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"Saul Gone"
Better Call Saul episode
Poster for the episode featuring the "Better Call Saul" logo without the title and just the set of scales.
Promotional poster
Episode no.Season 6
Episode 13
Directed byPeter Gould
Written byPeter Gould
Featured music
Cinematography byMarshall Adams
Editing bySkip Macdonald
Original air dateAugust 15, 2022 (2022-08-15)
Running time69 minutes
Guest appearances
Episode chronology
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Better Call Saul season 6
List of episodes

"Saul Gone" is the series finale of the American legal crime drama television series Better Call Saul, which is a spin-off of Breaking Bad. The episode is the thirteenth episode of the sixth season and the series' 63rd episode overall. Written and directed by Peter Gould, who co-created the series with Vince Gilligan, the episode first aired on AMC and AMC+ on August 15, 2022, before debuting online in certain territories on Netflix the following day.

"Saul Gone" is primarily set in late 2010, with flashbacks set during Breaking Bad and Better Call Saul. It depicts Jimmy McGill (Bob Odenkirk) facing the consequences of the conflicts caused by his three identities: his actions throughout Better Call Saul under his birth name, the federal crimes he committed for Walter White (Bryan Cranston) throughout Breaking Bad as Saul Goodman, and the schemes he ran in Omaha, Nebraska, as Gene Takavic. The episode also sees Jimmy and Kim Wexler (Rhea Seehorn) meeting for the first time in six years.

Gould and the Better Call Saul writing staff knew by the time the fifth-season finale aired in 2020 that the series would end with Jimmy going to prison for his actions in Breaking Bad. They sought to differentiate "Saul Gone" from Breaking Bad's "Felina" (2013) and El Camino: A Breaking Bad Movie (2019) with a slower pace and greater focus on dialogue. Several actors from Better Call Saul and Breaking Bad returned for guest appearances, including Bryan Cranston as Walter White, Betsy Brandt as Marie Schrader, and Michael McKean as Chuck McGill.

An estimated 1.80 million household viewers watched this episode when it was first broadcast on AMC. "Saul Gone" received acclaim, with critics praising Jimmy's character development and his reconciliation with Kim. Many considered it a "masterful" conclusion to the series and one of the best series finales of all time.[1] Gilligan has stated that "Saul Gone" is likely the last entry in the Breaking Bad franchise, as he and Gould have no plans for further works continuing it.

Plot

[edit]

In flashbacks, Jimmy McGill / Saul Goodman asks Mike Ehrmantraut[a] and Walter White[b] what they would do if they could travel back in time. Mike says he would stop himself from taking his first bribe, while Walt says he would have stayed at Gray Matter Technologies. Jimmy tells Mike he would have invested in Berkshire Hathaway and tells Walt he regrets injuring his knee during a scam. Mike and Walt each chastise Jimmy for his shallow answer and lack of humanity. In another flashback,[c] Chuck McGill tries to bond with Jimmy over his budding law practice, but Jimmy brushes him off. Jimmy expresses frustration about his career and Chuck says there is nothing wrong with considering a different path. Jimmy refuses, and says Chuck never did that. As Jimmy leaves, Chuck picks up a copy of The Time Machine by H. G. Wells, remarking "We always end up having the same conversation, don't we?"

In 2010, Jimmy blows his cover, when Marion discovers Gene is really Jimmy aka Saul Goodman by watching his old commercials on her laptop and summons the authorities to report Saul by using her Life Alert Emergency Response pendant. Jimmy is apprehended by Omaha police, is extradited back to Albuquerque, New Mexico, and hires Bill Oakley to defend him. With Jimmy facing a life sentence plus 190 years for helping Walt build his methamphetamine empire, Bill negotiates a plea bargain with a 30-year sentence. Marie Schrader objects and accuses Jimmy of complicity in the murders of Hank Schrader and Steven Gomez.[d] Jimmy convinces the lead assistant U.S. attorney that he could deadlock a jury by portraying himself as Walt's victim, resulting in a plea bargain that reduces his prison time to seven and a half years. Jimmy attempts to further reduce his sentence by offering information about Howard Hamlin's death,[e] unaware that Kim Wexler had already done so.[f] Jimmy learns that Howard's widow Cheryl may file a civil lawsuit against Kim. In a U.S. Marshal's presence, he tells Bill he will testify against Kim.

In Florida, Kim starts volunteering at a pro bono legal services firm. District Attorney Suzanne Ericsen calls her to warn that Jimmy's testimony could affect her. Kim attends the sentencing in Albuquerque, where Jimmy admits he lied about her involvement so she would be present. He confesses to enabling Walt and admits his role in Chuck's suicide.[g] He is sentenced to 86 years in prison, where he is revered by fellow inmates who recognize him as Saul. Kim visits him under false pretenses and they share a cigarette. As she departs, he goes to the prison yard to see her off and gestures finger guns. Kim gazes at him before leaving.

