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A truly riveting and tense episode.Our recap of Better Call Saul Season 2, episode 7 “Inflatable” where careers hit important crossroads.īefore getting into our recap of “Inflatable,” let’s set us up for success by remembering key points from episode 6, “Bali Ha’i”. Jimmy gets himself embroiled further into the dark corners of the cartel as he continues to represent Gus. Verdict: Better Call Saul ups the performances and propels Gus and Lalo ever further into a gang war that will decide the fate of the meth business in New Mexico. And yet, the rant comes off as so insecure and doubtful at the same time that it gives off an additional layer on Jimmy. Dropping an F-bomb, Jimmy lets out a series of loud statements that turn heads within the building, as he claims that he is “a god in human clothing,” traveling in worlds that he’ll never understand. Insisting that he was more “amused” by Howard’s job offer than upset, we’ve seen something we haven’t seen for a while – a mad Jimmy. When Howard Hamlin drops the job offer he gave to Jimmy, wondering whether he upset him by doing so, Jimmy gives him what for. Doing the latter is integral to Gus’s game as the meth business is what he’s all about behind all the masks, and Esposito plays this well.īut where performances are also concerned, one has to give a five-star rating to Bob Odenkirk’s rant as Jimmy McGill at the very end of the episode. Then there are the masks he wears – from his warm public persona to the sweet-talking friend he plays when trying to reassure Herr Schuler that his business is in no danger of falling due to the meth cover-ups. The way he gives off so much threatening power with his mere facial expressions is just another reminder of how lucky we were that he decided to return for Better Call Saul. Giancarlo Esposito’s performance as Gus Fring is as powerful and multi-layered as ever. Lull the fiend into a false sense of security before they polish him off for good.Īs far as performances go, this episode has a chock full of notable ones. Perhaps they want Lalo to think the act was all Nacho’s doing, just like they want him to think Nacho is loyal to his side. Ironically, it is Gus who does the explosive deed. This is further aided by the restaurant destruction scene at the end of the episode. Perhaps they plan on finishing him off for good outside the relative safety of the prison walls? It may be the only chance they have at getting rid of him. He still presents a problem for the ever-aspirational Gus. He still manages to get hold of a mobile phone while in his cell to contact Nacho to burn down the restaurant. But a possible answer might lie in the fact that clearly Lalo being in jail isn’t impeding his progress in any way. ![]() Why Gus wants Lalo out of jail is up in the air at this point. And so, Mike asks Jimmy to get Lalo out of jail too, really laying the pressure on the lawyer. ![]() What’s exciting is where this could lead – even Gus is interested in Saul’s help upon learning that Lalo asks Nacho to burn down Fring’s restaurant, the pivotal front to his drug operations. But it seems that like it or not, Jimmy has got himself bound in the tendrils of Lalo, his colleagues, and rivals. And Kim certainly doesn’t want her new husband to get involved in the dirty dealings of the cartel. The two make a pact at the beginning of the episode to tell each other the truth, no matter what. Inherently, this will further complicate Jimmy’s relationship with Kim. Lalo is confident he can get it, meaning that Jimmy stays on the case and has to deal with further repercussions. ![]() But during the court hearing, the judge makes it clear he’ll only let Salamanca out on a $7 million bond. He tells her that he’s just going to do it anyway, pretends to give it his all, and apologize when he failed. And, initially, Jimmy is just this – admitting to her that he’d be representing someone from the cartel and knowing she’d disapprove. The episode starts out with the pair marrying in the presence of a judge, where Kim and Jimmy promise no more secrets and to be completely open with one another. But given the severity of his crimes – going under a fake name, no less – even the usually charismatic and confident Jimmy McGill doubts his client’s chances of success in that department.īut something else troubles Jimmy – his promises to Kim. Naturally, the grizzled Salamanca calls Saul to take on his case and get him released on bail. The slightly-psychotic but smart druglord – and Gus Fring’s rival – found himself in jail the last episode after Mike coerced a librarian to deliver a testimony via phone call to the police and planted evidence in their office. Title: Better Call Saul, Season 5 Episode 7 – “JMM”īetter Call Saul is delivering the dramatic goods as always, bringing Lalo ever closer to a showdown with rival Gus Fring. I’m a longtime photographer but an absolute beginner when it comes to post processing, though, so I’m not entirely sure what I’m after.DxO Nik Collection 4 brings major improvements to Silver Efex Pro (shown here) and Viveza, but there are workflow improvements across the board for Adobe users too. I feel like over time some of the most impressive black and white images I’ve seen have been processed with Silver Efex Pro, so I’ve always been interested in that one in particular. Alternatively, I had expected them to enhance FilmPack with Nik features. I had thought they'd have done more of that by now, but I guess the code bases are just too different. If DxO really wanted to sell me Nik, it should. On the other hand, FilmPack is fully integrated with PhotoLab, which I much prefer when I use Silver Efex, I have to send it a rendered TIFF (or JPEG), so if I later tweak something else in the raw conversion, I have to re-do the Silver Efex. Trying FilmPack's film stocks subjectively seems to me less useful / less helpful. Maybe FilmPack 5 Elite is more powerful.