Jump to content

Docteur Qui

  • Posts

  • Joined

  • Last visited

  • Days Won


Everything posted by Docteur Qui

  1. I can totally see where the gripes about the structure of the season or the gap between BCS and BB are coming in here, but for me I think the idea behind it is that nothing particularly significant happens after Kim leaves, at least not dramatically. We've seen all we need to see for what transpires next. The time jump at the end of "Fun and Games" shows us everything we need to know: after Kim left, Jimmy completely commits to the Saul persona; filling his day from start to finish with non-stop noise, phone calls, distractions, work, sex workers etc. all so he doesn't stop and think for even a second about Howard, Kim or Chuck. We don't see the aftermath of "Fun and Games" because Jimmy won't let there be an aftermath: he's pushed it all down underneath Saul. The reason we're spending so much time with Gene is because for the first time since Kim has left he hasn't got Saul to hide behind, just the slow, achingly lonely existence of the Cinnabun manager alone with his own memories. This is the aftermath of "Fun and Games", it's just come years later than it should have.
  2. I think you’re misconstruing what I said - I didn’t mean to imply anything about Breaking Bad having confusing plot holes that BCS has filled. I just meant that in terms of showing us scenes that weren’t in BB they chose a good place to put them. The “blank” (or gap) I’m referring to is right after Saul meets Walt and Jesse for the first time but before Saul meets Walt in the high school and offers to work with him for a cut of the profits. The new scenes don’t tell us anything more about Walt or Jesse, and not should they, as we’re not watching their story as it’s already over. But they do tell us a huge amount about Jimmy/Saul/Gene, and arguably reframes the way we see his character as depicted in BB while also setting the table for Gene’s actions. Its placement in this episode intercut with the Gene scenes deliberately highlights its significance, inviting us to understand why Gene is acting the way he is. In terms of whether you like those choices or not, that’s entirely subjective. But to claim it’s anywhere near as bungled as late GOT (which I’ll also defend, while acknowledging that it’s deeply flawed) is to me missing what the show is trying to tell us about the man we’re watching.
  3. Put me in the camp that enjoyed the latest episode. I didn't feel like Cranston/Paul's appearance was gratuitous at all - they chose a great scene to "fill in the blanks" and tie things into the Gene timeline, and, combined with the Mike scene, also reframed the character of Saul in a pretty interesting way. Rather than being the hapless crooked lawyer along for the Heisenberg ride he was actually more in control than we thought - he saw potential in Walt, who he made his "project". But that project blew up in his face in the biggest way possible, which leads us to Gene. As longtime BCS viewers when we see Gene this season it's more as Jimmy than as Saul, probably because we want him to be Jimmy again, but also because we haven't been watching Saul for the past 5.5 season, we've been watching Jimmy. Jimmy was flawed, but he had a good heart. And we almost, almost got the bittersweet ending that we wanted, which was for Jimmy to re-emerge and learn from his mistakes. But then he calls Kim, and it doesn't go well. He doesn't get the love, the respect, the affection that he always needed. And now he's back on the wagon. Gene has now doubled down, breaking bad in his own right (hence the episode title); a man who is happy to scam a cancer patient because his last encounter with one destroyed the empire he'd spent so much time building up. Chuck said that people never change, but I disagree (and think the show does too) - change can happen, but it needs to be maintained through continuous choices. This season tells us that there's only two ways to get off the bad choice road: the quick way, but with dignity and on your own terms (Nacho); or the long, grinding path that it's implied Kim has taken. Jimmy either can't or won't do either of those things, and in the end proves Chuck right. That's the Shakespearean tragedy of Jimmy McGill, and that's what I think the show is leading us to.
  4. This is an excellent conversation! Thanks for sharing. So wonderful to hear Williams speak so vividly and jovially, the man's mind (and wit) is as sharp as ever. Loved the anecdote about calling his father "vibes", haha. I also appreciated the interviewer, great questions. And I'm really glad she acknowledged the fact that live to projection concerts wouldn't be a thing if it wasn't for JW's scores. It's a legacy that none of us really saw coming but will be standard practice for years to come, propping up orchestras and keeping them more popular than ever.
  5. It's so weird seeing Bob in light-hearted, joking comedian mode... I'm so enthralled with his incredible dramatic work in BCS that I'd nearly forgotten that's what he used to be best known for!