Production

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Development

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"Saul Gone" is the series finale for Better Call Saul, and was written and directed by series co-creator and showrunner Peter Gould.[6] Gould wrote the Breaking Bad episode "Better Call Saul", which introduced the character Saul Goodman, and co-created the spin-off with Vince Gilligan.[7][8] Gould and Gilligan initially served as co-showrunners before Gilligan left the writers' room to focus on other projects, resulting in Gould becoming the sole showrunner.[8]

In the week leading up to the finale's premiere, Gilligan stated that the episode would likely be the last entry in the Breaking Bad franchise, as he and Gould were both ready to move on to new stories.[9] Gould later acknowledged that by the time Breaking Bad ended, he and Gilligan were already developing the spin-off, but by the time Better Call Saul's finale aired, the two were working on other projects.[10]

Casting

[edit]
Bob Odenkirk at the 2013 San Diego Comic Con International in San Diego, California.
"Saul Gone" marked the end of Bob Odenkirk's character Saul Goodman, a role Odenkirk had portrayed since the second season of Breaking Bad.

Bob Odenkirk, Jonathan Banks, and Rhea Seehorn are the only cast members listed in the starring credits.[11] Gould considered the finale a mix of the world of Better Call Saul and Breaking Bad characters, as the episode featured several returning actors from both series. This included Banks as Mike Ehrmantraut[h] and guest stars Bryan Cranston as Walter White,[i] Michael McKean as Chuck McGill,[j] and Betsy Brandt as Marie Schrader.[k][16] The episode also marked the first appearance of Steven Gomez's wife Blanca, portrayed by Marisilda Garcia, who was referenced multiple times but unseen in Breaking Bad.[17] Gould wanted to bring back other Better Call Saul actors, such as Patrick Fabian, Giancarlo Esposito, and Michael Mando, as well as others that appeared on Breaking Bad, including Anna Gunn, RJ Mitte, and Dean Norris. However, wanting to avoid an "overstuffed epic", he and the writing staff decided against incorporating them into the finale.[7][18]

Banks, Cranston and McKean's characters appear in flashbacks, whereas Brandt's character appears in the present timeline.[7] Gould compared the scenes with Mike, Walter and Chuck to the three ghosts of A Christmas Carol, each showing Saul repeating the same cycle in his life.[7] He also felt Chuck's cameo brought the show back to its beginning.[16] McKean filmed his scene before traveling to the United Kingdom for another project, Cranston's appearance was filmed months before principal photography for the finale began to accommodate his schedule, while Brandt spent a relatively longer time in Albuquerque due to having more scenes to film than the other guest stars.[16][19]

Writing

[edit]

The title of "Saul Gone" is a play on the words "s'all gone" and Saul Goodman's name.[20] The episode, season, and series ends with Gene Takavic getting caught by the authorities and, under his legal name of Jimmy McGill, getting sentenced to prison for the crimes he committed in Breaking Bad. Gould and the writing staff knew by the time the fifth season finale aired two years prior that this was the right ending for the series.[7] They realized that Saul spent his career making a mockery of the justice system, so it was fitting to them that he ended the series as a part of it, only this time as a prisoner. Gould further elaborated that in the finale, Saul had gone from someone who ran the courtroom to becoming the subject of one.[18]

Gould and the writing staff felt strongly to end Better Call Saul differently than Breaking Bad and its sequel film El Camino (2019). Comparing the fates of the three works' main protagonists, Gould explained that Walter White achieved his ambitions but ended up dead, Jesse Pinkman suffered greatly but found freedom, while Saul Goodman chose long-term incarceration but regained his soul.[21][22] Saul's fate at the end of "Saul Gone" was nearly assigned to Jesse.[22] While writing El Camino years prior, Gilligan toyed with the idea of ending the film with Jesse residing in a jail cell, imprisoned yet at peace. However, when Gilligan initially pitched this idea to Better Call Saul writing staff, they advised against it on the grounds that Jesse had suffered too much to be incarcerated, while Gould also felt this was a more appropriate ending for Saul.[23][22] When comparing the finale of Breaking Bad to the finale of Better Call Saul, Gould said he felt that Walter dealt death to people, so his series ended "in a blaze of glory"; in contrast, Gould believed Saul was a man of words, and that his ending needed to be more dialogue-focused.[10] Odenkirk described the ending as being "more psychological and quieter and slower. It's deeply about character".[24]

However, Gould considered Better Call Saul's ending an optimistic one, not just for Saul Goodman, but for Kim Wexler as well.[10] Acknowledging her predicament in Florida, Gould stated that Kim was hiding from responsibility for her decisions in Albuquerque, but that Jimmy's phone call liberated her to face the consequences of her actions.[25] With the two characters finally confessing their misdeeds, Gould felt both chose to end their cycles of self-destructive tendencies and would refrain from making the same mistakes again.[16] He further acknowledged the challenging circumstances that awaited the two characters, with Saul spending his life in prison and Kim potentially facing a civil lawsuit, but Gould believed that in cleaning their conscience, both regained a part of their humanity and could begin living more honest lives.[16][7]

