#iirc he's had this for some time and just tailored it to fit over the years

[danielpowell]

Like yeah... these are two different energies. Could you imagine a world where we got a serious looking Reigen ?

[ganymedesclock]

Thank you for pointing out that it's really implausible for someone not a part of an official Fantasy(tm) government to have access to full plate armor and keep it maintained on their lonesome, I have this character who somehow Wanders The World and yet is also in full plate all the time? At least I can understand how to edit that idea. Shame video games lied to me on how much armor is too much or too little for travel.

Historically speaking, most figures we'd recognize as Knights In Shining Armor were people who could afford to maintain their own armor, sword, horse- usually landed nobles. 'Knight' is a class within a peerage, closer to a lord or lady than a servant. Similar story for historical samurai- they were privileged people who could afford a sword IIRC.

Another thing I try to think about is that armor is... impractical. Uncomfortable. It's not impossible to use or limiting your range of movement massively- they did an experiment where a historical reenactor in full plate ran an obstacle course against a soldier in modern field gear, I don't recall where but I remember seeing the footage, but the knight did favorably- but living in armor is an impractical, though not an impossible, decision.

You can easily lean into that- if your character is a vagrant wanderer in full plate, they had to have either come from or been employed at some point by money, or possibly had a chance to take really good armor off someone else. If they're living in their armor almost all the time, there's still probably parts they shed according to some routine or another, and what isn't regularly taken off and cleaned (or at least, y'know, scrubbed) will probably get stinky. A big oft-overlooked-in-fantasy part of armor is padding- just the metal layer will prevent cuts, but to actually have meaningful impact resistance against stabs, pierces, or bone-shattering impacts, one way or another a would-be knight is usually wearing several layers. While it's not the only option, a gambeson- a thick quilted coat- and over that a harness to attach and support the various armor pieces is very common. Armor is actually very logistics-heavy! Owning, maintaining, and wearing it is a big deal. That's not to say you can't ever depict a character who has armor but can't maintain it- but that could very well be an interesting point.

(I think about this a lot when I draw Prisoner from Dead Cells- he is the last person who can really afford armor, meaningfully, and he's also an emaciated person going through a lot of it- so I tend to draw his armor as dented, scratched up, extremely piecemeal per canon- he really only has one pauldron and maybe a breastplate depending- and literally tied on with strips of spare cloth, because he has no padding both in terms of his deeply unhealthy body weight and the unlikeliness this armor was ever tailored to him)

In the case of rpgverse, few of the core cast has much in the way of armor. Diana literally is an ex-knight; she used to be a marchioness (relatively big cheese; right below a duke), hence why it was a pretty big courtly betrayal when she joined Deimos, who kitted her out accordingly using basically magical artifice.

Diana's armor, when she regains the ability to summon it, is a bit unnaturally fitted to her figure. I designed it off of the articulations of an exoskeleton; you can see this most obviously in where it secures to her neck. Being made of an unnatural, highly flexible quasi-organic material gives it advantages in that regard- these plates can slide over each other to articulate without scratching each other to hell and back. I've also been careful to keep the spikes on her pauldrons short and flared outwards, so she can do things like raise her arms over her head without poking herself.

Even then, she's definitely going to be dispelling it (sometimes, even the left-hand gauntlet that holds her prosthetic shadow-arm in place and forces it to work more like a conventional appendage) when not needed.

Depending on how committed you are to your knight character, anon, there's plenty of fun worldbuilding or lorebuilding options you could use to still capture the image you like. I think that practical concerns and knowledge shouldn't preclude imagination in fantasy writing, but help you hone it down- have a sense of what it means if your character is always wearing armor. Diana's armor symbolizes a lot of things to her- her former status, service she both is and isn't proud of, but also her own ability to face opposition head-on. It means a lot to her, and as the drawing makes pretty clear I think, her mental health drastically improves when she's able to reforge her own connection with darkness and regain its use.