  6. Not to my knowledge, which is a shame because she's certainly reaping the benefits of having such an incredible sonic brand for her empire! Still sour at the fact she vetoed Williams' original plans for the Children's Suite from Philosopher's Stone, it could've been a wonderful project in the vein of Benjamin Britten's Young Person's Guide to the Orchestra. While I respect that she didn't want Potter to be used for educational purposes, the fact is that it would've been an exceptional way to introduce a new generation to the orchestra and further establish Williams' music as valid within the classical canon and as standard repertoire for the symphony orchestra. Thankfully the Live to Projection concerts have all but done that anyway, and you'd be hard-pressed to find an orchestra around the world that hasn't performed sold-out concerts featuring his music.
  7. I’m more curious about the other book from the 601 cold open - HG Wells’ The Time Machine. My theory: after Kim’s departure Saul obsessively reads the book again, this time in order to go back in time and prevent it from ever happening. The reason he works for Walt is so he can use his scientific knowledge to create a time machine and- lol not really. But man, I’ve been reading some pretty dumb theories on the BCS subreddit lately. Can’t wait for the next ep. When do the episode posters/artwork usually come out?
  8. Seasons 3 and 4 are MA15+ here in Australia (the first tier of legal restriction, minors under 15 must be accompanied by an adult etc, equivalent to R in the US I guess). So yeah, the show is not really for children anymore, and you could argue it never really was even considering how young the cast was back when it started - it was clearly aimed at Gen Xers and millennials when it debuted IMO.
  9. Apparently the book's author very much enjoyed The Girl in the Fireplace and in her next novel the episode is referred to in one of the chapters as a cute little nod. I must get round to watching the series, but I'm more looking forward to Inside Man which sounds fantastic. I'd love to see Moffat pen the occasional ep in the new series. Just let him have fun with the toys without the pressures of having to keep the wheels on the whole thing spinning. I'm sad that we never got to see a RTD-penned script in his era; he was slated to write a two-parter surrounding a trial for Davros, but it didn't work out and eventually became The Magician's Apprentice/The Witch's Familiar.
  10. I love this, agree with Jay, brilliant catch! I’m going to miss combing over the details of this show here, I always learn so much. What a gift it is to have a show so layered and oozing with extra meaning. While on that note though, I’m glad I never put too much stock in the exact dates within this show, because it sounds like a nightmare to reconcile!
  11. I think Gold should return for the specials in 2023. It'd be pretty amazing to let him wrap things up musically so to speak - I don't really feel like he got that opportunity in series 10. Moffat had a bad tendency to track in previous music instead of original material Gold wrote (Day of the Doctor could've been something really special if that hadn't happened), so I'd love it if he got that chance to give us all his Doctor themes one last time. Especially if Smith and Capaldi do end up making appearances as well - I salivate at the thought of hearing "A Good Man" and "I Am The Doctor" again. After that though it's definitely time for a new composer. But whoever it is I hope they pick up Gold's mantle and push for a bigger orchestra with colourful orchestrations. Akinola nailed the brief in terms of delivering a contemporary hybrid score suitable for television, but suitable doesn't really cut it for Doctor Who. Who knows (heh) what he'd have done if he wasn't being pushed to make the score so dull - I've heard other stuff of his and he's definitely capable of it. RTD at least seems to understand how important scoring is beyond the mere functional, so that's encouraging.
  12. I get the feeling that's pretty much it for Gus' storyline, so that's why it does work for me. I can't really see him or Mike having anything major left to do for the rest of the show now that we're firmly in Saul/BB territory - anything interesting or revealing about either of those characters is already there in Breaking Bad. Both Gus and Mike had moments in this episode that were both capstones to their inner conflict, and turning points putting them on the path to their eventual fates. Aside from plot reasons, the point of Gus in Better Call Saul was to further shade the character as he appears in BB. This episode was very succinct in giving us what we need to know about Gus: his single-minded drive to consolidate power and destroy Don Eladio and the Salamancas. We were told that in BB, but BCS actually shows us, using the restaurant scene as the moment Gus not only fully commits to this goal, but also as the gestation