“Better Call Saul’s” final season featured death and resurrection. In the life of a fugitive defense lawyer, an increasing corpse count is offset by the reappearance of presumed or confirmed deceased characters.
These weekly reviews said a certain character was done. They’ve also considered supposing his ex-girlfriend would die soon. The series finale, which many expected to be filled with physical and mental carnage, presents one last zig in the face of expected zags.
Peter Gould’s “Saul Gone” isn’t only a rebirth story. It gives greater preservation than Gene Takavic’s disintegration did.
“Saul Gone” is a reckoning, as all planned finales are. What is a reckoning if not seeing those you’ve wronged and outlived, even in memory? This finale features Marie Schrader (Betsy Brandt), Walter White (Bryan Cranston), Mike Ehrmantraut (Jonathan Banks), and Chuck McGill (Michael McKean) assessing Saul (Bob Odenkirk.)
Each is a character witness. Given this creative team’s passion for and engagement in TV history, it can’t be a coincidence that this episode mimics a drama series finale from another great show.
Marie is present for one last “Better Call Saul” plot, in which Saul goes from pacing in a Douglas County holding cell to organizing a dessert-topped plea deal.
He fabricates a sob story about Badger to raise the specter of a hung jury and win a plea agreement. His arrogant additions to his cooperation with the federal government are delivered with the confidence of a man who gets what he wants, even if he has to reside in a different state first.
One person left Saul’s void unfilled. He maintained the tequila bottle cap despite being a cartel friend. Last week’s Vince Gilligan episode is Kim’s final word. She eventually relinquishes control of her Albuquerque loose ends to the court, the Hamlins, and her boyfriend (even if she kept her Bar card, just in case).
Jimmy is finally doing the same for her. His sentencing hearing is a bait-and-switch confession/profession of guilt. He trades a clear life for a clear conscience. He swaps over 90 years of state-ordered punishment for a small piece of what he couldn’t give up.
This isn’t the last occasion to celebrate the “Better Call Saul” creative crew, but it’s worth recognizing those that made this final collection of affirmations evident.
Longtime DP Marshall Adams makes the “future’s” greyscale environment sparkle, from the dough to Jimmy’s outfit (s). Skip Macdonald has cut virtuoso tension-building sequences this season.
Editing the plea deal and courtroom scenes was also difficult. Jennifer Bryan bought Saul Goodman the perfect burial suit, a flashy piece that still yells as bright as his clothes, even in grey.
Odenkirk has straddled three guys for a decade. “Saul Gone’s” finale reveals Odenkirk’s amazing knowledge of performance. It’s not just the Fosse hands in the mirror, slicked-back hair, or pinky ring (one of the only supporting characters not in the finale).
Odenkirk agrees with Gould that Saul Goodman reflected his audience. Maybe it was wrong to reduce him to a Jimmy/Saul binary. He was thousands, making minor tweaks to reach his aim.
In “Saul Gone,” he mirrors his flashback scene companions. Mike’s meticulousness, Walt’s ruthlessness, and Chuck’s respect are all evident in his last trial evidence. Odenkirk’s lasting legacy on this show is bringing all those colors together.
Determining whether Jimmy deserved this misses the point. The flashbacks in “Saul Gone” are part of “Better Call Saul’s” trial of Saul Goodman. Saul is also a pseudonym. Based on how he answers his phone, Bill Oakley has seized onto it.
Every justifiable plaintiff whose opinion of the law becomes cynical after seeing it corrupted reflects this. It’s in the look prosecutors give Saul Goodman when they realize he’s ready to create his own Rube Goldberg contraption.
Saul Goodman pledged fairness. Jimmy McGill’s legacy is gradual and subjective. Whether you regard the bus ride to ADX Montrose as hell or self-imposed purgatory depends on your perspective. Would justice be better served if it wasn’t on Jimmy’s terms if someone else had the last say?
Gould leaves audiences present and future to consider this matter if there is any uncertainty. In Montrose, he’s Saul. A Greek chorus of his fellow convicts turns his chippy phrase into a haunting he’ll never shake. Jimmy won’t have a name or color.
Kim Wexler for a day. Season 6 has shown why Kim and Jimmy make a wonderful partnership. McGill-2004 Wexler’s collaboration was fueled by ambition, cunning, and malice.
It killed one individual and led to others’ deaths. Jimmy and Kim brought out the best in each other throughout their lives. The story ends with Kim using her abilities for good at a central Florida pro bono group.
(Gould shows a mess of casework files as an oasis, as only Kim sees it.) Seehorn allows Kim’s confidence to return, but not so much that it eliminates her struggles.) Jimmy’s law days are over, but at least he’s not making Berkshire Hathaway money. Both get penance, however, merited.
They haven’t “atoned” for their time in New Mexico, but they’ve stopped hiding from it. Neither is isolated. Kim sneaks in on false pretenses for their last moments together. This time, their boundary-pushing is innocuous and acceptable.
The two turn the Montrose visitation room into a time machine, confirming Jimmy’s bedside table prophecy in “Carrot and Stick.”
They smoke a wordless cigarette in 1940s shadows, each seeing the other’s transformation. Is it parallel to their partnership? Sure. As showrunners who co-produced Season 6’s sophisticated ruse, it’s the finale they would have chosen.
Saul Goodman desired a Hollywood finale, either strolling off into the sunset after seven years of good conduct or shooting an unseen friend after instructing him to go to Bolivia.
As Season 2 began, “SG Was Here.” Jimmy McGill’s index fingers and thumbs, borrowed from Kim, are his closest weapons now. He leaves. He lingers, fading into his building. He’ll stay there.
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The Cast of Characters for the Sixth Season of Better Call Saul
| Cast | Characters |
| Bob Odenkirk | Jimmy McGill/Saul Goodman |
| Jonathan Banks | Mike Ehrmantraut |
| Rhea Seehorn | Kim Wexler |
| Patrick Fabian | Howard Hamlin |
| Michael Mando | Nacho Varga |
| Tony Dalton | Lalo Salamanca |
| Giancarlo Esposito | Gus Fring |