[ofravensandgenesis]

The Investment of an Antagonist - Part One

Entry 04. [Trigger warning content: post contains discussion of Far Cry 5 details including cannibalism, graphic violence, brainwashing, torture, child abuse mention, neglect, mentioned fatalistic/suicidal character pov, dark backstories, etc. Spoilers naturally. Part 01 of 03.] [Link to part two here.] [Link to part three here.] I was cooking dinner and had the sudden EUREKA moment of trying to figure out what exactly I want with regards to an antagonist for an original fic setting. Originally I was going to have a general state of conflict between two nations/city-states/etc on a larger, more impersonal scale, but that didn’t do anything to really interest me in that level of conflict. So I was thinking on why Far Cry 5′s villains and the conflict interests me so, and the eureka moment was realizing that they as villains have a personal stake in all this, and go about it in ways that are reflective of their stories. Specifically for the Seeds, it has me realizing it’s more interesting to me when the villain is acting due to personal motivations of an emotional nature and/or relating to their belief system, and in ways that compliment those internal motivations that can build out into or off of their backstories and other areas of the tale.

Like, it’s more than just a universally formulaic method of brainwashing for all of the people they kidnap during the Reaping (and before it, since it’s a cult and that means there’s a process of indoctrination, ie brainwashing.) All of the Heralds have their specific manner of doing so, and said methods are tailored to the particulars of each Herald’s backstory as is revealed to us.

— Jacob —

Jacob starves the Deputy and other “recruits,” exposes them to the elements, doesn’t give them enough water, keeps them near hungry and dangerous animals (pre-Judge wolves and Judges it seems.) He then gives them a bowl of raw meat that one can read as implied to be human flesh, particularly if Pratt’s anecdote about going hunting in what ends up being not-a-dream from online sources is taken into consideration, as mentioned in a previous writing-about-writing post. Link here to the audio, (credit and thanks to hopecountyradio,) transcription below: “I had a dream once that Jacob took me on a hunt. We shot some deer and he asked me to skin 'em. As I was cuttin’ ‘em open they changed. It wasn’t deer. I...I don’t think it was a dream.”

