He would never let Nacho leave out of loyalty. But that’s not the business Nacho is in, and as much as Gus approaches the drug trade with a certain corporate reserve, he’s no different from the Salamancas when it comes to human resources. He showed loyalty to Gus, and Gus should show loyalty to him (“He played a tough game, and he played it on the square”).
To Mike, the first priority in this situation is to extract Nacho from Mexico and bring him back with the goal of rewarding him for his role in an operation that will put him in the Salamanca family’s crosshairs forever. The fascinating wrinkle in this situation is Mike’s strained relationship with Gus, whose cool efficiency and professionalism appeal to Mike but whose unremitting ruthlessness does not. In a meeting with Gus, Mike states the obvious: “The mercenaries are dead, to a man, and yet their mission was a success.” It seems as though Gus is shrewd enough to draw this conclusion himself, but Lalo is happy to allow people to believe he’s gone so he can mount his own attack. Nacho succeeds in tiptoeing through Salamanca territory, where both cartel henchmen and bribed federales are on the hunt for him, but there’s concern back in Albuquerque that reports of Lalo’s death may be greatly exaggerated. The cognitive dissonance here will only get louder.īut after that opening flash-forward, “Wine and Roses” picks up right where season five left off, with Nacho cracking open the gate at Lalo’s Chihuahua compound and letting Gus’s assassins in to miss their target. Kim tells Jimmy that Saul should have a “showy American car,” which would really scream “success” to future clients, and she adds that he should open up an equally eye-catching office location, “a cathedral of justice.” She says she should start looking for Jimmy but corrects herself. His current ride is a sputtering brown Ford Taurus, which could be understood either as a show of humility to his clients or a scrappy, doing-it-for-the-little-guy self-image he wants to protect.
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That Cadillac with the “LAYRUP” license plate in the beginning? In “Wine and Roses,” we learn that Kim suggests that Saul would drive that kind of car - flashy but American. Keep in mind: Kim may have eventually walked away as “Slippin’ Jimmy” fully became Saul Goodman, but she’s his wife for a reason. The bottle stopper symbolizes their relationship - the terrible fate of which we’ll spend these half-seasons learning - and its foundation in a renegade spirit and a shared hostility toward the elite. In “Switch,” the first episode of the second season, Jimmy ropes Kim in on a short con to get a rich, obnoxious stock trader to order the expensive tequila and food then stick him with the bill. The Zafiro Añejo bottle stopper has a long history, starting with the poisoning of Don Eladio on Breaking Bad, but it’s most relevant as the high-end tequila Jimmy and Kim Wexler used in their first scam together. “Rosebud” is revealed as the name of Kane’s sled, a symbol of his lost childhood and the simple pleasures it offered. Wells’s The Time Machine other than noting that high-end bathroom reading like Walt Whitman’s Leaves of Grass got Walter White nabbed.) As the camera follows a Saul Goodman standee into the dumpster - shades of Ben Affleck and Ana de Armas there - the “Rosebud” emblem is not a snow globe but a Zafiro Añejo tequila bottle stopper. (Not sure what to make of that dog-eared copy of H.G. And Saul Goodman, before fleeing New Mexico, had been living his nouveau riche version of the Kane lifestyle, occupying a garish estate with marble floors and statues, a golden Trump Tower toilet, and an array of pills to numb his conscience and stimulate his erections. We know that Jimmy McGill did not die at the end of Breaking Bad - and that a bright future as management material at a Cinnabon in Nebraska awaits him - but his Saul Goodman persona certainly does. His dying word, “Rosebud,” uttered as a snow globe smashes on the floor, is a source of mystery the remainder of the film seeks to solve. In Citizen Kane, the camera takes us behind the iron gates of Xanadu, the imposing estate owned by Charles Foster Kane, a newspaper magnate (inspired by real-life mogul William Randolph Hearst) who has lived out his final days in isolation, having alienated anyone who was close to him. Photo: Greg Lewis/AMC/Sony Pictures TelevisionĬontinuing a tradition of flash-forward, black-and-white scenes to kick off a new season, tonight’s episode of Better Call Saul - the first of a seven-episode half-season, bifurcated just like Breaking Bad - opens with an homage to Citizen Kane, which is nothing if not a show of supreme (and earned) confidence.
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