for his plan to poison Eladio. Same with Mike; we know from BB that he is a highly skilled and intelligent asset to Gus with a dark past. But given everything that Gus has made him do over the years, why still work for him? Mike's scene with Nacho's father shows us: because despite his insistence that he's a hitman with a conscience and a moral code he knows deep down that he's doing evil, and he can never truly be redeemed for the damage he has caused. So he sticks with what he knows, and keeps earning the money to compensate for the future he robbed his granddaughter of. There's a sense of futility to all of this, which is enhanced by our knowledge of what happens to these characters. What matters is how we see these characters react to the realisation that they're on the Bad Choice Road and there's no getting off.
  13. You're absolutely right. Some of the best things JW has ever written are fanfares or amazing thematic variations for otherwise boring shots of ships taking off and landing. The sequels were too slick for their own good!
  14. It's not overthinking when it's pointing out a systemic problem that the show has with its tone, message and gratuitous use of sexual violence. I used that scene as an example, but there's multiple others.
  15. For what it’s worth, The Witcher has actually been quite well received by critics, especially the second season. I quite like it, they’re really leaning into the campness and it’s a lot of fun. The fans of the books/games on the other hand absolutely despise it. Bunch of tasteless nerds I say!
  16. No way, like the Doctor the composer needs to be British! I second Arnold. He’s done Bond, now he needs to do the other 60-year old British franchise featuring a man whose face changes every few years.
  17. The Doctor wearing wellingtons is probably the most on-the-nose, British costuming choice since... a tweed suit or cricketer's uniform. I'm on board if it's true, though they'd better be good for running, otherwise Ncuti's going to ruin his knees like Capaldi and Smith did! The Curse of the Doctor.
  18. Completely agree that HOTD has more chance of being actually good. There's more proven talent involved, lessons learned from GOT etc. It's reassuring that D&D aren't officially involved (but likely were consultants, which is fine because despite everything they are also still responsible for seasons 1-4 of GOT). There's also a lot less riding on its success than the other - I get the feeling that Rings of Power is going to be the most expensive flop ever made for television and will probably ruin Amazon's entire content model if that happens. Not that they have much to lose in terms of original programming, but still, I'd like to be pleasantly surprised if it's good. It just feels like anything less than a mega hit is going to be death for this show.
  19. Glad to hear, I've been looking forward to this. I enjoyed Us more than others did, but understand why it got a bit of a lukewarm reception.
  20. I think that's my problem with it though - if the focus on that scene is comic then to me it's pretty jarring having Termite react so utterly distraught to the situation, and then undercutting it immediately with more comedy. It's hard to get a sense of what we're meant to be feeling towards his character, so it just ends up feeling unfocused and indifferent. Maybe I was just in a sensitive mood when I watched that ep, but it rubbed me the wrong way. It might've been more effective if it was more like a "oh no, not again" reaction, which would be more in line with the show's thesis about the Supes not giving a shit about their collateral damage. It seems contradictory as is.
  21. I'm a bit tired of the whole space age/atompunk thing that Fallout popularised (I barely made it a few hours into The Outer Worlds before getting bored with it), but I hope this show is good.
  22. I think there's a few layers to Gus' moment there - yes he is focused on revenge, but there's also a brief glimpse of shame and fear, realising that he can't let himself get close to another person again for fear of another loss, but also possibly a sliver of guilt for "betraying" the memory of his partner.... The amount of complex facial acting that Espisito pulls off in this scene is delectable - especially juxtaposed with his almost constant stoicism in the rest of the show. Between this and the slight wincing he does when being patted down at Don Eladio's compound this is the most vulnerable and human that we've ever seen Gus. Incredible. I audibly gasped when Kim said that. The single most callous thing Kim has ever done, but so complicated as it was also done to protect Jimmy.... Rhea does such an incredible job of not letting too much on about what Kim is thinking in the moment, so it wasn't until the scene in the apartment that we realise that her fear of what she's capable of is what drives her away. This is not how I expected their relationship would end but it is so perfect. Lol "potential mate", ok David Attenborough! But yeah, I loved seeing this layer of Gus. I suspect the next ep will cover the events of BB and then we'll jump to Gene-town. And HOPEFULLY a reunion with Kim 😭😭 Also one thing I loved: the opening montage with the "Saul Goodman & Associates" sign and the camera angled to emphasise "ASS". I love the cheeky sense of humour in this show.