Obviously one can make some assumptions of Whitetail Militia imagery being used here, particularly given that one of the slides on the projector screens during the Trials includes a picture of Eli with antlers iirc (that may be only during the later trials or the last one, I am uncertain.) Ties right into the whole “the weak must be culled,” and “you are meat,” slogans Jacob’s got all over the place. The “only you” slogans and graffiti could also serve to foster the loneliness and isolation aspect of making the choice “to make the sacrifice” ie, the symbolic choice of killing Miller, or his surrogate equivalent in the case of everyone else that Jacob puts through his trials. I haven’t seen a lot regarding Miller’s ties to Jacob from in-game content but I could have missed something easily. The wiki labels Miller as Jacob’s friend, though I wish we had more detail on that. Most certainly, Miller was a member of Jacob’s unit, which based off of some reading and browsing on the internet, should still be a pretty close tie whether or not they were friends. The following speculation is based on my own interpretations of the matter and I have no history of serving in the Armed Forces, so if I’m mistaken or such feel free to drop me a line to let me know. Continuing: even if they theoretically hated each other’s guts, they were still a part of the unit, a part of the Army. That means they and their other brothers-in-arms lived together and fought together. They ate as a group, slept as a group, watched each others’ backs while on watch or during a firefight, fought along side each other, and did their best to keep each other alive while fulfilling the mission objective, working together as individuals brought together in a cohesive unit that also was a part of the whole. They all knew they had each others’ backs and that the others did the same for them in turn. Shifting between life-or-death situations and more peaceful times, it creates a bond and social structure that is very unlike most common, modern civilian social structures. There certainly at least seems to be a bit of culture shock in the US between the two environs, and Jacob seems to have experienced that, based on what we hear of his backstory in The Book of Joseph of having little to no support once back in civilian life (ie: deeply traumatized and staying in veteran hospitals until he ran out of money and ended up in homeless shelters) after being discharged from the Army. In the Armed Forces it’s about the group, rather than the individual. Imagine having that, knowing that, after being through all that Jacob has potentially been through. To have brothers in arms if not by blood by his side who he protects, who also protect him against the hostility of the world they’re fighting against. This is not to ding Joseph or John as characters by the way, all three of them were children at that point and shouldn’t have had to deal with any of that. Jacob loses what ties of family he holds dear with his blood brothers once he’s put into Juvie, perhaps makes friends there but is likely on his own once he’s out again, with very poor prospects given his history, and then he enlists. He’s alone and without support before he joins the military, and then suddenly he’s in an environment where there IS a form of support, and it’s predictable and structured down to the last bootlace (note: that’s a very broad statement and does not include variance and personal experiences, nor possible issues with potential power abuse or other flaws that might arise in such group structures.) Imagine Jacob being in the Army long enough to get used to that, to enjoy that aspect of it all, to share the camaraderie of bitching about the heat of the sun, sand in their socks, and getting yet another package of their least favorite MRE while trying to wheedle a trade with someone else for something better. Imagine him doing that with Miller, knowing how the other man likes the sugar cookie desserts in one MRE package and hates how the chocolate bars melt from the desert heat in another. Knowing what each others’ tells and bluffs are from playing poker on their down time while on a tour. Swapping stories about home...and noticing who doesn’t want to talk about the life they had before enlisting. Talking about the things they miss, the people they miss. Knowing who snores, who’s a light sleeper, all those things you learn when you’re in close proximity to a person for perhaps up to two years or so depending on deployment length. It could also be they’ve been deployed together more than once, as Jacob certainly went out on multiple tours per The Book of Joseph once again. Imagine Jacob knowing all of that and more about Miller. Then, day after day after day of being lost in the desert, with starvation eating away at their rationality, that hollow pain in their guts as their bodies start burning through their own cells and reserves to try to stay alive, running out of water and having to take chances with any drinking source they can find in the environment and having to expend precious energy to try or die early from dehydration, probably not sleeping well from the hunger, exhaustion, stress, possible enemy presence, dangerous wildlife... The brain starts shutting down real quick once we don’t have the resources it needs to run optimally. Some faster than others, but in Jacob and Miller’s case, their ordeal is definitely long enough to put them into that mindset of feeling that primal fear of a slow death by famine, weakness, scarcity. The psychological toll would have been heavy without a doubt, and that might’ve been compounded by experiences in Jacob’s childhood if his parents were not dutiful in buying food more regularly, which easily could be the case. Old Mad Seed needs more whiskey this month to fuel his raging, drunken fits of spewing biblical verses in a tyrannical fashion? There goes the money for the last few days of food. Easily could be how Jacob got into stealing candy (and likely also food in that case) for himself and his brothers. So Jacob would have a good idea of some of what’s coming down the pipe in that case. He knows how long the trip is, can reckon how fast the two can travel. Maybe he starts out hopeful in a grim way to start... ...but over time as things get more and more desperate (and it could be a familiar desperation he’s felt before as a kid going hungry, only worse,) “And I looked at Miller and I could tell we were as good as dead. And I accepted that. And in that acceptance...came clarity.” That clarity could very well be that Jacob decided that morality was futile if it meant you didn’t survive, which could very well be a very world-breaking revelation for him, since he is mentioned in his backstory to have had a praiseworthy sense of honor among other things. Certainly is potentially spirit breaking to go from being the older brother, the brother-in-arms who relied on and was relied on, who was trusted, to being a betrayer of that trust. A Judas, one could say, as he calls Pratt in his video after Pratt has helped the Deputy escape. And what does Jacob make the Deputy become, in relation to Eli? Eli, the man the Deputy was rescued by, was aided by, has been working alongside this entire time. Eli, who trusts and relies on the Deputy. Eli, who it could be said betrayed Jacob’s friendship with him by choosing not to hand over the Whitetail Militia and join Eden’s Gate (from Jacob’s perspective, based on his final fight dialogue.) “Hey. Only you could have gotten this close. Only you could have earned his trust. It was always only ever you. Good work. You did it. You passed your test. You made your sacrifice. But now...you’re alone. And you’re weak. And