avclub-e0db7008374be18254b48117dcfc5d29--disqus
Alex Haslett
avclub-e0db7008374be18254b48117dcfc5d29--disqus

Well, I do strive for excellence—if I'm able to draw false equivalence better than Fox News and everyone else you've ever encountered on the internet or otherwise, then hell yeah! I'm putting that on my resume.

Perhaps we just share inverse standards for what constitutes good storytelling—I am of the opinion that didacticism, if not flawlessly executed, will most often doom stories by turning them preachy. You're right to identify the plot of Breaking Bad as its strongest point, though I don't quite grasp how you can label

Uh, no. You're wrong. Particularly in bringing The Wire into this as if it is truly superior. The first season of The Wire is as close to perfect as any season of television ever, but the subsequent four seasons, as good as they are, get bogged down and lost by their own desire to address other issues. It's certainly

I'm sure some of my fellow Ebert loyalists may take issue with me saying so, but: Donna, as I read through this, I couldn't help but double- and triple-check that it wasn't the man himself who wrote it. There is a level of thoughtful and meta-cinematic insight in your writing that I was afraid might be lost to this

Speaking as a writer of stories in various forms, I have a huge issue with the new episodes, though not so much with the animation as with the writing. Part of what was so compelling about the first season and about A:tLA was that each character had a reasonable amount of autonomy and the story that surrounded them