Better Call Saul season 6

1. It opens with the lawyer's specialty montage of sound and picture contrasts, which, as the lyrics say, is still "a perfect day" for Saul and Kim. The audience gets to see meryl Streep and Laurence Olivier perform well, while the ironic matching transitions are repeated: coffee/sewage, plasma/tomato sauce, pink clothes/plan board, blood stains/pentacle, and overlapping connections of exit/entry... The glossy work is often accompanied by gory crime, reminding us of what kind of numb soul lurks beneath the skin.

Where Mike burned the photographic evidence, it looks like weiner was shot. There was no romance of the stars this time, and darkness covered everything except the firelight of crime and the faintest lights of the city.

Guth traveled to Mexico for a solo meeting, using a 3min7s long rotating camera inside the car to show him driving, parking, changing into a suit in the back seat, and recovering from a new injury. Enhance the sense of immersion through the fixed perspective of the car, children of Men both visual sense, "the Lawyer" photography team played another flower work.

Mike and Gus looked at each other silently for a moment, then walked down the aisle, his discontent and elongated shadow hidden in the darkness after the lights went out.

Surviving gus, can finally enjoy a moment of relief without salamanca bother. But there is always a deliberate emphasis on the visual element of the threshold, the frame through which guth's life is glimpsed, even away from the world of drugs.

The conversation and tasting scene with the bartender is one of the few moments in the series where Gus shows warmth. Taste the ambiguous sincere feeling that has not seen for a long time, also taste a bloody meat flavour once more however, painful recollection and revenge mission live him afresh frame, alert him to end this adventure actively, return in the mire of drug world.

Also boxed in is Mike, driven by conscience to deliver the news of Nacho's death, confronted by another father in front of the barbed wire. Even with the loss of a child, the other can still walk into the light, but he, like Nacho, is trapped in sin.

Another beautiful one-take, the camera starts with Jimmy Jr. getting out of the elevator, and goes backwards, using proper scheduling to lead to the funeral without the body.

It can be regarded as the final episode of the whole Better Call Saul series, but instead of the anticipated high-profile and overwhelming montage, it completes the shaping of the character image in a very calm and restrained way, and officially ends an era.

Death and numbness are the best adjectives to describe the character's state in this episode: Gus must always remember the death of Max's death brought about by death and anger; Mike's confession behind the barbed wire is proof of conscience, but he's been tarred with the same brush and can only get some relief by becoming more numb. Xiao Jin and Jimmy, one can not forget to choose to leave, one forced to forget finally as the walking dead.

In the endless sorrow, their previous history, personality, motivation and tragedy were completely informed, and they finally completed the arc construction of their roles, and moved on to another story named Breaking Bad as a whole.

What's more, after what happened in "The Lawyer," it's impossible to watch Saul's every appearance in "Poison" with pleasure. There used to be a whole Soul under that funny, slutty cartoon face, and now there's just broken Saul.

The next episode will most likely be the return of White and Pink, completing the transition between "The Lawyer" and "The Poison" before the final three episodes enter the post-" Poison "era, where Gene's story will be the ultimate cliffhanger in the series: Will he choose to be Saul or Jimmy?