we know what happens to the weak.” That might seem contradictory at first, since in theory making the sacrifice should make one “strong” by Jacob’s line of reasoning, one might think. But the Deputy is a “traitor” now—to the Whitetail Militia by brainwashing (temporarily as we the audience know, pending Jacob’s death,) and to Jacob by choice, if one takes the following lines from Jacob into consideration: “You’ve forgotten your purpose, Deputy. You were on the path of the Chosen but now you’ve strayed. Fear did this to you, but don’t worry, I can help with that. I can remove your fear and give you strength. It’s not too late. Come back to me. Remember your purpose.” ”Deputy, know that I still have hope for you, but if you continue to support Eli and his merry band of cowards, that hope will cease to exist. Your judgement is cloudy because your mind is weak, but I have confidence you’ll make the right choice in the end. If not—you’ll all pay in blood.” Link to the audio for the above two lines here (credit and appreciation to hopecountyradio once more.) As with the other Seeds, Jacob starts out trying to persuade the Deputy to “see the light” and join the Project, but as with all of them, as the resistance meter rises and we draw closer to the final confrontation with him, he and the others abandon that idea in favor of trying to end the Deputy instead. So in this possible interpretation, it could be that Jacob views both the Deputy and Eli as traitors both. However...the two situations while both likely quite weighty with the Deputy being “the chosen one” to kick off the Collapse (or a herald of the Collapse if one wants to be cute with wording,) and Eli being an ex-good-friend or perhaps even ex-best-friend of Jacob’s, are potentially vastly different in emotional weight to Jacob. The Deputy is all tied up with this Collapse business, and while Jacob isn’t sure if Joseph talks to God, he does support him, what with being a Herald in the cult and all that. It involves the fate of the family, and in particular, Jacob’s family—his brothers and sister. Eli, however, Jacob has known for a while, likely years, back during the construction of the bunkers which Eli helped with, possibly and likely before then. I personally lean towards interpreting that as they struck up the beginning of a friendship, and Jacob hired Eli and his crew to help with the construction of the cult’s bunkers. Where they had their falling out is less clear as far as I’m aware. It could be it was during or after construction that Eli got a bad feeling about all of this Eden’s Gate business, or perhaps even as late as the beginning of the Reaping if that’s when Jacob gave Eli the “chance” to hand over his Whitetail Militia members, as mentioned in his final boss battle red-bliss section. That could’ve been the breaking point for Jacob and Eli, and if Jacob was expecting Eli to side with him due to friendship and perhaps some shared beliefs...perhaps Jacob took that...poorly. And by poorly I mean went full out on revenge of having Eli killed by betrayal of someone he’d chosen to trust—someone that Jacob had already gotten his hooks into. Someone Eli needed, in this fight against Jacob. Someone like the Deputy. The Deputy, who’s been put through starvation, exposure, and ingrained through conditioning and likely a liberal use of Bliss to facilitate said conditioning, to hunt. To train. To kill. To sacrifice. “You take away a man’s basic needs, and he will revert to his primordial instinct in just ten days.” [Chuckles.] “Ah, that’s a difficult thing to understand unless you’ve lived it...” This is what Jacob is putting the “recruits” and the Deputy through—his revelation. His experience. His choice. In the end as Jacob succumbs to his injuries, he is weak, he is dying, and he knows it, looking at the Deputy in his final scene. This time, he is the one who is sacrificed, by the Deputy, and in Jacob’s eyes by Joseph, to either try to end the chaos spread across the county, or to break a seal respectively. Jacob’s death is a means to an end—as Miller’s was. And Jacob “accepts that,” as he puts it. Does he accept it because now he’s betrayed the trust and faith of potentially two people he might’ve been close to? Miller, and then Eli? Is Jacob conditioning the Deputy during that red-bliss sequence of his boss fight to kill Jacob, based on how there are bliss-hallucinations of Jacob to shoot while destroying the beacons? There’s the generic Whitetail fighter, Judges, and Jacob himself scattered across the landscape before ending that sequence as far as I’m aware. Both Jacob and the Whitetail fighter present could be interpreted in this line of thinking as echoing the supposed betrayal of both sides and being “alone” against the world in a nightmarish fashion while Jacob potentially tries to break the Deputy through talking and said nightmare. The way Jacob talks though...is he strictly speaking to us, or is the Deputy actually a mirror as it were, with the things Jacob says being applicable to himself? “Don’t you find it ironic that everyone you try to help ends up worse off? Eli...Pratt...Tragedy just follows you. If you really wanted to keep people safe, be a hero...you’d just off yourself. Safer for everyone that way.” Is Jacob REALLY talking to us, or to himself through a medium? Through a glass darkly, as it were. He “tried” to “help” Eli and Pratt, in his twisted fashion, by trying to get Eli previously to join the Project and to make Pratt strong enough via brainwashing to also join the Project, which in Jacob’s perspective if he’s following his and Joseph’s dogma, is the only way to survive the Collapse. But Jacob has failed, repeatedly, to protect the people he held dear—his family. His friends. He’s become the threat they need protecting from. He has irrevocably perhaps proven to himself that under the right circumstances? He’s willing to betray people he holds dear for his own survival. Would he betray his family? That is the question, isn’t it. Perhaps Jacob fears finding out. Maybe he fears, that under the right circumstances, he would. Maybe that’s why he goes so willingly to be Joseph’s sacrifice, in part. Maybe having orchestrated Eli’s death, the death of yet one more person whom he was once friends with, yet one more person Jacob himself has betrayed, maybe Jacob doesn’t want to continue either. Maybe that’s the last straw, the nail in the coffin of underlying beliefs that Jacob is inherently not someone who can be fully trusted. Maybe he genuinely thought Eli would join him if given the chance. Maybe Jacob was still hollow and brittle as hell from the first time he’d killed a friend, when he killed Miller. All the Seeds bear the weight of their pasts heavily, and Jacob’s no exception. Jacob survived the first time, barely. He survived the second time, but not by long. He starts talking about his potential death at the Deputy’s hands quite early on during the red-bliss segment. Neither John nor Faith nor Joseph to my knowledge do so. Maybe he was waiting for the Deputy to be strong enough to finish what no one else could. Maybe that was what he wanted. “There’s no “win” for you here. It all ends bloody. For everyone. You die now, or you die later. It’s up to you. But either way? You won’t die a hero.” Perhaps that line from Jacob also is one of the things he fears most—dying without purpose. Dying being not a hero, a person who’s done good for others, but rather the opposite. Ironically so, given that he and his family are all in the torture and brainwashing business, but Jacob in particular gave up on being a good person a long time ago, I think, even by the cult’s standards. [Link to part two here.] [Link to part three here.]

