After taking last week off cause she was sick of my shit, Margaux triumphantly returns to talk Better Call Saul with me.
Trevor: This episode was just further proof that Better Call Saul can do no wrong. It can handle black comedy, Coen Brothers-esque family drama, and “Five-O” showed us that it can handle the shit out of a cop thriller. This might have been the best episode since the pilot.
Margaux: “Five-O” was another fantastic episode of Better Call Saul but I have to disagree with some of your hyperbole.
Being that we’re both huge Breaking Bad fans, there was something satisfying in finally getting Mike to peel back some of his layers – he had a son, which, was sorta shocking to me for some reason. The terrific acting and character work aside, thinking about it from the perspective of someone who’s not really familiar with the Breaking Bad universe, some of it felt like fan service and didn’t need the whole hour.
That being said, I do like that the show is taking liberties with its focus, Bob Odenkirk was hardly in this episode.
Trevor: Two things: 1, I don’t think it’s hyperbole, so we might just have to agree to disagree; and 2, I can’t imagine there’s a lot of people unfamiliar with Breaking Bad who are tuning into to Better Call Saul.
But that notwithstanding, let’s just discuss the episode on its own merits. If nothing else, it was a great showcase for Jonathan Banks, and he got to show more range in “Five-O” than in his entire run on Breaking Bad. Mike Ehrmantraut is just eminently watchable, even when he’s just saying “lawyer” over and over.
Margaux: Fine. But, my main point is, “Five-O” was a great episode where not a whole lot happened so you better fucking invested in these characters or else I’d reckon you’d get a little bored.
Anyway, lawyers…am I right? Just when you think they won’t spill coffee on a cop so you can steal his notepad, BOOM – he does. I like that no matter what name Saul is going by, he and Mike have this amazing dynamic that doesn’t always require Mike to be talking. Jimmy does enough of that for the both of them.
Trevor: “I look like a young Paul Newman dressed as Matlock.” I love that we can always count on Jimmy for a retort, and the glee he takes in fucking with cops is pretty infectious. It was a bold choice to have him in pretty much just those two scenes.
Margaux: I thought it really worked because it was such a bold choice, his name in the fucking title of the show and he’s getting 10 minutes of screen time? Better hope Odenkirk isn’t IRL Jenna from 30 Rock. And I thought it was interesting that Jimmy’s role in this episode was basically, mood lightener because as soon as their witty tete-a-tete shit got dark.
Trevor: Yeah, all the Philly flashbacks were pretty dark, despite their oversaturated color palette, which was an interesting aesthetic choice on the part of director Adam Bernstein. I never really get tired of Mike being a badass. His scene with those two cops, Hoffman and Finsky, was incredibly tense.
Margaux: I will say, even though you could connect the dots of Mike’s bullet wound and the Philly flashback before the shootout was even revealed, I was at the edge of my seat. I knew Mike wouldn’t put himself into a situation that he couldn’t get himself out of but, you just never know. And I loved how affably douchey those two cops were, it wasn’t over the top at all, you almost second guessed yourself as to whether or not they really responsible for his sons Matty’s death.
But nothing compares to Jonathan Banks extremely emotional monologue about how he believes he ‘broke’ his son, ultimately making him responsible for his death. And it’s all the more gut-wrenching ‘cause he’s admitting to himself and his sons widow. I was about to cry. throws Oscars at Jonathan Banks
Trevor: Banks crushed that scene. Such an amazing job, and just adds more layers to a character described by Walter White as a “dead-eyed psychopath.” I was on the verge of tears too. “I broke my son. I made him like me.” So, whatever qualms you may have with “Five-O,” you have to admit they stuck the landing.
Margaux: There’s nothing to admit, they did stick the landing. That scene and the scene where Mike is getting fixed by a dirty vet (which, I really really really really hope we see that guy again soon, something about him was awesome) were stand out scenes for me. Something tells me this Philly cop plot isn’t the end of something but the beginning of one. Maybe it was the pacing of some the other scenes, him yelling at his widowed daughter-in-law and some of the back and forth with the cops felt like needed filler but still filler. What I love most about the show is its reluctance at answering questions and “Five-O” answered a lot of questions, really quick and maybe that’s what took me out of it at times.
Trevor: I see your point, but to be fair, we’ve known Mike was an ex-cop since the Breaking Bad days, and BCS had to shove a lot of backstory into forty-two minutes, because as much as the audience loves Mike – and we really, really do – the show isn’t called Better Call Mike.
Maybe I was being hyperbolic before, which I’ll blame on my intensified man crush for Jonathan Banks, which has multiplied tenfold after “Five-O.” I will still maintain that I love BCS’s willingness to experiment with format and tone.
Margaux: I thought it was a good experiment, will the audience stay with us even if we make this bend to the right? Thankfully, the character they chose to focus on had more than enough backstory to fill the time, I’m just excited and curious to see what this is building to. We already know Mike eventually becomes the “cleaner” for Saul’s clients but how they get there is what I really want to know.
And since I wasn’t here last week, I still have one qualm about “Alpine Shepherd Boy” that carried over here, why didn’t Saul spend a little Kettleman money on a new damn car?!?! I feel scared for him everytime he gets behind the wheel, that thing will not get him down the street.
Trevor: Matlock suits are expensive.
Okay, I feel like talking about “Five-O” has helped us reach something of a consensus. I’m leaning towards four stars, how do you feel about that? Regardless of any narrative issues within the episode, Jonathan Banks’ performance sealed the deal. He’s probably been waiting his whole career for a chance to shine like this, and he nailed it.
Margaux: My nitpicking aside, I totally agree, you could just tell Banks relished every word in this in episode and that’s what made it powerful. 4 stars – cry on you crazy diamond, Mike.
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