One of the best aspects of Marvel’s foray into live-action film and television has been the variety involved. Between the MCU and the various networks airing their TV shows, Marvel has done a solid job bringing lesser-known characters to the big and small screen. Even better, they’ve done so in ways that avoid the feeling of watching the same thing over and over. Cloak and Dagger continues this trend, giving audiences a YA show far different from watching Daredevil or Agents of SHIELD.
So far that’s a pretty good thing.
Light and Shadow
If the title wasn’t clear enough, Cloak and Dagger follows two teenagers named Tandy Bowen and Tyrone Johnson. They each suffer a family tragedy as kids that takes place on the same night; a car accident kills Tandy’s father with her in the car, while Tyrone’s brother is shot by police. At the same time, an offshore oil rig collapses and explodes, sending out a shockwave giving them their powers. These powers unknowingly bond them, until they eventually find each other as teenagers.
This connection between Tandy and Tyrone rules Cloak and Dagger, and, as such, much of the first two episodes is spent drawing parallels between them. Most of the time these parallels have the subtlety of a hammer blow to the head. The scene transitions seem to scream at you to get it. The dialogue often does the same. Does that matter if these comparisons are effective? Of course not, and I can say that the comparisons are definitely effective. I never doubted the similarities between Tandy and Tyrone, similarities that will eventually create a closer relationship between them.
Considerable time takes place to make you understand them as individuals, as well. I found the environments for the two leads interesting. In the opening scene ending with the two of them acquiring their powers as children, Tandy definitely lives a life of considerable privilege. Her father is a corporate bigwig and Tandy attends ballet class. Tyrone steals a car radio, runs from police, and sees a cop shoot his older brother dead.
This had the potential to develop into worn stereotypes. Instead Cloak and Dagger flipped this setup when we catch up with them as teenagers. Tandy lives in an abandoned church and makes a meager living scamming rich people. Her mother lives an awful life of drugs and alcohol. Meanwhile Tyrone attends a rich prep school and has a mother working as a campaign manager, or something of the sort. It’s a flip on their comic origins that I appreciated, and I’m interested to see the show play with.
Even better, both characters are clearly defined by their tragedies and environments. Despite his family being well off, the racial injustices of Tyrone’s life explain his actions. He sees a cop shoot his brother and then hears a story from a police chief about how no cop shot a gun that night. Now this doesn’t equal generic bad cops, because there’s clearly more to the story with this cop that shot his brother. Still, it’s an example where Tyrone’s skin color has fostered a feeling of legal injustice in his world, and he feels the need to take justice into his own hands. Which, obviously, makes sense for a superhero.
Tandy, on the other hand, has developed an allergy to commitment or close relationships due to the losses in her life. Losing her father and her family wealth, as well as her mother in every way but physically, has pushed her to a tough life robbing people. However, her privileged childhood affects the type of cons she pulls. She isn’t robbing the way someone from a less privileged upbringing would, where they have to break into houses or steal a car radio like Tyrone’s brother’s friends. She can waltz into glitzy weddings for her grifts, because who will question the pretty blonde girl?
I have to appreciate how these episodes never forgot the privileges (or lack thereof) inherent to both characters.
I’m not so sure about the powers themselves in this regard. They’re certainly cool, but I feel like there are so many potential missteps in having the blond white girl with the light powers and the black kid as the one with shadows and darkness. There might be more concern especially in the two mental abilities both have; touching Tandy sparks moments of hope, where people view dreamlike projections of their innermost desires; touching Tyrone causes them to witness their fears. There’s nothing inherently wrong with that, but having the white girl give people hope while the black kid gives them fear and horror can possibly go wrong if not handled sensitively.
Thankfully, Cloak and Dagger handles everything else about the two well enough that I’m not overly worried about racial insensitivity so far. And it’s cool to see the teen girl have the daggers and aggressive powers, while the black kid has more passive teleportation powers. It’s a nice switch on expected gender dynamics.