[enbouton]

Better Call Saul Rewatch, Part 4/30: Upon This Rock I Will Build My Church

Hero (Season 1, Episode 4)

Written by Gennifer Hutchison / Directed by Colin Bucksey

This episode deals largely with identities. Jimmy is Saul Goodman, he’s Slippin’ Jimmy, he’s Howard Hamlin, he’s his own receptionist on the phone, he’s Tony Curtis in the bath scene in Spartacus, he’s a local lawyer and a local hero. It’s fitting that we open with a flashback showing young Jimmy using the name “Saul” for the very first time, and just as fitting that it’s done without fanfare: it’s tossed out as a half-joke. “S’all good, man!” Jimmy, in a garish, slithery-looking striped shirt, leads his mark down the alley where his partner in crime awaits. The unhurried pace of this sequence is very effective, suiting the stillness of nighttime Cicero and the low-key nature of Jimmy and Marco’s con.

The flashbacks on this show (with the exception of the corner-store one) all take place at night or in dimly lit rooms; here’s some good meta that touches on how Jimmy thrives in darkness. Is it significant that the first Slippin’ Jimmy con we see is one that wouldn’t work on an honest person? Jimmy needs a mark who’s willing to make off with the "Rolex”, thinking he’s got one over on the rube who settled for $1,580 in cash.

Afterwards, Marco is radiant with admiration for Jimmy— “I love watching you work”— but Jimmy says his talents are good for beer money, and that’s about all. Again: what would have happened to this guy if he hadn’t had to leave Cicero? This is not the face of a man who’s happy with where he is in life:

(It is the face of a man who’s being "haunted by the ghost of vladimir lenin” (@deadpanwalking), but I digress.)

