryan (Cranston) talked at the start of “Breaking Bad” about all the effort he put into helping with the hair and makeup and costume people design: the look of Walter White and the mustache and the saturated colors. When you came in as Saul you were a day player at that point, but how much input, if any, did you have into how he was supposed to look?

Bob Odenkirk: When we talked on the phone about the character, I said, “I have an idea for the hair.” And he was just describing the character to me. And I said, "Could he have a mullet in back and a comb over up top?" And he said, "Yeah, that sounds great." And beyond that, all the clothes, it's all Vince and the costume designers. That's their choice. And that to me helped me know the character, but Vince Gilligan, Peter Gould, the costume designers, the set designers, those are the people who told me who this character was and then I built whatever I built. Whatever I added to came all from them. When people say, “When you created the character,” I'm like, “I didn't create the character, Vince Gilligan and Peter Gould created the character and then I built off the script and off these signals and indicators from the costume people or whatever of what kind of guy builds this office for himself? What kind of guy talks like this? What kind of guy makes these kinds of jokes?” And that's how I made my contribution.

Now Jonathan, you famously said that you only got this job in the first place because (Bob) was not available to appear in an episode. Bob, do you remember what you were doing?

Bob Odenkirk: I was doing “How I Met Your Mother.”

Jonathan Banks: Wait. Wait. Wait. I famously said that?

Well, you've said it to me and you've said it to other people.

Jonathan Banks: Have I really? You've got it on tape do you?

Yes, I do.

Jonathan Banks: All right. All right then. Okay.

Bob, you were doing “How I Met Your Mother?”

Bob Odenkirk: Yeah. I played a recurring character in “How I Met Your Mother,” and they asked me to do an episode, and they were a couple weeks out but they signed me up. And so when Vince said, “I need you for three or four episodes, we don't know,” we told him right away, “Well, this one week, I can't do ‘Breaking Bad.’” Later, he told me that's why we created Mike, because we needed a character to carry this information and to take the plot where it needed to go.

And Jonathan, at what point did you start getting an inkling that this was not just a one episode gig?

Jonathan Banks: Are we going back to “Breaking Bad” now?

A little bit and then we're going to get into “Saul” too.

Jonathan Banks: I guess when they asked me to do five or six shows. Honestly, without being coy, I can't remember exactly. I just remember walking out that day and I said to my wife, "You know, I just worked with this kid (Aaron Paul). I think he's really good."

How was the rapport between you guys initially?

Bob Odenkirk: Awesome. It's so great that the threat Mike brings, the intensity, the seriousness, the no-nonsense, right up against all-nonsense Saul Goodman is a great clash. It's fireworks, man. It's ####### hilarious and I love doing those scenes.

Jonathan Banks: I love doing those scenes.

Bob Odenkirk: It's the best thing ever, man.

Jonathan Banks: It's one of those things, because my mind is working all the time. Bob said he didn't create that character Saul. Well that's true, I didn't create that character Mike, either. However, as soon as they handed it to me, I'm very possessive about what's going on and that it's mine. And so even more now that we when we do “Better Call Saul!” and we're with each other and we're going there and the first time there's an interaction, and I can't give away stuff, but in their warped, twisted way, they get closer together.

Jonathan, when Vince and Peter first approached you about being part of the spin-off, was there any reticence on your part or you were eager to do it?

Jonathan Banks: If there was a second of doubt, it was a second. I wanted to revisit Mike.

Saul looks quite a bit different from how we were used to him in “Breaking Bad.” Mike looks about the same. Was there anything you did or talked about with hair and makeup and wardrobe to try to make him seem younger?

Jonathan Banks: They'll always try to make me look younger, but you can't put a silly wig on in my head. I ain't going to look right. That's all there is to it.

Mike is in a very different place in his life when we come into this series than the guy we knew even the first time we see him in “Breaking Bad.” How did you approach that?

Jonathan Banks: Mike is someone that, if he has a dollar in his pocket, he's still capable. And he is not above making the money as quickly as he can. He needs to survive. He'll survive.

Now we know some of the backstory of what brought him here: the “half measures” speech and everything else. Mike has had a lot of ups and downs in his life and he seems to be in a down moment when were coming into him; he has a lot in front of him over the course of this show. Have they told you anything of how he's going to get from point A to point B?