The writers room discussed the idea of having the prison room scene of Saul and Kim sharing a cigarette be the last shot of the series. However, Gould did not want the show to end with Saul and Kim together in the same frame, feeling it more honest to finish with the two of them apart.[10][26] He instead chose to end the series with the two parting in the prison yard to deal with the likely truth that Saul will be incarcerated for the rest of his life.[10] Gould also said that whether Kim would return to visit Saul again was up to the audience to decide.[18] Odenkirk would later state that if Saul Goodman were to have a continuation story, it would have to take place in prison during his sentence.[27] Gilligan later speculated that Saul would receive a pardon from President Donald Trump and go back to selling infomercials, while Kim likely returned to public defending.[28]

Filming

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When filming the opening scene in the desert, Gould mentioned the location's cold weather conditions strongly contrasted with the blazing heat that occurred when shooting the episode "Bagman", which took place in the same setting.[18] The very first two shots of the rocks and Jimmy's car in the desert came from unused footage from previous episodes.[16] For the courtroom scene, production staff initially struggled to find a location, but were eventually granted permission by the New Mexico Supreme Court to film on the top floor of their building. The location was only available on weekends, resulting in the entire crew shifting their working week to Wednesday through Sunday.[18] Filming lasted three days on the scene; Odenkirk mentioned asking to reshoot the scene after initially completing it.[24] To help film Chuck's flashback scene, production designer Denise Pizzini had to rebuild the set for Chuck's house on stage, as it was previously destroyed during the fourth season.[16]

The prison room scene in "Saul Gone" (top) was a homage to the series premiere (bottom). It was the last scene filmed during principal photography.

Saul and Kim sharing a cigarette while leaning against a prison room wall was the last scene filmed during principal photography for the series. Gould considered the moment, which itself was an homage to the first episode, as the two characters relating to one another without speaking.[16] Odenkirk detailed the scene as being a "big deal for us, and it felt incredibly organic and natural, the feelings of acceptance and love at a level they've never shared before", furthermore describing the two characters as "bigger people than they had shown themselves to be, and that scene grants them that intelligence as well as the bravery to do that – to own their shortcomings".[24] While the scene was filmed in black-and-white, as with all other parts of the Gene timeline, a brief use of color on the cigarette and lighter flame was included. Gould said this use of color was a sign of Gene recalling his fondness for his relationship with Kim.[22] The scene's music was reused from the first episode, which was Dave Porter's first composition for Better Call Saul.[29]

During the final scene in the prison yard, many viewers noticed Kim's right hand subtly gesturing a gun in response to Saul shooting finger guns at her.[30][31] Footage was filmed of Kim returning Saul's gesture by fully shooting finger guns back at him, but Gould felt that this could be interpreted as Kim going back to her old ways. As a result, the scene that made it to air showed Kim merely looking at Saul instead. Seehorn described the overall scene as being "about the acknowledgement of their bond that is still there, and the part of their relationship that was true".[32][33]

Themes and motifs

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During the scene at Chuck's house, Chuck picks up a paperback copy of H. G. Wells's The Time Machine. The book was previously visible in the prologue opening of the season premiere "Wine and Roses", when authorities raid Saul Goodman's mansion after he flees Albuquerque, and in the episode that would succeed it, "Carrot and Stick", where it is present on Jimmy's bedroom nightstand at Kim's apartment.[34] Its placement is intended to illustrate the regrets several characters feel over their actions, including Jimmy, Kim, Walt, and Mike.[34] In Jimmy's case, The Time Machine and his questions about time travel reveal his biggest regret was the way his relationship with Chuck ended, which he did not resolve until his courtroom confession.[34] Showrunner Peter Gould suggested that Chuck having a copy of The Time Machine in the flashback scene implied that he too was experiencing regrets around this period.[16]

When Jimmy asks Walt about his greatest regret in the flashback showing their time in Ed Galbraith's hideout, Walt briefly glances at the wristwatch that Jesse gave him in the Breaking Bad episode "Fifty-One" (2012). Rae Torres of Collider felt this indicated that Walt's greatest regret was not leaving Gray Matter Technologies but rather his abusive treatment of Jesse throughout Breaking Bad, and served to contrast with Jimmy's inability to honestly answer his own question.[35]

Reception

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Critical response

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"Saul Gone" received universal critical acclaim. On the review aggregator Rotten Tomatoes, the episode received an approval rating of 100% based on 30 reviews, with an average rating of 10/10. The critical consensus reads, "The lawyer who broke bad finally comes clean in 'Saul Gone,' an emotionally powerful and thematically fitting conclusion to one of television's great dramas."[36] The episode was considered by critics to be a "masterful" conclusion to the series,[1] and TVLine ranked it as one of the best series finales of all time.[37] Many critics highlighted Jimmy's character development, his redemption, and reconciliation with Kim, in addition to the motif of time machines in the episode.[38][39][40][41][42][43]

