[Water running]
What's up?
I was thinking that... [Water stops]
...maybe, you should talk to someone.
[Clears throat] Yeah?
Seehorn: For me, that scene was about grasping at straws.
There's only so many nights you can just eat Thai food
and watch TV and not pretend that Chuck killed himself.
Any relationship where you're close to someone
and you need to ask them to see a therapist,
that is an extraordinarily delicate situation.
It really shows just how worried and concerned Kim is.
A shrink?
Kim never says what it's for.
And since he's compartmentalized this thing,
he has no idea why she wants him to see a therapist.
Yeah. Okay.
Um...
Yeah. Well, thank you.
I'm not sure if Kim is completely satisfied
at the end of that first conversation,
but I think Kim also knows this is gonna take a while.
♪♪
Mike has a bottomless well of guilt and rage.
You need to be reminded how much Matty meant to Mike.
And to see Matty as a child,
writing his name in the wet cement
after Mike built the car port,
it's really heartbreaking
to remember that Mike did have this other life.
Anyone else?
Gould: He has the opportunity
to deal with his grief,
to share it with some other people,
and (bleep), he doesn't seem to deserve any kind of solace.
I don't know why I noticed it just then,
but...
I hadn't thought about Matty all morning.
When he hears Stacy admit that she didn't think
about Matty for a day,
that shakes him to his core.
Yeah, Mike doesn't hear that
"I didn't think about him for a few moments."
Mike just hear, "I didn't think about him.
That makes Mike feel more responsible
for the death of his son.
She always wanted to go to Sydney.
[Scoffs]
He's been coming in here for months,
selling you a bill of goods,
getting you all misty eyed, and loving every minute of it.
It's a big moment in the show because Mike seems to be
rejecting conventional life.
That grief group was a little much for me.
The walls hadn't been painted in a century
and bad lighting and old, rotten couches and...
No. Why would you want to go there?
♪♪
You gonna make a move, you better make it.
Mike and Gus both have very strong desires for revenge.
They form a relationship that the rest of us would be going,
"I'm not so sure that's a great idea."
But, ultimately, they're out for themselves.
This man doesn't care anymore.
He very well may have just cut himself off
from the two people
that mean anything to him in his life.
Esposito: Gus knows Mike owes him.
He also realizes that he needs Mike.
So he gives him a little leeway.
And Mike will, ultimately,
be one of the best right-hand men he has.
♪♪
Gould: Nacho is in an impossible position.
Nacho is working for the Salamancas.
But secretly, he's working for Gus Fring.
[Gunfire in distance]
Going into that hotel is probably
one of the hardest decisions for Nacho
that he's ever had to make.
♪♪
He's completely against the Salamancas'
chaotic way of aggression.
But he knows that in order to save his father,
he has no choice but to interfere.
It's a very tragic moment because it's like doing
the one thing you say you'll never do.
The deeper he goes,
the further away he becomes from his father.
♪♪
[Breathing heavily]
♪♪
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