It makes for a very effective mix of comparison and contrast between two well-fleshed out main characters.. Compared to another Marvel show of similar style, Runaways, you can see how the tighter focus with Cloak and Dagger succeeds where Runaways did not with a larger cast.
You always get a sense of the grief both feel over their childhood tragedies, and how their personalities and everyday actions inform their personalities. Tandy is always balancing on ledges, both a sign of her former ballet interest and a subtle visualization of how she lives life on the edge. Tyrone has a habit of cloaking himself in blankets and hoodies, which both foreshadows how his powers work and then explicitly shows it, while also displaying his habit of trying to hide himself.
I really think Cloak and Dagger did a good job with these two, and there was no more important mission for these episodes.
Now, this character focus also made for a slow first couple episodes. I don’t think it was too slow, because the story always progressed in some meaningful way, but the progress towards the two of them finding each other personally or from a powered standpoint has moved a bit slow. Cloak and Dagger definitely focused more on the two characters individually. Whether this is a bad thing depends on the individual viewer. Some may hope for faster episodes than these.
My ultimate opinion will depend on future episodes. I thought Runaways was heading along at a good pace, until suddenly it wasn’t. I don’t think Cloak and Dagger will prove that frustrating. We still need to wait and see.
But What about That Plot?
After all, no matter how engaging the main characters might be, you still need plot to inspire their development. So how did Cloak and Dagger handle that? I think they did okay, despite the slow pace.
Maybe it helps that I’m a comic reader, but I thought these episodes did a good job establishing who the eventual villains of the season will be. Even better, it was a place where Cloak and Dagger managed a bit more subtlety and speculation rather than the more blunt approach taken with the two main characters. Hints large and small embed in all the character development to suggest at a higher mystery surrounding both the tragedies the mains suffered. How was Tandy’s father involved in the accident that gave them their powers? What was his role within the Roxxon Corporation, and why was he chosen to take the fall for the tragedy? Who is this “cop” who shot Tyrone’s brother? Was the police chief lying about not knowing him, or is he involved deep in something the police wish to conceal?
Cloak and Dagger sets all this up so that it will take both the mains pursuing their separate threads and eventually pooling their knowledge together to unveil. Or at least I hope that’s how it plays out. The potential is certainly there. You can add in Tyrone’s mother being involved in politics, which could bring her up against Roxxon. You also have Tandy’s mother trying to bring lawsuits against Roxxon after what happened to her husband.
All of this tied together well. It prevented these first two episodes from ever feel like wheel-spinning or devoid of plot. Just about every scene informed in some new way on the characters, the plot, or both.
One question I am left wondering about is how far Cloak and Dagger will lean into the super-powered content. I generally like how it was handled in these episodes. The powers were well established while still leaving room to learn more. Certainly Tandy and Tyrone have to gain control. Maybe I’m just wary by habit, but I do worry that Cloak and Dagger will drag this mastery of the powers out too far. I also worry the powers won’t ever really matter like they should. It’s happened before where shows learn too far towards teen drama rather than superhero stuff.
But again, this is just wariness natural to a lifetime of watching attempts at superhero movies and shows. Overall, these first two episodes did a promising job balancing between all the elements involved.
Best of all, the second episode left off at a very good place. The status quo was broken, both main characters are in danger, and they’re about to be reunited. It seemed like a good place to kick into the plot proper now that the setup was dealt with.
In the end, your opinion on Cloak and Dagger will depend on your preference for this kind of show. It is what it is: a YA show focused on teen romance with a super-powered flavor. The dialogue will be super ham-fisted sometimes. There’s going to be a lot of focus on teen issues. The acting might not land like you hope sometimes. It’s not going to be Daredevil or Jessica Jones. It’s not going to be like an MCU movie. Nor should it be, if that’s not what it wants to be. It should be what it wants and be judged as such.
Perhaps the best endorsement I can give for the first two episodes of Cloak and Dagger is that, despite my not being very interested in YA shows, this one kept me engaged throughout. It’s a show I want to keep watching and one I have hopes for. The hardest thing to do with any new show is hooking an audience. Especially so when someone like myself isn’t particularly interested in the genre.