Giving the episode an A grade, Kimberly Potts of The A.V. Club called it a "supremely satisfying sendoff" with "blasts from the past and one last twist".[38] At IGN, Rafael Motamayor gave the episode a 10 out of 10 rating, describing it as a "subtler character study, exploring regrets and change in its protagonist". He also noted the episode title and complimented it for being "a thematic bookend on a show that was never really about Saul Goodman" and highlighted the motif of time machines.[39] Similarly, Vulture's Jen Chaney also discussed the motif of time machines in the episode, and commended it for offering more depth and context to Breaking Bad, and felt the series was superior to Breaking Bad, as it "dared to widen its scope and go bigger than Breaking Bad ever did".[40] In addition, the website's Scott Tobias gave it a 5 out of 5 rating and wrote, "'Saul Gone' [...] finds an ending for Jimmy that's hopeful and authentic without feeling rosy or unearned."[44] Meanwhile, David Segal of The New York Times felt Saul's discussions with Mike, Walter, and Chuck about time machines helped "riff on the theme of regret and second chances".[45]

Betsy Brandt at the 2012 Comic-Con in San Diego, California.
Betsy Brandt's surprise return as Marie Schrader, who last appeared nine years prior in Breaking Bad's finale, was praised.

Miles Surrey of The Ringer discussed the scene in which Jimmy testifies before court, and highlighted the inner conflict between his Jimmy McGill and Saul Goodman personae, ultimately feeling Jimmy won, as he had realized "the prospect of reconciling with [Kim] takes him on a new path—one toward redemption". He praised Jimmy's characterization in the episode, and felt that the series "showed that it's never too late to stop breaking bad for the ones you love".[46] At Variety, Daniel D'Addario highlighted Odenkirk's performance in the court scene, and felt the episode was "meticulous" and commended Gould's writing and narrative structure. He felt that the episode was superior to Breaking Bad's series finale, "Felina".[42] James Osborne of The A.V. Club commended the return of Betsy Brandt as Marie Schrader,[k] saying that despite audiences sympathizing with Jimmy over the course of Better Call Saul's six seasons, Marie's appearance served as a reminder of how his actions on Breaking Bad directly affected her and as to why he was in the courtroom in the first place.[15]

Ratings

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An estimated 1.80 million household viewers watched "Saul Gone" during its first broadcast on AMC on August 15, 2022.[47] This made the finale the series' most-watched episode since the third season finale "Lantern", which aired five years prior.[48] Including delayed viewing totals gave the final tally a total of 2.7 million viewers on AMC.[49]

Upon the episode's initial release on AMC+, the network's streaming platform, the app experienced an outage, causing many users to be logged out.[50] AMC later reported that first-day viewing numbers for the finale on AMC+ was four times as big as the season premiere, and called the final season of Better Call Saul the highest acquisition driver in the history of the streaming service.[49]

Notes

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Saul Gone

View on Grokipedia
from Grokipedia
"Saul Gone" is the thirteenth and final episode of the sixth season of the American legal crime drama television series , serving as the series finale and concluding the story of lawyer Jimmy McGill, also known as . Aired on AMC on August 15, 2022, the 69-minute episode is set primarily in late 2010, with flashbacks to events from and its predecessor , depicting Saul's capture, his courtroom , and a pivotal decision involving his ex-wife . Written and directed by series co-creator , it stars as Saul alongside as Kim, as in flashback, and features guest appearances by as and brief returns of characters like Huell Babineaux and . The episode explores themes of , redemption, and the consequences of Saul's criminal life through introspective monologues and time-jumping narratives, framed by Saul's conversations with a federal prosecutor and a transport companion, ultimately resolving his arc by emphasizing personal accountability over evasion. Production on "Saul Gone" wrapped the series after six seasons and 63 episodes, marking the end of a 14-year narrative universe that began with in 2008, with Gould drawing inspiration from Saul's journey toward confronting his past self. Critically acclaimed as an emotionally resonant and thematically fitting conclusion, "Saul Gone" holds a 100% approval rating from 30 critics on , with the consensus praising it as "an emotionally powerful... conclusion to one of television's great dramas." It earned a 9.8/10 rating from over 67,000 user votes on , reflecting widespread viewer appreciation for its character closure and subtle humor amid . The episode received a Primetime Emmy Award for Outstanding Writing for a Series for Gould, part of eight nominations for 's final season, though the series ultimately went 0-for-53 across its run at the Emmys. Additional recognition included nominations from the Cinema Audio Society for sound mixing and the for sound editing.