Jonathan Banks: I know in many ways. And you're going to learn a lot about Mike. It's all going to break in a large way. You're going to be well satisfied, I think.

Bob, how did you approach making yourself look and act six years younger than when we met you as this character?

Bob Odenkirk: Phony hair and the best energy I could muster. The great costume.

Jonathan Banks: It's true. The best energy you could muster.

Bob Odenkirk: I mean it's a great group of make up artists and the hair person, Trish Almeida, did an amazing job with the hair. And then it's all in the script: play that guy, what he knows, what he doesn't know about himself, about the world. I think it's a great portrayal of a character in that space of an adult who has been living for a while. He's seen some life, but he still doesn't know who he is, and it's kind of driving him crazy to figure that out.

There's a sequence in the second episode where Jimmy winds up out in the desert in a scenario that very much seems like the kind of messes Walter White often found himself in.

Bob Odenkirk: I did a scene in “Breaking Bad” where I was in the desert with guns on me. It felt like that. It was like a revisiting of that and it was great fun. I love when there's physical threat. And I love shooting in weird locations. It gets uncomfortable after a few hours, but so what? It's so unique; it's so fun to be doing a job where you're in the desert pretending to be threatened with guns and ####. It's a lot of fun. I enjoyed it.

You're coming off one of the all-time great shows. Do you feel any pressure or any sense of obligation to the legacy of “Breaking Bad,” or do you feel like “Saul” has to exist as its whole thing and that can't be a concern?

Bob Odenkirk: Yeah, I'm not worried about it. I mean, “Breaking Bad” exists. There's a lot of good DVDs of it, so that's not going to go away. Your DVDs will not be erased by the existence of “Better Call Saul!” You can still watch it. And it's a great thing. We're all proud to be a part of it, and now we got this new show and it's its own beast. It will take a little while for people to get to know it, and it will be a fun journey getting to know it I think.

Jonathan Banks: At this age, and maybe it's partially age, I don't feel any obligation to anything or anybody anymore — maybe my kids, my wife. But what I am struck with and what I am aware of and what I am grateful for is that we had the writers, we have a legacy of “Breaking Bad.” So obligation? No. How lucky because of it? Yes.

 

[AAABatteries]

It took me most of that scene to recognize Michael McKean.

GM alias?

Pretty tough to spot when he's in the opening freaking credits.

I looked away during the opening credits. I should probably be executed or something.

"...third girl that enters the reverse gangbang, the blond with the unicorn tat on her upper back, used to be a Suicide Girl. Goes by 'Haley Pills' or 'Mary Queen of Squirts' or 'Hillary Shank'. Also was in 'Orgy Camper IV' and 'Casting Ottoman 19'..."

Mary Queen of Squirts.

 

[Leeroy Jenkins]

So has Chuck gone just crazy or does he have cancer?

 

[Capella]

I am I the only one who thinks this will probably be terrible.

Probably won't be the only one who will be wrong, no.It's gonna be fantastic.

Odds far more like that it will be terrible. Spinoffs usually are.

And the Saul character was terribly written on BBad. Just a walking cliche, over and over and over and over again.

Amazing.

Gunz is literally wrong about absolutely everything. He's like a superhero and his power is being wrong.

 

[comfortably numb]

Been looking forward to the show but i think I vastly underestimated what they could do with it.

So much potential, as just with the opening scene they could go post BB anytime just to give us some "where are they now moments"

Obviously the show will need to be able to stand on its own at some point but the 1st episode worked really well and felt just like I was watching an extended Saul scene from BB.

 

[Ditkaless Wonders]

I like that Jimmy is driving an Esteem.

I like that Jimmy is quoting Network. I loved that movie.

 

[comfortably numb]

Jesse is the one that introduces Walt to Saul?

 

[Ditkaless Wonders]

Whiskey, Drambuie, and what, lemon juice was it?

 

[Otis]

I am I the only one who thinks this will probably be terrible.

Probably won't be the only one who will be wrong, no.It's gonna be fantastic.

Odds far more like that it will be terrible. Spinoffs usually are.

And the Saul character was terribly written on BBad. Just a walking cliche, over and over and over and over again.

Amazing.

Gunz is literally wrong about absolutely everything. He's like a superhero and his power is being wrong.

 

[Ramsay Hunt Experience]

Whiskey, Drambuie, and what, lemon juice was it?

It was a Rusty Nail. Dewars and Drambuie. Lemon juice is optional.

