Noiseless Chatter Archive

Last week I alluded to the fact that if they did indeed get married, Kim would be Saul’s first wife. Only, y’know, that wasn’t a fact at all. Commenter Meister Eder referred me back to a scene in season one’s “Marco,” in which Jimmy rants about a number of things during his bingo-night meltdown. One of those things is an ex-wife. Watching the clip he provided in isolation was a strange experience. I’d seen that episode, obviously, and if you had asked me about that scene I’d have told you I remembered it pretty well. But while I was paying attention to one thing — Jimmy, overcome with frustration, gradually losing control — I missed another. It’s sort of like that video of the basketball players. You watch it and try to count the number of times they pass the basketball to each other. Afterward you watch the same video again and you see a man walk across the scene in a gorilla suit — even pausing to pose for the camera — which you didn’t notice the first time beca

Well, that was a rollercoaster ride, for sure. It’s just that I don’t know if it crashed us directly into a brick wall or launched us into space. I guess we’ll find out where we land next week. Shortly before this season began, the episode titles were revealed. This one, of course, was immediately intriguing. We know that by the time of Breaking Bad , Kim is out of the picture. Better Call Saul would, at some point, have to drive that wedge. “Wexler v. Goodman” was obviously a title suggesting direct conflict. (Likely, thanks to the v. instead of a vs., in a legal setting.) But then we had “Dedicado a Max” last week, which reassured us. We had no reason to worry; that Wexler v. Goodman case would all be for show. Kim and Jimmy would be working together toward the same end, and they’d only seem to be in opposition. Whew! A complete release of tension and we could breathe for another week. And yet here we are, and I can’t be the only one who emphatically was not

“Dedicado a Max” does a few things, but doesn’t finish any of them. As we’ve discussed before, it’s what we’d call a middle chapter. We know this because it spends its time following two stories closely, paying only lip service (if anything) to other threads and characters. It advances both stories just far enough that the second half of the season can make full use of them. And, really, that’s about it. Which isn’t to say that it’s not entertaining, especially because of the second thing “Dedicado a Max” does: It reminds us that Better Call Saul is a comedy. Not exclusively, no. The show is often dramatic, sometimes harrowing, frequently insightful, but we are supposed to be laughing , too. The past few episodes have been pretty heavy, with many of the characters either at low points or actively self-destructing. We’ve gotten a few smiles here and there, but “Dedicado a Max” gives us actual, sustained comedy. There’s Jimmy delaying Mesa Verde’s construction project

Hoo boy. Ready? For this year’s Rule of Three — a series in which I review three related comedy films beginning April 1 — I am focusing on the works of Rudy Ray Moore. I have a few reasons for doing this. Moore is a massively interesting figure, and a culturally important one as well. He’s a funny guy whose films I enjoy. His movies are ones I think are worth paying attention to. The recent biopic Dolemite is My Name got me interested in revisiting his work. I could continue, but let me instead give you something that emphatically is not a reason for doing this: I am not doing this because I have any business doing so. It’s important to me that I make that clear up front, because for many people Rudy Ray Moore represents something that he cannot represent to me in the same way. He is a crucial data point in the history of black entertainment. Does that mean I can’t write about him? Of course not. Does that mean I have any right to speak about the importance of

I’ve been wondering to myself for a while when I’d reach an inevitable point. Specifically, the point at which I stop referring to our protagonist as Jimmy and start referring to him as Saul. We’ve mentioned Saul, of course, and we’ve discussed things Jimmy has done as Saul, but until we hit that point, they would be distinct characters. One exists in this show, and the other existed in Breaking Bad . At some point, tragically, they would overlap, and I think it’s safe to say they’d never detach again. (Gene seems to have much more in common with Saul than he does with Jimmy, as least from what little we’ve seen.) I hit that point last week. I didn’t bring it up then because I had other things to say, but that’s the first time I saw our protagonist in this show and thought, “That’s Saul Goodman.” The sequence that did it for me was the one in which he agrees that his client will provide information to the feds…information that he knows isn’t what they’re looking for

One thing Better Call Saul has always been good at is keeping things interesting even when very little is happening. That’s a hell of a skill, and it’s especially important in a prequel series such as this one, when we know that certain big moments simply cannot happen until later. “The Guy for This” is a great example of how this show manages to make even its connective tissue so compelling. I have zero insight into the writing process, but it wouldn’t surprise me to learn that this episode was intentionally packed so full of small things to make up for its lack of big things. “The Guy for This,” structurally, needs to set up a few elements that the rest of the season can play with, and that’s fine. Not every episode of a serialized show can (or should) be explosive. Delaying the big moments is part of the fun. But what do you do in the spaces between those big moments? In the case of “The Guy for This,” you string together a lot of wonderful tiny moments. You m