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LA Times Talks With Bob Odenkirk; Variety Deems Season 3 the Best Yet

This week, the Los Angeles Times interviews Bob Odenkirk, while Variety deems Season 3 the show’s best yet. Plus, Odenkirk discusses Gene’s fate with Deadline. Read on for more:

• Speaking with the Los Angeles Times, Bob Odenkirk warns that “this dark storm cloud is approaching and building around Jimmy. There was a big tectonic shift, an internal shift toward the end of this season.”

• Discussing the show’s best drama Emmy odds, Variety believes Season 3 “may well stand as its best, punctuated with a heartbreaking twist.”

• In a conversation with Deadline, Bob Odenkirk addresses Gene’s fate, saying, “I want to see his life. There’s no way for him to go on the way he is.”

• Celebrating Jonathan Banks’ Emmy nod, Variety calls Season 3, Episode 2 “Witness” a “fun, tense episode and interesting to contrast Mike’s cool calm with Jimmy’s jumpy behavior when he sends the latter undercover to Gus’ restaurant.”

• Thomas Golubić, Better Call Saul‘s music supervisor, tells Variety since Jimmy didn’t exist in Breaking Bad, “we were starting from scratch, knowing that at some point we would loop our story into that era.”

• The Los Angeles Times interviews Thomas Golubić, who discusses his music choice for Season 3, Episode 3 “Sunk Costs,” noting, “The arrangement builds up to this huge, big brassy horn section, then shifts into this melancholy section just as Jimmy’s trading in his old world for this new reality.”

• Talking to Variety about Better Call Saul taking place in the past, about 15 years ago, Peter Gould observes, “I will freely admit, as with most things, we went in blissfully unaware of the challenges.”

• Gordon Smith, speaking with Variety about Season 3, Episode 5 “Chicanery,” says that “we took a risk with an episode that could have been a flat courtroom scene, but having wonderful performers allowed us to swing for the fences, and do things we wouldn’t normally do.”

Gold Derby, assessing the chances for “Chicanery” to win the best drama writing Emmy, notes, “The dialogue is so tense and then Michael McKean’s beautiful delivery of that monologue is so beautiful.”

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