I think Cloak and Dagger succeeded. It certainly did for me.
Images Courtesy of Freeform
Netflix Is Resurrecting Avatar: The Last Air Bender…In Live Action
Water…Earth…Fire. Long ago, the three books lived together in harmony. Then everything changed when Shyamalan adapted. Only the Bryke, masters of the franchise, could stop him. But when the world needed them most, they vanished. Ten years passed, and the fans discovered the new Avatar: The Last Airbender, from a streaming service called Netflix. And although their hype generating skills are great, they still have a lot of budgeting before it’s ready to adapt.
It’s been a solid decade since Avatar: The Last Airbender, considered by some to be the best children’s cartoon of all time, aired for the final time. Since then it’s lived on in comics and novels (there is no movie in Ba Sing Se). The sequel series, Legend of Korra, which definitely didn’t affect the writers on this site at all, also wrapped in that time but joins its parent show in the pages of comics, for better or for worse. But now, 10 years after our last on-screen adventure with the “Gaang,” Netflix announced via Twitter that they would be resurrecting the iconic series, with the original creators, and begin production. Not only that, but it would move from the world of animation into the flesh and blood world of live action.
Since the show and its successor wrapped, Bryke (a.k.a Bryan Konietzko and Michael DiMartino) and company have kept themselves busy. Konietzko has been busy working on his Threadworld series of science fiction graphic novels while Dimartino released his debut novel Rebel Genius. Netflix has taken several veterans of the Avatar into the show. For example Aaron Ehaz, the Emmy-nominated head writer from ATLA, recently debuted his own series, The Dragon Prince, for Netflix; and veterans of both ATLA and LoK Lauren Montgomery and Joaquim Dos Santos are the showrunners on Voltron: Legendary Defender.
The new show, according to the scant information we have, will be a remake of the original show but not a direct translation. According to Bryke, who will be executive producers and showrunners, the new Avatar: The Last Airbender will “build upon everyone’s great work on the original animated series and go even deeper into the characters, story, action, and world-building.” While the core story of the show will likely not change, it’s clear that Netflix is allowing a great deal of freedom to alter the show as they see fit, with the benefit of a decade of hindsight and story changes. They also remain committed to a “culturally appropriate, non-whitewashed cast” for the program, most likely a response to previous (similarly named but definitely not related to the show) live-action programs that may or may not have turned Tibetan and Inuit coded characters white.
The new show will be a partnership between Netflix and Nickelodeon as a part of Netflix’s lineup of shows aimed at children and families. It will enter production early next year. Keep an eye out here on the Fandomentals for news and, eventually, dissection of every little thing we learn when we learn it.
Are YOU excited for a new Avatar: The Last Airbender show? What are some things you want them to change? Is there anything they should leave alone? Sound off in the comments.
All Images courtesy of Nickelodeon and Netflix
Sherlock Sacrifices For Love In Elementary Finale
Finale time! Will my wild theories turn out absolutely right or tragically wrong? Who knows! But wrong. Definitely completely I was wrong.
Last episode ended with the dramatic revelation that the season baddie, Michael the Vaguely Creepy Serial Killer, was beaten to death. The lead suspect is Joan. The episode begins with FBI Agent Mallick interviewing Joan. She hasn’t been arrested yet, but the FBI has questions.
Joan doesn’t have a reliable alibi. That would be too easy. She was alone with her mom, who has dementia. Mallick thinks that Joan fixated on Michael. She wanted revenge on him for the way that Michael hurt Sherlock, his victims, and Joan herself. But Mallick has more than just motive to back up her suspicions.
The FBI has a tape. Michael called his friend from the last episode, Bazemore, to try and explain his actions. That puzzled me, because last episode, Michael said that Bazemore ODed. I assumed that Bazemore died and that was why Michael attacked Joan rather than continuing the cat-and-mouse game. I can’t figure out whether this was a continuity error, my misunderstanding, or somewhere in between.
