Categorization should not matter, mind you. Burnett’s performance, whether it’s more “guest” or “supporting” in your mind, is a subtle symphony of world-weary nuance, a characterization that simultaneously matches the spirit-draining black-and-white texture of the series’ Omaha interludes and ties in perfectly with one of the most colorful chapters in the life of Bob Odenkirk’s Jimmy McGill/Saul Goodman.
As a central figure in the crucial Sandpiper Crossing class-action suit, Jimmy built a reputation and client base as a Pied Piper for the geriatric set, a master manipulator capable of ingratiating himself to and steering senior citizens, of becoming the son or grandson most of them craved. In Marion, Jimmy — or “Gene Takavic,” if we’re being technical — saw another easy mark, a scooter-prone homebody accustomed to being disappointed by the manners and aspirations of her own son . The genius of Burnett’s performance is that she manages to fool both Gene and the audience at the same time.
She may not have been Saul Goodman’s main adversary through the duration of the series, but when it comes time for him to reach the end of his scamming journey, Marion is a tremendously satisfying bête noire. And when it comes to finding an adversary for Odenkirk, a sketch comedy genius redefining his career in dramatic terms, who better than titan of sketch comedy Burnett? Hopefully, she will not go overlooked in the tsunami of HBO ensembles.
This story first appeared in a June stand-alone issue of The Hollywood Reporter magazine. To receive the magazine,
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