Yeah, and also a broken metaphor.  His point was that blaming season 4 (which he didn't write and he also thinks was bad) on seeds of suckitude planted in season 3 (which he DID "write" and wishes had been better) is a particularly unpleasant thought because it means that 3 was SO bad it is RESPONSIBLE for the…

Such a shame.  "Thousands Are Sailing" and "Lorelei" are both classics. 

Yeah, I'm kinda there with you.  Though it would have been nice if the writers have realized that a large part of the audience AGREED with them that it was "about the characters" and instead of trying to "explain the Island" in the end, they should have just - hey, like the Breaking Bad team! — gone back, reviewed…

Why didn't the cartel come after Walt after he killed Gus?  Why didn't the Cartel seem interested in the massive meth market it had previously been heavily invested in just because the American liason changed?  Was there literally nobody left in Mexico gunning for Gus or otherwise interested in what Heisenberg was up…

Wow, next time someone tells me "All you have to do to get published in the New Yorker is shout 'semiotics!'" I will be able to respond, "No, that's what you do to get published in the AV Club."

Angel, Cheers and Sopranos.  Awesome all around.

That was an enjoyable deliberate callback.  And it worked on several levels — vengenance for Hank, and also a bit of "character development" for Walt, in that getting his money back is no longer an issue for him.  He's made peace with the fact that he's done all he can to get as much as he can to his kids — he's not…

The trunk DID open a bit more than would be realistic, but they also showed bullet-holes torn through the back side of the car, so in the end it hardly mattered.  The bullets went through the car AND the walls AND the Nazis.  That was one bad-ass machine gun.  (shut yo mouth!)

Saw it with my kids over the weekend, and it was surprisingly good.  Not as good as the first, and not a classic, perhaps, but certainly enjoyable.  It deserves at least a B.

Seventeen pages of comments already?  Sounds about right.

The Leslie plot didn't thrill me, but what they did with Andy, Tom and Ron was all excellent.  They (wisely) stepped back a bit with Ron last season, there were plenty of episodes in which he didn't have much to do.  This was a classic Ron story — he gets married efficiently and reasonably, ends up having to take his…

I know, I know.  CancerAIDS and all that.  But, really, from what I've seen, seeing those twenty minutes would not have altered my opinion.  Still, I'll watch it properly before I make up my mind.

To be honest, I don't understand the whole "heroes don't kill" thing.  I really don't.  The police kill.  Soldiers kill.  In a dangerous situation, facing a lethal threat who absolutely will a) kill you, and b) kill others who aren't involved in any of this, i.e. innocent bystanders, refusal to employ lethal force…

Yes.  That.  The fast dialogue, thick accents, and poor sound mixing really hurt.

Sooooooo disappointed.  Just… such a gap between what I hoped this would be and what it was.

Oh, and another thing — you don't have to plot everything out from the beginning to have a story tie together well in a neat little package.

Like the majority of the commentors here, I agree that the whole "it was all about the characters ALL ALONG!" was bullshit.  But I do sympathize with what the Lost crew was trying to say:  it never really WAS supposed to be about the island.

Yup.  Growing up in the 70's, I remember day camps would routinely screen Grease or put on a show roughly based on the movie.  And even as an 8 year-old I was like "WTF is this shit?"

A few quick comments that have probably already been addressed, but….

That's interesting, because I come to the opposite conclusion.  Walt was a lame crime boss, not because he had help, but because he so often REFUSED help.  Gus and Uncle Jack have been successful because they're plugged in.  They're networked, they have people who've got their back.  You can't just kill one of these…