Production

Development

The episode "Saul Gone" was conceived as the series finale during the production of Better Call Saul's fifth season, with co-creator opting to write and direct it himself to ensure a personal touch on the conclusion. By the airing of the season 5 finale in April 2020, the writing staff had outlined the endgame, including Jimmy McGill's path to imprisonment, aligning with the overall arc from his transformation into . The title "Saul Gone" was revealed ahead of the season 6 premiere in May 2022, serving as a on "" and the phrase "so long," evoking themes of departure and finality. Gould explained that the title encapsulates Jimmy's reckoning with his past identities, symbolizing the erasure of the Saul persona. Integration of elements from was planned early in the series' development, with the finale incorporating flashbacks to key interactions and potential returns of characters such as Walter White. These ties were envisioned to bridge the narrative seamlessly, utilizing existing footage and rebuilt sets for authenticity. Key creative decisions emphasized Jimmy's internal moral reckoning over a conventional action-oriented climax, focusing instead on his and reclamation of humanity in a setting. Gould deliberately avoided prison-break tropes or high-stakes chases, prioritizing emotional resolution and character growth.

Casting

Bob Odenkirk reprises his lead role as Jimmy McGill, portraying the character's multifaceted identities as and Gene Takavic throughout the episode's present-day prison scenes and flashbacks. returns as , Jimmy's former wife and confidante, whose appearance in the finale provides emotional resolution to their complex relationship. Supporting cast members as and as also feature in flashbacks and courtroom sequences, maintaining the series' established ensemble dynamics. The episode features notable guest appearances from Breaking Bad alumni, with returning as Walter White in a flashback set in the underground superlab, highlighting Saul's pivotal role in the meth empire's operations. Cranston's involvement was secured through negotiations finalized in early 2022, as confirmed by series co-creator during PaleyFest LA, where he revealed the actor's commitment to the finale for its narrative closure. Additionally, reprises her role as in a courtroom confrontation with Saul, emphasizing the lingering consequences of the Breaking Bad events and providing for victims' perspectives. Michael McKean appears as in a flashback depicting Jimmy's early struggles, underscoring the personal history that shaped the protagonist's transformation. While had reprised earlier in the season for a flashback in episode 11, his presence is evoked indirectly in the finale through references to Saul's regrets, amplifying the emotional weight of reuniting the universe without introducing new major cast members. This strategic focuses on leveraging familiar faces to deliver thematic depth and in the series conclusion.

Writing

The "Saul Gone" episode was written solely by Peter Gould, co-creator of Better Call Saul, marking his first solo script for the series. Gould completed the script in late 2021, ahead of principal photography that began in January 2022. As both writer and director, Gould crafted a narrative centered on introspection and resolution, drawing from the series' established character arcs without relying on external co-writers for this finale. A core emphasis in the script was on dialogue-driven sequences, particularly the extended confrontation and Jimmy McGill's pivotal , which unfold almost entirely through verbal exchanges rather than physical action. This approach intentionally eschewed violence, allowing the episode to prioritize emotional and psychological depth over the high-stakes confrontations typical of earlier seasons, as Gould sought to provide a fitting capstone to Jimmy's transformation into . The scene, for instance, builds tension through Jimmy's manipulative and eventual vulnerability, culminating in a raw admission of guilt that reframes his entire criminal history. To frame the theme of regrets, Gould incorporated a time travel metaphor inspired by ' The Time Machine, using it as a recurring motif across flashbacks to underscore irreversible choices. The novel appears as an in key scenes—such as in Jimmy and Kim Wexler's , Saul's house, and during a flashback with —symbolizing untaken paths and the futility of altering the past. In dialogues with and Walter White, Jimmy probes their regrets through hypothetical time machine scenarios, highlighting personal failures like Mike's first bribe or Walt's abandonment of Gray Matter, while his own initial deflection evolves into self-reckoning. This device, as Gould explained, served to "confront regrets" without literal sci-fi elements, tying into Chuck's earlier advice that "there's no shame in going back and changing your path." Script revisions focused on balancing the nonlinear structure, interweaving present-day and events with flashbacks to ensure a cohesive emotional arc. Gould iterated through multiple drafts to prevent the flashbacks from overshadowing the contemporary action, refining their placement to build toward Jimmy's acceptance of consequences. A primary goal was to deliver an emotional payoff for Jimmy and Kim's relationship, strained by years of separation and moral divergence, culminating in her visit where they share a —a deliberate echo of their pilot episode intimacy—signifying tentative reconciliation amid his 86-year sentence. This resolution, Gould noted, aimed to honor the characters' complexity, providing closure without forced optimism.

