Get out as early as you can, / And don’t have any kids yourself.” Kim appears to have observed Larkin’s instructions, having fled Nebraska and shown no inclination to become a mother. The poem ends: “Man hands on misery to man.
Philip Larkin observed what parents tend to do to their children in This Be the Verse. The sparkle in her mum’s eyes afterwards is surely significant. Here we watched as the pair scammed a department store out of cheap jewellery. Second, there was the cold open, in which we got a taste of the dynamic between childhood Kim and her dysfunctional mother, something that has been shown only in small glimpses. Photograph: Greg Lewis/AMC/Sony Pictures Television Rhea Seehorn as Kim Wexler, with Christopher Kelly as her client in episode six, season six. Given how far that work has gone in defining who Kim Wexler is, it feels like a rejection of herself – all in one turn of a steering wheel. In turning home for D-Day, Kim is presumably ditching her meeting with the Jackson Mercer Foundation in Santa Fe she is rejecting the opportunity to secure a dream job, a combination of vocation and prestige she has always looked for in her work. There is something a little too reckless about Kim’s commitment to seeing through the Sandpiper scam, and not just because she thinks it’s cool to pull a U-ey across a central reservation. First, Peter Gould, the showrunner, teased that there would be a big cliffhanger at the end of next week’s episode, the last of the first half of the final season.
The reason why I fear that the twist in Kim’s story is about to be played out is twofold. At least, it feels that way – as though we are finally about to get answers to all the questions that have hung over Jimmy’s partner for so many series. “It happens today.” With those words, and a big screeching U-turn on the highway, Kim prepared to meet her fate.
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