Anyway. Michael called Bazemore and they have it on tape. As he’s talking, he’s interrupted mid-sentence. He says Joan’s name, and then there’s the sound of a beating. That sure sounds suspicious. Joan can’t explain it.
So back at the brownstone, she and Sherlock meet with a defense lawyer. She warns them that Mallick is a dangerous opponent. Then she literally doesn’t show up again for the rest of the episode, making the whole scene supremely unnecessary.
Alone at last, Sherlock asks Joan if she killed Michael. If she did, he’ll help her get away with it. But Joan insists she didn’t and in turn asks Sherlock if he did. Also no. Thus, they are left with finding the real killer. They can’t expect much, if any, help from the police, who will be under pressure from the FBI.
Nonetheless, Sherlock asks Gregson for the files on Michael’s murder. Gregson refuses. He says that if Joan is innocent, the evidence will prove it.
Sherlock isn’t willing to wait for that. He breaks into the morgue and steals the autopsy report on Michael. He also performs his own autopsy and takes pictures of the corpse to show to Joan.
There’s severe head wounds caused by a blunt object. That could explain why he said Joan’s name on the tape; maybe he was just confused. Also of note is that someone neatly stitched up his stab wound from Joan. Joan doesn’t think it was done in a hospital. It reminds her of emergency medicine of the kind that would have been performed in the Vietnam War. Wow, that’s a really specific thing to just know off the top of your head, but okay. It gives Sherlock an idea.
He goes to an NA meeting and sidles up to an older man named Denny. They met before at a meeting. Denny was a combat medic in the Vietnam War and he too knew Michael. When Sherlock starts asking questions, the guy gets shifty, but with some pressure he agrees to talk to Sherlock privately.
Denny hadn’t known that Michael was a killer. Michael had simply shown up on his doorstep, bleeding, with a story about an altercation with a drug dealer. Denny obligingly stitched Michael up and let him crash on the couch. He was still there in the morning, gone by the evening, and shortly later Denny heard on the news that Michael was a) dead and b) a serial killer. He was scared of getting in trouble himself so he didn’t go to the police. Sherlock promises to keep him out of trouble if he’ll just help Sherlock in return.
The dynamic duo investigates Denny’s house. It’s the last place Michael was alive…and maybe dead too. Sherlock finds traces of a lot of blood that was cleaned up in a hurry. This could be the scene of the murder. When they spray Luminol they find traces of footprints. A woman’s footprints, the same size as Joan’s shoes.
So now they know where Michael was killed. But once again, the clues point to Joan. How did the killer even know where to find Michael? Sherlock proposes a theory. Agent Mallick is the real murderer. Perhaps she was afraid that she would never catch Michael. Killing him was the only way of stopping him. Now she’s pinning it all on Joan. That would mean that our two detectives can’t go to the FBI with this new crime scene. It would only be used to further frame Joan.
That is, if the crime scene was even still there. But it isn’t. Sherlock persuaded Denny to burn his house down and gave him money in exchange. Joan is furious but Sherlock angrily stands his ground. He’ll do what he has to in order to protect her.
Meanwhile, the FBI is still chasing Joan. Mallick and some other agents interview Bell. He staunchly defends his friend, even when Mallick threatens to use the case to torpedo his chances with the Marshals.
Bell doesn’t like to be threatened. Shortly after the interview, he meets with Sherlock privately and hands over the police’s files on Michael. The two men share a tense moment of friendship and wordlessly shake hands.
Michael’s body was lying in a pile of trash. When murder victims are found in landfills or dumpsters, the trash around their body is cataloged for clues. In Michael’s case, that trash is interesting. Joan and Sherlock know the murder was in Queens. Yet, his body was among trash from Harlem. How does that happen?
