"Black and Blue" is the fifth episode of the sixth season of Better Call Saul, the spin-off television series of Breaking Bad. Melissa Bernstein directed the episode written by Alison Tatlock. The episode aired on May 9, 2022, on AMC and AMC+. In several countries outside the United States and Canada, the episode premiered on Netflix the following day.

In the episode, Howard Hamlin catches on to Jimmy McGill's constant attempts at sabotage and challenges him to a boxing match. Also, Jimmy reemploys his former receptionist Francesca Liddy to work at his new law offices. Meanwhile, Lalo Salamanca travels to Germany to speak with Werner Ziegler's widow Margarethe.

"Black and Blue" was met with generally positive reviews from critics. Bernstein's direction, Tony Dalton's performance as Lalo, and the opening scene received praise. Several reviewers noted the series's patience and attention to detail to set up important plot points that would appear later in the season. An estimated 1.22 million viewers saw the episode during its first broadcast on AMC.

"Black and Blue" is the second episode of Better Call Saul directed by executive producer Melissa Bernstein after the fifth season's "JMM", which was also written by Alison Tatlock.^[3] The episode marks the return of Tina Parker as Francesca Liddy, not seen since her brief fourth season appearance.^{[4]: 19:20–20:08} The production team created the opening scene showing the manufacture of the acrylic gift for Werner by examining a video tutorial of the real process and then developing shots that simulated it. The song that plays over the sequence is Johannes Brahms's "In Stiller Nacht", performed by Pink Martini and The von Trapps.^[3]

Odenkirk and Fabian performed about 80 percent of the boxing sequence themselves. Production staff initially worked out the details with stunt coordinator Al Goto and fight coordinator Luis Moncada (who plays Marco Salamanca) knowing the limitations the actors would have. Odenkirk and Fabian were then trained on the appropriate moves for two to three weeks; Bernstein had been concerned that Odenkirk's training from his action film Nobody would impact his performance, but Odenkirk was able to hold back. The crew looked at a number of boxing rings, one of which was owned by Johnny Tapia, a former world champion boxer from Albuquerque, but those did not suit their needs. As a result, the sequence was shot on a boxing ring constructed under the supervision of production designer Denise Pizzini and set decorator Ashley Michelle Marsh. The boxing ring was placed in a studio instead of a gym because the crew wanted to give themselves the space to create overhead shots. The boxing sequence and the opening scene were shot simultaneously on nearby sets with different cameramen.^{[3][4]: 9:20–11:42; 41:02–42:25 [5][6]} The episode features the return of Lalo Salamanca, absent since the season premiere. The writers, wanting his arrival in Germany to be believable, discussed showing him taking a boat or using a fake passport to travel overseas but they decided against it, instead choosing to not show the character for several episodes to leave his mode of transportation open for interpretation.^[7]

The strip mall location of Jimmy's office had, since the end of Breaking Bad, been leased by a few sports bars and a saloon, but by the time Better Call Saul had been ready to shoot there, the property had become vacant.^[3] The floor and the walls were covered up by the art department to hide everything underneath them. Scenes set outside of the location were shot ahead of time during the production of the fourth episode.^{[4]: 25:03–26:40} The inclusion of the toilet in the vacant office was Vince Gilligan's idea, based on a thirty-year-old story where he and his friend were checking out an apartment in Richmond, Virginia. Inside, they noticed a toilet in the middle of the living room that had been used, which they thought was hilarious because the landlord refused to acknowledge its presence until they brought it up.^{[4]: 22:48–25:02} The scene in Gus's garage where Mike exits from the trunk of a vehicle was a continuous shot executed by fastening a camera to the garage door. The shot was engineered by Bernstein and her husband, a camera operator. The scenes at Margarethe's home were filmed at an Albuquerque house with exteriors and interiors the production crew felt looked reasonably European, while Werner's office was created on set. A wide time-lapse shot in the episode, where Margarethe leaves her home to board a tram-train, took months to create. Everything in the shot, except for Margarethe's house and the people, were visual effects added in during post-production by Rodeo FX.^{[4]: 49:58–52:24} The scenes taking place in the underground laboratory construction site were filmed weeks after the rest of "Black and Blue", because the crew had difficulty booking stage space for the set which, according to Bernstein, was an "extremely complicated set to put together".^[3]