Back in the present, Craig and Betsy stand over a pile of money and stress that what they did was “for the kids” (sound familiar?). In substance if not style, Jimmy’s pitch to the Kettlemans bears more than a little resemblance to Kim’s pitch to Mesa Verde: “What are you gonna get from me that you won’t get from those other guys? Passion. Commitment ... If you’re with me, you’re my number one client, morning, noon or night. You call me, I’m there. I would be singularly devoted to you.” But Betsy isn’t swayed: “You’re the kind of lawyer guilty people hire.” Ouch. Exhausted and beaten down, Jimmy takes their bribe.

Nacho, now released, surmises that Jimmy tipped off the Kettlemans. I like that Nacho is as smart as Jimmy. I like that the show generally surrounds Jimmy with people who are as smart as he is. Jimmy counters that Nacho didn’t need any help making himself look suspicious, and Nacho stalks off.

As Jimmy launders his money, assigning stacks of cash to “consulting fees”, “research” and “travel expenses”, he constructs yet another alternate self, this one belonging to a narrative in which he worked for the Kettlemans.

We see Jimmy getting measured for an expensive, conservative suit, yet when the tailor steps out of the room, something wonderful happens:

#it’s like watching a baby being born #a really tacky baby

But Jimmy isn’t just using his windfall to smarten up; he’s playing a long con involving a billboard exactly mimicking one of Howard Hamlin’s, ringlets and all.

Small brain: using your ill-gotten seed money to advertise your business

Galaxy brain: dressing up as your enemy, buying a provocative billboard that you know you'll be forced to take down, hiring a film crew, then bribing a worker to fall off the billboard so that you’ll get on the local news for rescuing him

“He’s… you know, a free spirit,” Kim says, having been dragged out of the office to look at it. She demurs when asked if she and Jimmy are still friends, which, tbh, is fair enough, given how Jimmy behaves around Hamlin (we’ll get into that later). There’s lots to think about with Jimmy literally dressing up as Hamlin, recreating his look down to the smallest detail. Once again he’s taking on another persona, albeit just to achieve a short-term goal. “What kind of lawyer are you going to be?” Kim will ask him in season 2. It’s a question Jimmy seems to keep asking himself.

In the midst of Jimmy and Hamlin’s clash, we get an early glimpse at the tightrope Kim is expected to walk at HHM. She shouldn’t feel the need to lie about who her friends are in order to stay in her boss’ good graces, yet she does, and later on she breaks off a friendly conversation with Jimmy to hand over a cease & desist letter. With Kim, BCS dodges the “successful woman has to choose between career and relationship” trope in favour of something much more interesting, a woman facing uncertainty and unfairness in both spheres. Kim’s relationship with Jimmy isn’t even the main reason she’s treated unfairly at work, and her allegiance to HHM isn’t what’s keeping her and Jimmy apart.

The billboard comes down, but not before Jimmy has himself filmed in front of it, first speaking to camera about the injustice he’s faced, then racing up a ladder to rescue the worker whom he bribed to take a fall. It’s fascinating to watch how Jimmy tells his story here. He hits all the right beats— patriotism, bootstraps, public service, the dream of owning one’s own business— and casts himself as the all-American underdog who “scrimped and saved” to buy a billboard only to have it snatched away from him. We’ll see Jimmy employ a lot of these tropes in his advertising later on; this is his skill at face-to-face communication writ large, but the foundation of the billboard con is his ability to create situations that he can manipulate to his advantage.

When Jimmy drags the worker back up onto the walkway and the two slap hands, we finally see his angle. Watching him on the news in the HHM boardroom, Howard mutters “whole thing’s a damn stunt” and walks off. Kim gives a little smile.

The one part of the situation that Jimmy can’t control is his brother. He has the foresight to keep the newspaper from him, but he can’t account for Chuck’s pedantic attention to detail. Of course Chuck will wonder why his newspaper wasn’t delivered; of course he’ll look outside and see that all his neighbours have theirs; of course he’ll deduce that there’s something in the paper that Jimmy doesn’t want him to see, and cross-reference this against what Jimmy told him about a sudden change in his fortune; and this, perhaps combined with the urgent care receipt that fell out of Jimmy’s pocket a few weeks prior, will concern him enough that he’s compelled to go outside.