Joan and Sherlock check out a facility for garbage trucks and chat with a particular sanitation worker there. When the two first began investigating Michael’s case, you may remember that they discovered a man who had been convicted of one of Michael’s murder. With Sherlock and Joan’s help, he went free. This sanitation worker, a mechanic for the trucks, is the father of that man.
Sherlock thinks that fact is important. Obviously the mechanic has no reason to be fond of Michael. Maybe Michael’s killer recruited his help in disposing of the body. The mechanic could have stolen one of the trucks, driven out to Queens, picked up the body, then dumped it. That could explain why the trash was from Harlem.
The mechanic angrily denies it. First of all, the truck facility is guarded and all the trucks are GPS tracked. There’s no way that anyone could steal one. Secondly, if someone did kill Michael, he thinks that person is a hero. He isn’t going to help anyone, even the people that saved his son, catch Michael’s killer.
As the detectives continue to explore the facility, Joan wonders if maybe it was the other way around. Rather than taking a truck to Michael, maybe the killer brought Michael to the truck. It would be easier to sneak a body in than a truck out. If so, there facility has security footage. Her face would be on camera.
But nothing’s ever that easy. When Sherlock and Joan ask the guards for the security footage, they discover someone beat them to it. A law enforcement officer came to the facility and took the tapes, leaving behind no copies. Sherlock suspiciously asks if the agent was Mallick.
But it wasn’t Mallick. The cop was a man named Gregson. Are you thinking, “ohh nooo” yet?
Captain Gregson returns to his home to find it tossed. Sherlock is waiting in the dining room. He was looking for the tape but couldn’t find a copy. Gregson must have destroyed it.
Why would he do that? For one simple reason. Hannah killed Michael. After all, he killed her roommate, her best friend. In the time since then, she became fixated on revenge. She investigated his life, learned who all his friends were, so she knew he’d go to Denny after Joan hurt him.
It was never supposed to be pinned on Joan. Hannah didn’t even know that Michael was recording when she killed him, nor did she hear him say Joan’s name. (As for why he did that, we never really get an explanation.) She disposed of his body.
Gregson never knew of any of it until afterward. But eventually she came clean to him and he realized that her one vulnerability would be the security footage at the sanitation facility. She’s his daughter. He did what he had to in order to protect her.
Now they’re at an impasse. Sherlock demands he come clean to the FBI. Gregson refuses. He insists it will all blow over and the lack of evidence will vindicate Joan. Sherlock points out that regardless, her career and reputation will suffer. Gregson blames Sherlock for Michael’s involvement in their lives in the first place.
It’s Gregson’s daughter. It’s Sherlock’s best friend. Neither is willing to budge and they part in anger.
Sherlock returns to the brownstone and updates Joan. He thinks that they should tell the FBI anyway. They don’t have proof, but if the FBI is doing their due diligence, they should at least investigate the Gregsons. That could be enough.
But Joan understands why Hannah did what she did. She doesn’t want Hannah to go to jail or for the captain to get in trouble. She agrees with Gregson; maybe it’ll just blow over. They should wait things out. It could make her adoption chances harder, maybe impossible. But she’s willing to take that risk. Sherlock still wants to protect her, but Joan says that if he’s her partner, he should support her.
At this point, Sherlock does what he always does. He takes things into his own hands and goes to meet with Hannah Gregson herself. She too never wanted Joan to be a suspect. Sherlock tells her to confess, to admit where the murder weapon is.
The FBI come for Joan. But not to arrest her. Mallick has news for her. She’s no longer a suspect. Someone else confessed to the murder of Michael and even provided the murder weapon. But it wasn’t Hannah. It was Sherlock.
Well, not Sherlock himself. He turned himself over to the British consulate, struck up some sort of deal with MI6, and they sent a messenger with Sherlock’s confession. Britain is refusing to extradite him to the US and if Sherlock ever steps foot in the US again, he’ll be arrested.