Īnd call me unimaginative, but I find trying Silver Efex's presets often a useful way to start, a way to get ideas about what I might or might not like. Nik Silver Efex has more controls, and more range of control, than FilmPack 5 Essential, which is the version I have (a give-away from DxO, maybe to existing customers, a year or two ago). ![]() Hat does Nik Silver Efex Pro do that can't be achieved with FilmPack Elite integrated into PhotoLab 3 Elite? I know FilmPack has more film emulations than Silver Efex Pro, but perhaps it or PL lacks some other features? If DxO really wanted to sell me Nik, it should have told me what extra it offered me, but it never has, so I reached the logical (but possibly incorrect) conclusion that Nik had nothing to offer someone who already had PhotoLab Elite and FilmPack Elite. Just curious (I don't have any personal interest in B&W), but what does Nik Silver Efex Pro do that can't be achieved with FilmPack Elite integrated into PhotoLab 3 Elite? I know FilmPack has more film emulations than Silver Efex Pro, but perhaps it or PL lacks some other features? The latter is more powerful / flexible, and also easier to experiment with and dial in. But IMO, FilmPack is no substitute for Nik Silver Efex. I'm also a long-term DxO user, and I even have the more limited ('Essential', I think) version of DxO FilmPack 5, so I can use it from within PhotoLab, which is nice. I use DxO FilmPack for those sort of effects, and that is fully integrated with PhotoLab. I'm a long term DxO user, but have never seen any point in getting Nik. Just curious, what Nik features interested you? Are the same or equivalent features available in FilmPack, or already part of PhotoLab? No, the only integration between them is via one-way file export. I thought the free trial version I messed around with did have it integrated, but I didn't get as much time with it as I had hoped, plus a couple of months have passed. In fact, it is built right in, so if you have an FP licence, its tools are available directly while editing a raw image in PhotoLab. ![]() DxO built the U-point technology into PhotoLab (that was what changed it from DxO Optics Pro), and that is fully integrated. It has never been integrated with the DxO products, other than by file export. Note that the Nik Collection was designed to complement the Adobe products. ![]() I’ll still buy PL, though, and maybe add the Nik Collection later. ![]() This has quickly become a hallmark of Codemasters’ less serious racers, having also appeared in Project CARS 3 earlier this year. ![]() Within individual events, you’re also tasked with completing objectives - say, trading paint with three cars, or staying in the lead for a certain distance. It's engaging enough for players of all stripes, without being so demanding that it’s off-putting to more casual players.ĭirt 5's handling is engaging enough for players of all stripes, without being so demanding that it’s off-putting to more casual players. A little bit more weightiness and road feel might have been nice, but this is still a very fun drive. Don’t expect the depth and nuance of the Dirt Rally games here cars in Dirt 5 are generally far easier to control, and you’re fighting with the course and other competitors far more than you’re struggling to wrangle your machine. You’ll want to follow the ruts and treads of the competitors ahead of you, as they tap into the deepest layer of the road surface for optimal grip.Īll of this adds some variability to the handling model, which is quite forgiving, all told. These conditions also have an effect on vehicle handling, meaning that when the snow begins to fall, changing direction and maintaining traction through the corners becomes more difficult. ![]() Dirt 5 does well to continue that legacy. Before Dirt 5, the folks at Codemasters Cheshire also gave us Onrush and Driveclub - two games with benchmark weather effects for the genre. An idyllic sunset might give way to an unexpected torrential downpour as night falls a blizzard might clear up, revealing the asphalt underneath the snow as the sun emerges and bakes the ground. Almost every campaign event in Dirt 5 ends in a completely different place from where it starts. If none of that sounded hardcore enough, you’ve also got a dynamic weather system to contend with this time around, which transforms races from beginning to end. Here’s where those Motorstorm cues - a title this very team worked on when it belonged to Sony many years ago - truly surface. This is perhaps best expressed in the game’s Stampede races and Path Finder time trials - races on routes that are extremely treacherous, with very rough and rocky terrain and absurd elevation changes. That encompasses everything from conventional rally cars to trucks, buggies and other vehicles designed for the most intense off-road racing imaginable. There are no pace notes or service area stops wheel-to-wheel racing is the focus. The majority of events, aside from the occasional Gymkhana excursion, take place alongside other competitors. While there are point-to-point stages on offer here, there’s no conventional rally. However, Dirt 5 throws a far more varied gamut of events at you than ever before. For the most part though, there's very little to do when you're not in the car. There's the occasional "Main Event" that's said to be a bigger deal than the rest, and a weak sponsorship dynamic to career progression. Dirt 5 pretty much just throws you into an events tree, and you progress through it at your will. |
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