Filming

for the sixth and final season of , encompassing "Saul Gone," commenced on March 10, 2021, and concluded on February 10, 2022, primarily in . The episode's scenes were filmed toward the end of production, with director overseeing the logistical execution over approximately one month, including courtroom sequences captured over two weekend days. Key locations included the in Santa Fe for scenes, where the building's distinctive skylight influenced shot compositions and necessitated additional pick-up angles a week later. The prison sequences were shot at the in Santa Fe County, selected to evoke the supermax ADX Montrose depicted in the story and described by crew as a "sobering and upsetting" environment that heightened the scenes' emotional intensity. The paid homage to the by recreating Gene Takovic's () tense life in , using Albuquerque-area sets to mirror the original episode's mall sequences and underscore thematic continuity. Black-and-white sequences, including Gene's post-Breaking Bad timeline, relied on practical lighting setups to guide viewer focus—such as slashes of light echoing the pilot's —before desaturation, with props like herbal cigarettes adding authenticity but causing on-set coughing during the finale's pivotal prison exchange. Filming faced logistical challenges, including a snowstorm that stranded the crew during desert exteriors and modifications to prison sets, such as adding an exterior to a guard station for realism. Coordinating schedules for guest stars in flashbacks, notably as the client who unmasks Gene and brief appearances by and , required precise timing amid the season's packed production. The script's time-jumping structure influenced shot planning, emphasizing long takes and precise blocking to convey emotional arcs without disrupting narrative flow. The final day's shoot at Albuquerque Studios on a cool winter morning marked an emotional wrap, with Odenkirk, , and executive producer delivering tearful speeches to the cast and crew after completing the Jimmy-Kim cigarette-sharing scene.

Episode overview

Plot summary

Following his capture in Omaha after the events depicted in El Camino: A Breaking Bad Movie, Saul Goodman, also known as Jimmy McGill, is transported to Albuquerque to face federal charges related to his role in Walter White's drug empire. In a pretrial hearing, Jimmy, representing himself with Bill Oakley serving as advisory counsel, confronts a team of prosecutors that includes Marie Schrader, the widow of his former associate Hank. Jimmy delivers a calculated defense, claiming he was coerced into aiding White and Jesse Pinkman under duress, including an alleged kidnapping where a gun was held to his head; this performance pressures the prosecutors into offering a plea deal for a reduced sentence of seven and a half years in a minimum-security prison of his choice, complete with perks like weekly ice cream deliveries. During the proceedings, Jimmy learns from his contacts that has already confessed her involvement in 's murder to Hamlin's widow, , exposing herself to potential civil liability and neutralizing Jimmy's leverage to further sweeten the deal. In the courtroom, as Jimmy prepares to accept the plea, he abruptly shifts, addressing the judge and those present—including Marie and the prosecutors—as Jimmy McGill rather than Saul. He confesses the full truth: that he willingly partnered with to build and launder money for the empire, motivated by greed and the thrill after Kim left him, and that he orchestrated schemes against his brother and that contributed to their downfalls. By rejecting the deal and owning his crimes, Jimmy ensures a much harsher sentence of 86 years without , a decision he frames as necessary atonement. Some time later, while serving his sentence at a federal , Jimmy is visited by Kim, who has since relocated to and taken a job in document review for a nonprofit. The two meet outside through the fence, where Jimmy passes her a cigarette using a paperclip extension, recreating an intimate moment from their early days together; their brief conversation is terse yet affectionate, marked by shared glances and minimal words, before Kim walks away. In , Jimmy quickly becomes known among the inmates, who chant his old advertising slogan upon his arrival. He finds a measure of purpose by assisting fellow prisoners with their legal matters, dictating appeals and offering advice from his cell, embracing his identity as Jimmy McGill once more.