Joan returns home in shock and finds Sherlock there. He’s not supposed to be in the country anymore, but he had to see her before he left. This was the only way he could think of to extract all of them from this situation without anyone going to jail for it. Joan is angry he didn’t try harder to fight, but for him it was worth it to protect Joan. She saved his life and taught him his life was worth saving. They emotionally say good-bye and finally admit they aren’t just partners; they love each other.
For the final scene, we see Sherlock in England, in the famous 221B, consulting with a client. But he isn’t really paying attention to the man’s story of a runaway bride. His neighbor next door is distracting him with a tremendous noise. He storms next door and knocks. The door opens to reveal, of course, Joan.
They walk down the street together. They have work to do.
- I predicted that Moriarty killed Michael. Hoo boy, I was wrong! I absolutely did not see it coming that Hannah was the killer! That was a deft twist. It made sense but surprised me.
- That being said, why was there so much storyline this season about Moriarty if she wasn’t going to actually do anything?
- The scene where Sherlock and Joan said goodbye was very emotional and touching but a little silly considering that obviously they weren’t going to really part. I was sitting there tearful, but also thinking to myself, “But why doesn’t Joan just move to England too.” And she did! I was worried, though, that the line about them loving each other was going to lead into a kiss or something, especially with all that romantic crap a few episodes ago. I’m very glad it didn’t.
- It’s intriguing that the shots of them in England felt like a natural end to the show. Except…season 7 is already in the works. Hm.
- So wait, is this the last we’re going to see of the rest of the American cast? No more Bell? We know he’s going to the Marshals, so he’ll be okay, but no goodbye scene? That’s sad. Farewell, Bell. I’ll miss you!
- This is our season finale, so see you all next season!
Images courtesy of CBS
The End Arrives for Jimmy and Kim on Better Call Saul
Surely this comes as no surprise. After all, the previous two episodes of Better Call Saul made it rather clear how different their goals had become. Jimmy and Kim are two very different people on a fundamental, moral level, and however they may have fun together, the relationship was unsustainable. They simply disagree too strongly about life. I love them both, but I’m not sad to see it end here. Mainly because Kim needs to get away from Jimmy before it’s too late.
Unfortunately, she looks to be in for one last caper, and I hope she avoids running everything in the process.
For the third straight week, Better Call Saul started with a brilliant opening scene perfectly setting the table for the episode to come. It’s been clear since Jimmy’s blank, unfeeling reaction to Chuck’s death that his relationship with Kim would end. As the season went on it became clear the end would likely occur this season.
Most people likely expected a big blowout argument. Jimmy’s friendly relationship with Chuck ended with one. Considering Jimmy’s current side business, I assume most expected Kim to find out and lash into him about it. Or perhaps Jimmy would push further or do something “for” Kim that triggered the confrontation. It felt like a short fuse was lit between them and the explosion was inevitable.
Instead the opening scene showed us something worse; the slow, cruel death of communication and love between two people who just slowly drifted apart over the long months spanning Jimmy’s suspension. Two people who gradually stopped talking to each other, who lost the easy synchronization they once had. Two people who barely even see each other despite living in the same apartment.
It genuinely hurt to see just how distant they were in this episode. The company party at Schweikart and Cokely was every bit the equivalent of Walt’s infamous drunken rants or the horrible gym speech he gives after season 2’s plane collision. You could tell how cold and distant things had become between Jimmy and Kim. Jimmy’s escalating humiliation of himself and the genuinely nice company trip ideas Schweikart put forth was a clear misreading of the room and perhaps even an intentional one. It felt to me like he thought embarrassing Kim’s boss would somehow convince Kim of something.
By the end of the episode, they spoke to each other like old acquaintances rather than romantic partners. They barely sounded like friends. However Jimmy thought Kim would react to his ideas for Huell’s legal defense, she clearly did not react that way. Instead you had two people with very different ideas.
When Kim found out about Jimmy’s side business, she barely reacted. She clearly gave up long before then. Why bother reacting emotionally when she gave up that emotional detachment long ago?
