(As has been said about a certain famous man of our own world who favors gold fixtures, Saul is living a poor person’s conception of what a rich person must be like.) Director Michael Morris and longtime Saul director of photography Marshall Adams go to town on a Sunset Boulevard-esque sequence that explores every garish corner of the place, starting with an avalanche of neckties falling in the opening moment (transitioning us from Gene’s usual monochrome look to the glorious color of Saul’s heyday) all the way through Saul inevitably having a golden toilet. Saul was loaded, living in an absurdly decorated mansion filled with suits, ties, shoes, statues, and other expensive pieces of art. Here, we seem to get the answer to both - the latter in particular. As Bob Odenkirk and Rhea Seehorn like to say whenever someone asks about Kim Wexler’s fate, we never went home with Saul after he provided legal advice for Walt and Jesse, so we had no idea if he had a wife, or about how he was living. Saul Goodman has vanished after his favorite client was publicly outed as the southwest’s top meth distributor, and the authorities have sent a team of movers to catalog and pack up Saul’s house. We appear to be somewhere within the events of “Granite State,” the penultimate episode of the parent series.
But “Wine and Roses,” the first episode of this twofer, still finds a way to situate us in a post- Breaking Bad world, even if the only glimpses of our title character in it are recreations of his image.
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