Flashbacks

The episode "Saul Gone" intercuts its present-day narrative (set in late 2010) with flashbacks that reveal pivotal moments in Jimmy McGill's transformation into , using these sequences to explore his regrets and connections to the ongoing courtroom drama where he faces life in for his crimes. The episode begins with a flashback to Jimmy and resting in the desert after a (circa 2004, between the events of "" and ""), where Jimmy asks Mike what he would do with a time machine; Mike initially thinks of returning to 2001, the year of his son Matty's death, but settles on going back to March 17, 1984, the day he took his first bribe, to avoid entering the criminal world. The main storyline starts with Saul's capture in Omaha after his criminal scheme unravels, as his home and he attempts a desperate escape, losing his hidden diamonds in a . This sequence, depicting Gene Takovic's life immediately after , underscores his paranoia and desire for anonymity, directly leading into his transport and , highlighting how Saul's past catches up to him. A 2002 flashback shows Jimmy visiting his brother Chuck at his home, bringing groceries and a copy of the Financial Times to the reclusive lawyer, who is wrapped in a Mylar blanket due to his . As they talk, Chuck expresses skepticism about Jimmy's recent success passing the bar exam and becoming a , accusing him of cutting corners rather than truly changing from his con artist roots as "." Chuck is reading ' The Time Machine, which inspires Jimmy's later musings on time travel and regret during his trial. This brotherly exchange accentuates the deep rift between them, stemming from years of resentment, and connects to Saul's present-day admission in court of forging documents to undermine Chuck's credibility, actions that contributed to Chuck's . In -era flashbacks set in 2010, one scene places and Walter White together in the basement of Ed Galbraith's vacuum repair shop, awaiting Walt's extraction to . , ever the opportunist, asks Walt what he would do if equipped with a time machine to revisit the past. Walt, distracted by a watch malfunction, reveals his lingering bitterness over co-founding Gray Matter Technologies and leaving too early, stating he would return to that moment and accept a offer to secure wealth without his later criminal path. This revelation exposes Walt's foundational regrets, paralleling 's own evasion of for enabling Walt's meth empire, which confesses to in as motivated purely by greed rather than any loyalty. Another Breaking Bad-era sequence recalls Saul's tense encounter with Jesse Pinkman in the desert, where Saul is blindfolded and bound after being "kidnapped" by Walt and Jesse to force his legal services. This 2009 incident, during the early days of their partnership, shows Saul's quick adaptation to the criminal world as he negotiates his release by agreeing to represent them, marking a point of no return in his moral decline. The scene ties to the main plot by illustrating how Saul's desert ordeals foreshadowed his current legal jeopardy, as he admits in his plea hearing to manipulating witnesses and evidence to protect Walt and Jesse's operations. A late /early flashback depicts the unromantic origins of Jimmy and Kim Wexler's relationship, where Jimmy awkwardly proposes marriage in a matter-of-fact manner during a late-night drive, framing it as a practical step rather than a romantic gesture. This early moment, set amid Jimmy's days as a worker at his firm's Albuquerque office, establishes the foundation of their partnership built on shared ambition and quiet understanding, rather than grand declarations. It connects to the episode's present-day emotional climax, where Saul's confession allows Kim to move forward unburdened by their shared secrets, echoing the simplicity of their beginnings before the betrayals that tore them apart.

Analysis

Themes

The episode "Saul Gone" centers on 's redemption arc, culminating in his decision to abandon the persona during his trial and confess fully to his crimes, including his role in enabling Walter White's empire, thereby accepting an 86-year prison sentence rather than a lighter plea deal. This act of genuine atonement contrasts with his earlier manipulative tendencies, as he reclaims his original identity by stating, "The name’s McGill. I’m ," marking a pivotal rejection of his criminal facade. According to co-creator , this confession allows Jimmy to "get a piece of his true self back," though it does not erase the irreversible harm caused by his actions. Regret permeates the narrative as a core theme, explored through Jimmy's imagined time travel scenarios in flashbacks, where he converses with figures like Mike Ehrmantraut, Walter White, and his brother Chuck about revisiting past choices. These sequences, inspired by H.G. Wells' The Time Machine, underscore the irreversibility of decisions such as betraying Chuck and facilitating Walt's criminal operations, forcing Jimmy to confront the personal and moral costs of his life. As one analysis notes, the time machine motif serves as a metaphor for Jimmy's deep-seated regrets, particularly his role in events that led to profound losses, highlighting how such reflections drive his eventual accountability. Jimmy's identity transformation forms another key thematic layer, tracing his evolution from the ethically flexible Jimmy McGill to the cynical and back toward amid consequences, a journey that emphasizes personal growth through reckoning. This arc culminates in his embrace of imprisonment as a form of justice, differing from the largely unrepentant Walter White in , who dies with only hints of remorse for his destructive actions and relationships, such as his treatment of . Gould emphasizes that while Jimmy regains elements of his authentic self, his Saul identity lingers in public perception, as seen when inmates chant "Better Call " upon his arrival in prison. The dynamics of Jimmy and Kim Wexler's relationship anchor his thematic growth, portraying their bond as a source of enduring that persists despite moral failures and separation. Kim's presence at and their shared —echoing their early connection—affirms her role in inspiring his , as she calls him "Jimmy" and witnesses his redemption, suggesting a quiet through mutual . This partnership underscores themes of as a catalyst for change, even as Kim resumes ethical work like public defense, highlighting resilience amid regret.

