★★★★★

On Aug. 15, creators Vince Gilligan and Peter Gould’s brilliant 14-year television and cinematic trilogy came to a close with the finale of the prequel/sequel to “Breaking Bad,” “Better Call Saul.” While sharing several stylistic elements with its TV predecessor and with the “El Camino” movie, the sixth season of “Better Call Saul” confirms that the show can stand on its own through its remarkable and compelling showcase of the title character’s moral transformation.

In some ways, “Better Call Saul” undertook a more audacious task than “Breaking Bad” in its exploration of protagonist Jimmy McGill/Saul Goodman (Bob Odenkirk). The series turned the largely one-dimensional lawyer from “Breaking Bad” into a deeply complex and more human character. Furthermore, having seen “Breaking Bad,” the audience understands who conflicted small-time attorney Jimmy McGill will one day become: the immoral criminal lawyer Saul Goodman. 

With the exception of the final four episodes, which pick up Jimmy’s tale from the end of “Breaking Bad,” the show mainly follows the moral transformation of a man whose path has been predetermined. For the audience, the tragedy of the show lies in this knowledge, in praying that Jimmy overcomes his wrongful impulses while knowing that he is destined to meet a dark fate. In the final four episodes, the audience is suddenly presented with the complete unknown, reopening the possibility of Jimmy’s moral redemption.

Technically, Gilligan, Gould and the film team display the expertise previously seen across their past 14 years of work. Seamless shots and purposeful camera placement — often used for moving elements of the show’s set such as a swinging car door — immerse the audience in the world the creators have constructed. The carefully chosen music often provides additional context to character relations or themes, such as the multiple montages featuring the song “Something Stupid.” 

Most noticeably, however, Gilligan and Gould fill “Better Call Saul” with an abundance of motifs that surpass the complexity of those in “Breaking Bad.” From recurring mint-chip ice cream to romantic partner Kim Wexler’s (Rhea Seehorn) triangle earrings to buzzing exit signs, “Better Call Saul” contains many deliberate elements that aid in the audience’s understanding of each character’s development. With color and symbolism used so purposefully, it is no surprise that the visual style is as breathtaking as it is meaningful. 

The acting performances, from Odenkirk to Seehorn, Giancarlo Esposito and more, also remain strong and nuanced. In many cases, their acting expertly captures those present across both shows in the specific period of their individual evolution, a task necessitated by the liberal use of flashbacks in “Better Call Saul.” This crossing over is especially present in the season’s three best episodes: “Plan and Execution,” “Fun and Games,” and “Saul Gone,” in which the show’s veteran actors display an impressive knowledge of their respective characters with subtle expressions and actions that perfectly portray each role’s specific progression.

Ultimately, “Better Call Saul” is inseparable from “Breaking Bad.” To be the continuation of a show many consider to be the greatest of all time is no small task. Expectations were especially high for season six, as its events would have to not only satisfy the storylines it has been building for years, but also definitively close the “Breaking Bad” universe. Once again, Gilligan and Gould exceeded expectations. The few but incredibly meaningful cameos of Walter White (Bryan Cranston), Jesse Pinkman (Aaron Paul) and Marie Schrader (Betsy Brandt) emotionally conclude the entire trilogy while not detracting from the legacies of either “Breaking Bad” or “El Camino.” 

The season’s structure aids greatly in this impression: The mid-season finale acts as the climax of both of the previous season’s cliffhangers, while the next two episodes finish the characters’ journeys into their “Breaking Bad” starting positions and the final four episodes both close the remaining stories of “Better Call Saul” and gracefully conclude the “Breaking Bad” trilogy. In this way, the show provides sufficient time to satisfy the most immediate, show-wide and trilogy-wide plotlines and objectives — a truly impressive feat for television creation and writing.

After its finale, many consider “Better Call Saul” to have surpassed its more famous predecessor. While I do not agree with this opinion, I do consider the former to be one of the greatest shows of at least this decade, if not more, and believe “Better Call Saul” to be essential viewing for any casual TV fan. With its fantastic culmination, I cannot look upon Gilligan and Gould’s 14 years of work with anything but awe and appreciation for the beautifully complex and compelling stories they have created.