The show has already tipped its hand re: the true cause of Chuck’s symptoms, but that’s almost beside the point here: what matters is that they are real and debilitating. As soon as he steps outside, he’s overwhelmed, his senses are deranged, and he nearly runs into the path of a car in his haste to get across the road. The chaotic, visceral sequence ends with a blackly comic cut to his neighbour’s perspective. From the outside, this proud, suffering man is just a crazy guy in a space blanket, scurrying back to his door.

Misc.

“You assume that criminals are gonna be smarter than they are,” Jimmy muses to Mike. “I don’t know. Kinda breaks my heart a little.”

IIRC, the billboard, which went up for filming in Albuquerque in 2014, was how we all found out Saul’s original first name.

A wall of glass blocks appears prominently behind Jimmy and his mark as they walk down the alley. Marco’s fake ID, in the name of Henry Gondorff, bears an issue date of July 1991.

What we see of Kim’s office is devoid of personal items, except for a pair of sensible sneakers on the floor.

Timeframe: this episode picks up right where “Nacho” left off and covers a period of about two weeks. The Albuquerque Journal is dated June 20, 2002; Chuck’s copies of the New York Times and Wall Street Journal bear cover stories that were published on June 19th or 20th (they are “Israel Acts to Seize Arab Land After Blast; Bush Delays Talk” and ”Unhappy Returns: IRS Moves to Bring Back Random Audits”).

Music

“Smoke on the Water” by Deep Purple (1972), sung by Marco

“Listen” by Chicago (1969), as Marco and Jimmy smoke

“Battle Hymn of the Republic” by Herbie Mann (1969), as Jimmy launders his money. Saul plays a different version of this song in his waiting room in Breaking Bad.

“Unsquare Dance” by the Dave Brubeck Quartet (1961), as Jimmy calls the media

References

Young Jimmy offers to take his mark to a place “a couple blocks off Cermak”. He’s referring to Cermak Road, a major east-west thoroughfare that runs through Cicero, neighbouring Berwyn, and parts of southern and western Chicago.

“Super 170 Tasmanian wool”: the “Super” number corresponds to the diameter of the wool fibres; the higher the number, the finer (and more expensive) the cloth. 170s wool suiting is very fine, soft and lightweight. More info here.

Sea Island cotton: a variety of extra long staple cotton historically grown in the Caribbean and named after the area of South Carolina:

“Sea Island cotton is the ultimate choice for any suiting connoisseur due to its unrivaled softness and second skin-like feel. This ancient fibre is now grown mainly in the paradise climates of Barbados, Antigua and Jamaica; its inherent long staple yarns create a silky yet strong surface, resisting wear while smoothing over time. Extremely scarce, it makes up just 0.0004% of longer staple yarn production.“ (Turnbull & Asser, where you can buy a Sea Island cotton shirt for £345/$456)

French cuffs: double cuffs that are folded back and fastened with cufflinks; a very formal style

Club collar: a white collar with rounded points, created by alumni of Eton College who wanted their dress to indicate that they belonged to that exclusive “club”. All in all, the elements of Hamlin’s signature look connote wealth and sophistication in a formal, conservative way.

Jimmy refers to Tony Curtis’ appearance in a particular scene in the 1960 epic Spartacus. It’s worth noting that the scene, which features two men bathing together and some heavy innuendo about “snails” and “oysters”, was considered so homoerotic that it was cut entirely by the censors and only restored to the film in 1991 (source). You can watch part of the scene here.

Kim invites Jimmy to a screening of The Thing (1982), a horror film about a group of researchers in Antarctica encountering a parasitic alien entity.

While talking to reporters, Jimmy mentions Bob Woodward and Carl Bernstein, investigative journalists who covered the Watergate scandal.

The Groucho Marx mirror routine Howard refers to is this scene from Duck Soup (1933).

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