 

[Rick James]

pretty funny that Saul owned a nail salon. wasn't he always trying to get Walt to buy one? lmao

 

[Brady Marino]

pretty funny that Saul owned a nail salon. wasn't he always trying to get Walt to buy one? lmao

I don't think he owned it, he just rented out that closet of an office from them.

 

[GroveDiesel]

It took me most of that scene to recognize Michael McKean.

GM alias?

Pretty tough to spot when he's in the opening freaking credits.

I looked away during the opening credits. I should probably be executed or something.

You would have gotten a pass if it weren't for the fact that you used up any free pass by still watching Girls. And bumping/posting in that thread still.

 

[Apple Jack]

I like that Jimmy is driving an Esteem.

I like that Jimmy is quoting Network. I loved that movie.

Everything about the conference room scene was great.

 

[urbanhack]

pretty funny that Saul owned a nail salon. wasn't he always trying to get Walt to buy one? lmao

seriously? If he owned it, don't you think he'd be able to drink his own cucumber water????

 

[belljr]

pretty funny that Saul owned a nail salon. wasn't he always trying to get Walt to buy one? lmao

seriously? If he owned it, don't you think he'd be able to drink his own cucumber water????

 

[urbanhack]

the show is going to be really good. No expectations and no over analysis....just going to enjoy it.

 

[belljr]

So can we speculate? The twins are getting killed right?

 

[Zow]

So can we speculate? The twins are getting killed right?

If they haven't been already.

 

[comfortably numb]

tonight is a new ep?

 

[belljr]

tonight is a new ep?

yesMondays are it's regular night I believe

 

[Quez]

The part about the $500 was funny.

 

[comfortably numb]

The Napoleon Dynamite twins had me the whole time.

I started cracking up when Saul called them on it

 

[Ditkaless Wonders]

pretty funny that Saul owned a nail salon. wasn't he always trying to get Walt to buy one? lmao

Pretty clear he did not own it. The was a tenant in the boiler room.

 

[Plorfu]

So is Tuco the Yellow King?

 

[Bigboy10182000]

When can the predictions start?

 

[Ditkaless Wonders]

I presume Mike is working as the Parking Lot attendant to conduct surveillance on a D.A.

 

[comfortably numb]

I missed Skinny Pete.

Anyone have a screenshot?

 

[flysack]

It felt like one of the better Breaking Bad eps in the way it was shot too. Just great cinematic touch.

Plus, of course, the great storytelling and masterful way Vince builds the suspense.

1. When the D.A. rolls the TV over to the jury I was dying. Oh god, what can it be. It has to be horrible. I can't wait. Necrophilia!

QUESTION: did the kids know the corpse? I wasn't sure, thought I might have missed something.

2. Tearing up the check.

 

[St. Louis Bob]

For the first time since 1983 when my Mom bought me a pair of Nike's (they cost $30 and my Dad almost murdered her) I'm up to date on something pop culture. This sucks, I want to watch 10 more episodes.

First episode was great but it could have used some hard core lesbianism.

 

[St. Louis Bob]

Why did he tear the check up?

Come on dude.

I had to explain that to my wife, BEFORE the next scene. Think about that GB.

 

[Bigboy10182000]

I missed Skinny Pete.

Anyone have a screenshot?

I missed this too

 

[Capella]

It felt like one of the better Breaking Bad eps in the way it was shot too. Just great cinematic touch.

Plus, of course, the great storytelling and masterful way Vince builds the suspense.

1. When the D.A. rolls the TV over to the jury I was dying. Oh god, what can it be. It has to be horrible. I can't wait. Necrophilia!

QUESTION: did the kids know the corpse? I wasn't sure, thought I might have missed something.

2. Tearing up the check.

I like how he sternly pointed at the kids while saying they wouldn't do this again.

 

[Ditkaless Wonders]

It felt like one of the better Breaking Bad eps in the way it was shot too. Just great cinematic touch.

Plus, of course, the great storytelling and masterful way Vince builds the suspense.

1. When the D.A. rolls the TV over to the jury I was dying. Oh god, what can it be. It has to be horrible. I can't wait. Necrophilia!

QUESTION: did the kids know the corpse? I wasn't sure, thought I might have missed something.

2. Tearing up the check.

I like how he sternly pointed at the kids while saying they wouldn't do this again.

Just a couple of Knuckleheads.