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Come di consueto oggi vi porto dentro una nuova Anteprima di un articolo che fra qualche giorno o settimana vedrete Nella Mente di un SerialFiller, il mio blog interamente incentrato sul mondo delle serie tv e di cui, da qualche mese, ho deciso di regalarvi costantemente, in anticipo su quello che pubblicherò, gran parte dei post che vedrete su www.serialfiller.org.

Saul rincara la dose dicendogli che con quei soldi potrebbero costruire una macchina del tempo. Ed ecco che il paradosso che ci rincorrerà in questo episodio si fa carne.
A Mike viene chiesto cosa farebbe se avesse una macchina del tempo.
Il braccio destro di Gustavo Fring risponde con una data specifica. Tornerebbe indietro al 2001 ma non dice perchè. Noi lo sappiamo o almeno lo ipotizziamo. E' la data in cui prendono vita gli eventi raccontati nella prima stagione con lo stupendo "Five 0".
I peccati dei padri che ricadono sui figli. Il figlio di Mike, nella fattinspecie, muore, generando quella caduta rovinosa negli inferi da parte del personaggio interpretato da Jonhatan Banks.

Nelle risposte di Mike emerge tutta l'umanità di un personaggio silenzioso, spigoloso ed enigmatico ma inflessibile nel suo codice morale e nella sua lealtà. Mike è un uomo con enormi rimpianti, rimpianti che lo hanno piegato e plasmato e lo hanno indotto e condotto a spalleggiare un criminale come Fring, ad uccidere uomini per bene come il suo amico Werner, a seppellire cadaveri di persone innocenti come Howard, a proteggere assassini come Gus. Se potesse, Mike cambierebbe la sua storia, la renderebbe più tranquilla, normale, pacifica. Mike non è nato con il crimine nel DNA. Mike è stato, suo malgrado, costretto ad essere il "Mr Wolfe" di Gustavo Fring.
Al contrario di Walter White.
Al contrario di James McGill.
Uomini più sfaccettati, più complessi, più intorbiditi da acque non sempre pure, non sempre calme, non sempre piatte.
E la risposta di Saul Goodman?

Il primo viaggio nel tempo è andato.
Arriva la intro, l'ultima intro di sempre. Ed è u mix di colore, di monochrome e soprattutto di musiche e immagini interrotte da una scritta bianca ed uno schermo blu.
Sembra dirci che, arrivati in fondo, tutto è confuso, tutto è mescolato. Le timeline convergono, le maschere si appaiano, le identità si abbracciano.

Ritorniamo a casa di Marion, laddove si era consumato l'epilogo di Waterworks (qui la recensione).
Gene Takovic è in fuga. Marion ha chiamato la polizia. Gene non ha compiuto l'ultimo atto, quello che lo avrebbe reso un essere umano totalmente spregevole, totalmente imperdonabile, impossibile da redimere. Marion vive. Gene scappa, ed in un certo senso Jimmy sopravvive a tutto.
La scatola del tempo, quella in cui sono rinchiusi cimeli di una vita che fu ma anche diamanti, un telefono usa e getta ed il biglietto da visita dell'uomo delle aspirapolveri che ben conosciamo e che avevamo incontrato nuovamente in questa annata nel bellissimo Axe And Grind (qui la recensione), deve essere recuperata per dare il via alla fuga e all'ennesima trasformazione.
Gene, però, sembra braccato. Non c'è più spazio, non c'è più tempo. O almeno cosi sembra.
La disperazione lo spinge a trovare riparo in un bidone della spazzatura. Gene si immerge dentro sperando di non essere beccato.
E' fondamentale sottolineare come, ancora una volta, questo dettaglio fosse stato in qualche modo anticipato dal cold open con cui si apriva la sesta stagione. In quei primi minuti, infatti, il cartonato raffigurante la sagoma, a grandezza naturale, di Saul Goodman veniva gettato all'interno di un bidone della spazzatura, esattamente allo stesso modo in cui Gene si "deposita" nel freddo contenitore di rifiuti urbani della lontana Omaha.
Come in un film comico alla Fantozzi ma dai connotati tragici, a Gene tutto sembra andare sempre peggio.
Il rifugio nella pattumiera, prima.
La difficoltà ad aprire il contenitore di plastica contenente uno dei suoi fidati telefoni usa e getta.

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ENG

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This is the future link to the post that I am inviting you to read in the coming days at www.serialfiller.org and which is previewed here

As usual, today I am bringing you inside a new Preview of an article that in a few days or weeks you will see In the Mind of a SerialFiller, my blog entirely focused on the world of TV series and of which, for the past few months, I have decided to constantly give you, in advance of what I will publish, most of the posts you will see on www.serialfiller.org.