Motifs and symbolism

In "Saul Gone," the time machine motif recurs through hypothetical discussions and visual references, symbolizing the characters' regrets and the fundamental inability to alter the past. Jimmy McGill poses the question of what one would do with a time machine to figures like Mike Ehrmantraut, who envisions using it to undo his first corrupt act and rebuild his family life; Walter White, who dismisses it while glancing at a meaningful possession; and his late brother , who references ' The Time Machine to urge a change in path. These exchanges frame Jimmy's courtroom deposition as a metaphorical time machine, forcing a reckoning with irreversible choices without offering escape, as regret "can’t change anything that happened." This motif ties into the episode's broader exploration of regret, underscoring Jimmy's gradual acceptance of accountability. The sharing of cigarettes serves as a recurring symbol of intimacy and unspoken connection between Jimmy and Kim Wexler, evolving from their early romance to a poignant farewell in prison. First appearing in the series premiere as a flirtatious gesture amid colored reflections in a black-and-white world, it reemerges in the finale where the flame briefly bursts into color against the monochrome backdrop, signifying Kim as the one person who pierces Jimmy's Saul persona to see his true self. Co-creator Peter Gould described this as a deliberate mirror to the pilot, emphasizing their enduring bond without manipulation: "It's a sign of their connection, the one person who sees him for who he is." The simplicity of the act, with its "noir flavor," conveys quiet emotional depth amid separation. Walter White's glance at his wristwatch during a conversation with about regrets evokes a moment of unspoken , paralleling Jimmy's own arc of delayed . The watch, a 51st birthday gift from , represents Walt's fractured partnership and abusive treatment of Jesse, contrasting his verbal regret over abandoning Gray Matter Technologies. This subtle gesture reveals Walt's underlying guilt, foreshadowing his redemptive actions in 's finale by freeing Jesse, and mirrors Jimmy's journey from denial to confronting personal failures. Black-and-white sequences in "Saul Gone" denote Jimmy's life before fully embracing the identity, contrasting sharply with bursts of color in the present to highlight his identity shift and fleeting moments of authenticity. The Omaha scenes as Gene Takovic immerse viewers in a desaturated, mundane existence symbolizing isolation and erasure, while the colored cigarette flame in the final prison visit breaks through this, representing rekindled humanity and Kim's role in reclaiming Jimmy's core self. This visual device reinforces the episode's narrative progression from shadowed past to a tempered present resolution.

Release and reception

Broadcast and viewership

"Saul Gone" premiered on AMC on August 15, 2022, at 9 p.m. ET/PT, and was simultaneously available on AMC+. Running 69 minutes, it became the longest episode in the history of the Breaking Bad universe. In the United States, the episode drew 1.80 million households in live + same-day viewing according to Nielsen, marking an 18% increase over the series average and the highest live/same-day audience for Better Call Saul since the season 3 finale in 2017. With Live + 3 metrics, viewership rose to 2.7 million, the most-watched episode of season 6 and the top-performing linear telecast on AMC since 2017. On AMC+, first-day streaming for the finale exceeded four times the platform's season 6 premiere viewership, underscoring its strong multiplatform performance. Internationally, "Saul Gone" rolled out on outside the U.S. beginning August 16, 2022, one day after its AMC debut. The episode's promotion featured teasers emphasizing ties to the timeline, building anticipation for character crossovers and narrative closure in the .

Critical response

"Saul Gone" received universal acclaim from critics, earning a 100% approval rating on based on 30 reviews, with an average score of 10/10. Critics widely lauded it as a "perfect finale," praising its emotional power and thematic resolution to the series. Reviewers highlighted Bob Odenkirk's performance as Jimmy McGill/, describing it as his strongest yet, particularly in the courtroom scenes where he conveys certainty mixed with quiet thrill. The episode's emotional depth was commended for providing closure without resorting to clichés, focusing on and redemption through subtle glances and sorrowful notes rather than overt drama. Variety called the finale "brilliant," noting its elegant reversal of 's operatic style in favor of a more poignant, character-driven conclusion. While overwhelmingly positive, some critics pointed to minor issues, such as the pacing feeling deliberately slow to match the series' contemplative tone, though this was generally seen as appropriate rather than detrimental. Others noted that Bryan Cranston's cameo as Walter White occasionally overplayed its humor, slightly disrupting the episode's rhythm. In comparisons to 's finale "Felina," "Saul Gone" was described as more introspective and reflective, eschewing explosive action for a quieter, more depressing exploration of consequences and personal reckoning. This approach was praised for fitting 's distinct identity while honoring its predecessor.

Accolades

"Saul Gone" received several nominations for its writing, acting, and cinematography in major awards ceremonies following its 2022 premiere. The episode earned a nomination for the Primetime Emmy Award for Outstanding Writing for a Series for writer at the in 2023. submitted "Saul Gone" as his episode for consideration in the Primetime Emmy Award for Outstanding Lead Actor in a Series, marking his sixth consecutive nomination in the category, though he did not win. In the technical categories, cinematographer Marshall Adams was nominated for the Award for Outstanding Achievement in in Episode of a One-Hour Commercial Television Series for his work on "Saul Gone" at the 38th ASC Awards in 2023. The episode's sound team won the Cinema Audio Society Award for Outstanding Achievement in Sound Mixing for Television Series – One Hour at the 59th CAS Awards in 2023. It also received a nomination for Outstanding Achievement in Sound Editing at the 70th Golden Reel Awards in 2023. Despite not winning in the Emmy or ASC categories, these honors contributed to the broader trajectory of the sixth and final season of , which received eight Emmy nominations overall, contributing to the series' total of 53 Emmy nods across its run without a single victory. Episode-specific accolades were limited beyond these, though the series as a whole garnered additional recognition, such as a for Outstanding Performance by an Ensemble in a Drama Series at the .

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