And yet, this is Kim Wexler. She does not give up. She puts in the effort no matter how hard it looks. I don’t know what plan she wants to put in motion to end the episode, but it’s clear she’s trying one more time to rediscover what she and Jimmy lost. This stubborn refusal to give up is what worries people about Kim’s fate. She sure worries me. As Jimmy keeps moving further and further into the criminal world, will he drag a stubborn Kim along with him? Can she cut him off in time?
I think she will. I think this new scheme is a last ditch “have a baby for the marriage” kind of move, whatever it is. In the end, it won’t work. By the end of the season the relationship will be over and they’ll convince themselves they’ll stay friends. This “friendship” will consist of a few shared words at the courthouse when Jimmy’s defending drug dealers and Kim’s doing PD work. By some point next season it will be over for good.
But first we have the latest Jimmy/Kim caper.
Let’s be clear about one thing; Kim’s not involving herself in anything illegal. Let’s kill that notion. If this episode made anything clear, it’s that Kim is not willing to put her law career in any serious jeopardy for Jimmy. Especially not for Jimmy’s bodyguard.
So what exactly is her plan? I’ve seen a few good theories, but by far the most compelling one to me was protesting. She’s planning to make a racial issue of the prosecution’s insistence of a max sentence for Huell. This is Kim’s Atticus Finch moment. She sees a chance to make a real name for herself using a real case striking at a larger societal issue. It’s everything the judge told her should would never get earlier this season.
Would that work? I suppose Kim would have reason to think so or she wouldn’t do it. Saul Goodman would do this, but not Kim. So why did it come to mind? Did she notice that all the reduced sentences she mentioned to the prosecutor involved white people? Did she find some questionable history in the cop’s record? I guess we’ll find out.
Then again, maybe that’s not her plan at all. I’m curious what others think her plan will be. Considering how many markers she bought, some kind of public demonstration must be involved. Why else would she buy all that?
Whatever her idea, I imagine it will be a huge stretch. Huell attacked a cop and has a criminal record. This cop specifically arrested him before. This is a loser case with a ton of downside. Kim’s good, but is she that good? I assume that no matter her plan, she does have ideas of making a name off of it. But will that name be good?
I suppose knowing the inevitable destination of Jimmy’s life makes me nervous to see Kim partner with him one more time. We’ve seen time and again how Jimmy causes destruction for those closest to him. Has Kim’s loyalty pushed her into something she thinks will make her famous but will instead make her infamous? Is it possible this ruins her new gig at Schweikart and Cokely?
Kim’s idealism is one of her most admirable traits, yet I worry it will cost her dearly now. Or maybe not. Maybe this will be the kind of landmark case like Chuck has. After all, it seemed to have been Chuck’s death and eulogy that inspired her towards this new direction in her law career. It’s possible she now sees a chance to make her name just like she hoped, and to truly become a champion of the greater Albuquerque community now. That lure may be enough to override her common sense regarding Jimmy and his schemes.
If there’s one thing I’m sure about, it’s that Jimmy will take an immoral, possibly illegal slant to Kim’s plan. No matter how she protests, he’ll do it. And when it blows up in his face, he’ll learn nothing.
- Gus discontinuing Hector’s treatment so that he’ll stay in his current state of disability is the most cold-blooded thing anyone on Better Call Saul or Breaking Bad has ever done. Honestly, it’s borderline if not outright cartoonish. I’m not sure I actually like this development at all.
- To be honest, there’s something a bit sick and exploitative about the Hector subplot at this point. Gus’s need for revenge is fine, it’s not like anyone considers him a good guy in the story, but there’s no counterbalance for Hector’s mindset here. He’s the equivalent of an overly abused voodoo doll at this point, and it’s getting problematic.
- Don’t mind me, I’m just stuck over here in season 2 when Jimmy and Kim brushing their teeth together was the most adorable scene on the show.
- Mesa Verde opened a Nebraska branch. I wonder if it will come into play for the Gene subplot.
- Jimmy’s Saul Goodman cards are quite similar to his eventual lawyer cards. It’s a nice touch.