The Best New TV Shows & Movies This Week: 'Curb Your Enthusiasm,' 'Better Call Saul,' and More

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Where to Watch: HBO Now

Every week during Season 10, I was hoping that Larry could stick the landing—don't get pissed at me, I lived through Season 9. That said, it was awesome to see the Season 10 finale—which also marked the series' 100th episode—perfectly encapsulate the dope storytelling David has been crafting all season long. Bringing two of this season's biggest Larry haters together to get a major comeuppance on him was great for the story (although I wish Larry had gotten over on them), and with that packed into an episode that featured cameo spite appearances from Jonah Hill, Mila Kunis, and Sean Penn, and interracial couple arguing over the complexion of their unborn child, and a fiery ending to the Latte Larry spite store, this is genius-level work from Larry David. Hopefully he has plans for what an 11th season of Curb would look like, if we ever get to that point. —khal

Where to Watch: HBO Now

In case anyone is feeling the need to get into a dark new series about fascism as we’re in the midst of a global pandemic, The Plot Against America is a decent starting point. While the novel was published in 2004, it’s almost certain that its HBO adaption would not exist had it not been for the 2016 election. Only two episodes in, and the show’s message is clear—it wants to show us how failing to take a person seriously can have dangerous consequences. The episode follows election night and the foreboding feeling of dread isn’t completely tied to its inevitable outcome of Lindberg winning. It’s also a painful remembrance of the night of November 8, 2016. It’s almost impossible to not only draw comparisons to our current world but also connect the behaviors of each character as well. 

We see each of the characters having their own private conflicts with Lindbergh’s ascension. Herman is the most stubborn, as he staunchly listens to radio programs that support his own personal views of Lindbergh. He even brings up Lindbergh’s past crash landings as a way to put a stop to the quiet admiration that his sons have for him. We see Sandy, the older son, jumping on top of cars to get a glimpse of Lindbergh at an airport with an untroubled feeling of admiration for the man. Phil, on the other hand, is troubled with the possibility that their family is not “upper class,” given the size of their house and lack of a yard. Alvin tries to create some direction for himself and works as a driver for the morally questionable Abe Steinheim. Herman touts Steinheim as a man of influence in the Jewish community and is more willing to overlook the man’s dirtier characteristics. Alvin, on the other hand, cannot do the same and eventually walks out on the job, shouting a good old “go fuck yourself” to his boss.

Out of everyone in the family, Bess is the first to see the reality of Lindbergh’s influence. After getting a job at a department store, she helps two swanky female customers with Lindbergh pins on their fur coats. While they don’t know that she’s Jewish, Bess still feels a palpable discomfort knowing that she has to hide her identity for her own safety. She’s also dealing with Evelyn’s unsettling new relationship with the Rabbi Bengelsdorf. He takes Evelyn out to nice dinners, charms her with his Southern drawl, and tries to hire her as his assistant. Their relationship worries Bess but Evelyn assures him that he’s a good man—rabbi!—and this was as good as she’s going to get at this point in her life. 

The major turning point of the episode was Rabbi Bengelsdorf’s fervent endorsement of Lindbergh. The Levin family listens to his speech on the radio as dread and anger fill the household. While Herman scoffs at the rabbi’s speech, Alvin angrily explains to his uncle that this isn’t something to ignore. To him, the rabbi’s endorsement means that Americans can vote for Lindbergh and not feel bad about themselves or consider themselves Anti-Semitic. In the last moments of the episode, we see the voters turning out on election night and we know that Alvin is right. They announce Lindergh’s win as he proclaims that “we’ve taken back America” in his victory speech, rhetoric that’s once again all too familiar to us. 

With the major premise now established, we’ll see the alternate version of an America democracy being threatened. It seems like a tight timeline to pack such dense material, but it’ll be interesting to see how the creators will try to mirror our post-2016 world in the remaining episodes. I have a feeling we’ll find more similarities than we care to admit. —Andie Park

Where to Watch: AMC

For those who really love Better Call Saul, one of the joys of watching the show has to be how the relationship between Kim (Rhea Seehorn) and Jimmy (Bob Odenkirk) has grown and evolved over the course of several seasons. Complex, layered, and decidedly real, Jimmy and Kim’s genuine love and addiction for one another has been so wonderful to behold—yet tragic, too. We know that at some point or another as Jimmy inches ever closer to becoming the Saul Goodman we see in Breaking Bad, that the relationship will these two no longer be able to sustain itself. And therein lies the tragedy of Saul—as it was only a matter of time before the melancholy lingering over the edges of the show finally came home to roost. 

And on this week’s episode—the appropriately named “Wexler v. Goodman”—it finally did. Well, sort of.

Even though it only aired on Monday, “Wexler v. Goodman” already feels like it’s going to be one of those seminal episodes of the Gilligan ABQ universe, placing it alongside other legendary episodes like Breaking Bad’s “Fly” or “Ozymandias.” I’m hesitant to dive deep into spoilers about the episode’s bombshell of a cliff-hanger, but it’s a moment that yielded a true rollercoaster of emotions and had me audibly yelling at my screener by the time it was all said and done.

Without spoiling specifics, the show put us right at the precipice of this emotional moment we’ve known was coming for a long, long time...only to pull out of the tailspin at the absolute last moment in the most perfect way. It’s not an overreaction to call this a game-changing moment for Saul, one that sets up character-arcs in such a bold new way. And it all fits with how we’ve seen Jimmy and Kim interact with one another all these years, creating a perfect harmony between story and characters. Rhea Seehorn has another masterful performance here; Kim spends so much of her time being perfectly precise that when she winds up and cracks—as she does here—it’s a thrill to watch it all come spiraling out, even if it’s emotionally devastating to behold.

On the Gus (Giancarlo Esposito) and Mike (Jonathan Banks) side of things, I’ll admit I felt like this side of the story had been feeling a little inert as of late. However, “Wexler v. Goodman” goes to great lengths to push their tale forward in a really meaningful way. With the relationship between Gus and Mike on a much stronger foundation, the whole cartel plot comes to life in a crackling new way as the machinations to deal with the Lalo (Tony Dalton) problem reenergize plots on that end. 

But the star of this episode is the Kim and Jimmy dynamic. The ripples of the decision made here will cascade out for the remainder of the series. And while we didn’t fully get the Thelma and Louise moment I thought we’d get, it’s only because there’s more road left before the cliff. But make no mistake, it’s still coming. And “Wexler v. Goodman” ensures that plunge is going to be even more crushing than it was before. —William Goodman