Let's go back to the cold open. Let's go back to time travel. Let's go back to analyzing the finest episode in recent years of television.
Saul, during that break in the desert, teases the gruff Mike with a mind game by proposing that he run away with the loot and, should he accept, what he would do with all that money.
Mike, impassive and strict as ever, immediately renounces that hypothesis, distinctly shuns it.
Saul chimes in again by telling him that with that money they could build a time machine. And there the paradox that will chase us in this episode becomes flesh.
Mike is asked what he would do if he had a time machine.
Gustavo Fring's right-hand man answers with a specific date. He would go back to 2001 but does not say why. We know or at least speculate. It is the date when the events recounted in the first season come to life with the wonderful "Five 0."
The sins of the fathers falling on the sons. Mike's son, in the case in point, dies, generating that ruinous fall into the underworld by the character played by Jonhatan Banks.
A moment's pause and Mike changes, changing dates, going back about 20 years further. He thinks back to when he accepted his first bribe. It is there that he would return, it is there that he would like to force a change in the course of events, it is there, rather than in the death of his son, that he locates the fixed point in time that changed everything and that will make the death of his beloved son inevitable.
Before closing, however, Mike exclaims that he would also like to go forward in time and find himself in five to 10 years where his loved ones live, grow, cry, and laugh. He would like to be there to make sure they are okay, to check that everything is running smoothly.
In Mike's answers, all the humanity of a silent, angular and enigmatic character emerges, but unyielding in his moral code and loyalty. Mike is a man with enormous regrets, regrets that have bent and shaped him and led him to back a criminal like Fring, to kill good men like his friend Werner, to bury bodies of innocent people like Howard, to protect murderers like Gus. If he could, Mike would change his story, make it quieter, normal, peaceful. Mike was not born with crime in his DNA. Mike was, despite himself, forced to be Gustavo Fring's "Mr. Wolfe."
As opposed to Walter White.
As opposed to James McGill.
Men more multifaceted, more complex, more muddied by waters not always pure, not always calm, not always flat.
And Saul Goodman's response?

Saul answers what the mask Saul should have answered, wanted and could have answered.
Time travel would have a definite point to aim for.
May 10, 1965, the date Warren Buffet launched Berkshire stock on the stock market. Very few would be enough to become, in the future, a billionaire (or trillionaire as Saul would say).
That's It? Money? Nothing you wanna change?
Mike, astonished, will ask Saul if that is all there is to it, if regrets for him do not exist, and if, in spite of everything, there is nothing he wants to change.
For Saul, money is enough. Money is everything.
Not for Jimmy, consumed by guilt over the death of his brother Chuck.
Not for James, constantly searching for a place in the world and acceptance of his big brother.
The first time travel is gone.
Here comes the intro, the last intro ever. And it is u mix of color, monochrome, and most of all music and images interrupted by white writing and a blue screen.
It seems to tell us that, having arrived at the end, everything is confused, everything is mixed. Timelines converge, masks appear, identities embrace.

We return to Marion's house, where the epilogue of Waterworks (review here) had been consummated.
Gene Takovic is on the run. Marion has called the police. Gene has not performed the last act, the one that would have made him a totally despicable, totally unforgivable, impossible-to-redeem human being. Marion lives. Gene escapes, and in a sense Jimmy survives it all.

The time box, the one in which are locked up memorabilia from a life that was but also diamonds, a disposable phone and the business card of the vacuum cleaner man we know well and had met again this vintage in the beautiful Axe And Grind (review here), must be retrieved to kick off the escape and yet another transformation.
Gene, however, seems hunted. There is no more space, no more time. Or so it seems.
Desperation drives him to find shelter in a garbage can. Gene dives inside hoping not to get caught.
It is crucial to point out how, once again, this detail had been somewhat anticipated by the cold open with which season six opened. In those early minutes, in fact, the cartoon depicting the life-size silhouette of Saul Goodman was being tossed inside a garbage can, in exactly the same way that Gene "deposits" himself in the cold municipal waste receptacle of faraway Omaha.
Like a Fantozzi-like comedy film but with tragic connotations, everything seems to get worse and worse for Gene.
The shelter in the dustbin first.
The difficulty in opening the plastic container containing one of his trusty disposable phones.
The box tipping over and resulting in the mixing of the items in it with sewage.
Even diamonds mix with the rotting garbage, and De Andrè comes to mind when he sang that "from diamonds nothing is born, from muck flowers are born."
Will this be true?
Will it really be possible that what the diamonds could not give Gene (i.e., escape and survival) will somehow be given to him by that immersion in the muck (figuratively) metaphorically represented by the garbage in which he is immersed up to his neck.
Knock, Knock. Anybody at home?

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