1. It's been a while since we've seen a feature from BRENDAN KILEY, but here we are again, with another story about a drug dealer. Kiley has made something of a career out of defending people who have been accused of the buying and selling of drugs in long, overblown features. What do you think Kiley's endgame is here? Is he interested in putting the lie to the War on Drugs? Why not just come out and say this directly, then? Why just credulously reprint the stories of drug dealers that paint federal authorities in a bad light?

2. In the news section, newest Stranger staffer ANSEL HERZ proves he's in the running to become Brendan Kiley Jr. with his report on Waid's, a nightspot that has been perennially identified as a problem by authorities. Herz claims instead that Waid's is a victim of the nebulous terror that is gentrification. Between Kiley and his student Herz, who do you believe is the more credulous? After reading his first story as an official Stranger staffer, is there any hope, in your opinion, for Herz's career as a journalist?

3. BETHANY JEAN CLEMENT begins a piece in the chow section with a long paragraph about how terrible the restaurant's name is. She then pivots, in the saddest Shakespeare reference you'll likely ever see, with "what's in a name," before writing a mostly positive review. Why bother poisoning the well with several sentences about the awfulness of the restaurant's name when you could instead be talking about actual foodstuffs that actual diners could put into their actual mouths? Do you believe Ms. Clement would be able to identify the play from which she draws her Shakespeare reference without employing Google?

4. Which piece in the film section do you believe is most worthy of scorn?

a. CHARLES MUDEDE's turgid preview of the Langston Hughes African American Film Festival, in which he "reviews" a film solely on the merits of its trailer?

b. PAUL CONSTANT's brainlessly rhapsodic review of a documentary about a science fiction film that was never even completed?

c. DAVID SCHMADER's insipid (when not outright confusing) introduction to a festival of films created by children?

d. The piece by JEN GRAVES that begins "In the annals of ballet..." and which then goes on for several hundred words, uncaring that its reader has either fallen asleep or died of boredom? recommended