  23. An ok season, but I'm starting to feel that the appeal of this show is really waning and the shock factor is really starting to get old for me. Perfectly exemplified in an early scene with the supe who shrunk down and entered his lover's urethra and then accidentally eviscerated him after sneezing from the cocaine. The show doesn't know what it wants: is this supposed to be funny or upsetting? The guy just accidentally killed his boyfriend in the most harrowing way possible and was utterly distraught about it, but that was immediately undercut with the subsequent fight scene and him getting trapped in the bag of cocaine by Butcher for a laugh. Something about the whole sequence was just so odious to me, and represents a larger tonal problem I think this show has. I understand they're highlighting the collateral damage and carelessness of the supes in the show, but this one was a step too far for me personally. I also didn't really appreciate the way they glossed over the fact that the prostitutes at Herogasm were normal people who were being visibly hurt and physically damaged by the supes they were having sex with. The level of sexual violence in this show is disturbing, and not really well handled for what it's trying to say. It just feels like a bunch of teenage boys coming up with shocking and outrageous ideas but completely lacking the maturity to give the jokes proper context. Soldier Boy was a bit of a letdown as a villain, especially after Stormfront who was - while truly vile - a compelling character. His inner conflict never really felt authentic to me, and nor was I convinced at any point that he was any worse than the monstrous Homelander despite the show trying to convince us otherwise. Also agree that Starlight's big moment in the finale was just a big wet fart. I get they're trying to build her power over the course of the series, but she's gotta start flying and blowing shit up ASAP if we expect her to be an actual player in this game. At least Maeve was shown to have some real strength, going up against Homelander by herself - although I did get the impression he was holding back while she was giving it her all. Thank god she got a somewhat happy ending with her girlfriend. She is a bit young, but seeing as her stepdad has gone down the rabbit hole and is a full-on Homelander supporter it's probably for the best that he gets in early and exposes her to the real truth behind supes. Man, that final scene was really chilling. I got the impression that he never actually blamed Ryan for Becca's death. When he yells at him he was really trying to distance himself from Ryan so he wouldn't get caught up in the collateral damage of Butcher's plan to use the V (which of course he did anyway). I assumed that he was avoiding Mallory's call because he didn't want to face up to her about what he did to Ryan, or maybe assumed she found out about him using the V and didn't want to talk about it. I hope the next season picks things up again, the show really felt like it was spinning its wheels this season.
  24. Fantastic ep! Only watched it last night and glad I don't have to wait too long for the next one. One interesting theory I've seen is that Kim actually is around during some or all of the events of Breaking Bad, but we just don't see or hear from her in that show. It's a wild thought, and kinda funny if you imagine her just out of shot in scenes established in BB (not that I think they'd do anything like that), but that could tie into Walt/Jesse's appearances. The only way they're going to show up is if there's a time jump to the events of BB, and I personally think there could be some interesting interactions between Kim, Saul and Walt/Jesse that were "withheld" from BB. One common criticism that I've heard for this ep was the convenient timing of Gus' man missing that Lalo was climbing through the ventilation fan on the security camera. But I'm pretty sure that the guy was outside when the rest of the group departed to Kim's apartment/Gus' house and then had to walk all the way back to the security room, which Lalo used to his advantage. Just wanted to point this out because that's how damn airtight this show is.
  25. Severance is phenomenal. It's a masterclass in mood, absurdity, and the texture of the mundane. The final episode is absolutely riveting, and probably one of the most excited I've been watching a show since the hazy early days of LOST. Barry (Season 3 finale) (Here be spoilers) Thank god Better Call Saul is back, even if it's only for a few more weeks. I'm running out of good television to look forward to every week.
  • Create New...

Important Information

By using this site, you agree to our Guidelines.