An issue common to all of our LPET posters is that they think criticism means forbidding people from enjoying media in general. First of all, people are just as allowed to *dislike* things as they are permitted to enjoy them—you can’t trick them into changing their minds with your authoritarian meme posting. Second, I introduce this radical idea: you can still enjoy things while being critical of them—it can even lead to a greater appreciation of societal and historical context, and it can make you usefully wary of the role the shit forces of the world play in the media we consume. It can also help us maintain our political and social integrity while watching or reading or listening to whatever is offered to us. For example, my peacenik, anticapitalist proclivities may make me critical of many mainstream blockbusters, but they also afford me a greater appreciation of movies like ‘Office Space’ and Dolly Parton’s classic ‘9 to 5.’ Finally, though our LPET posters think otherwise, it is indeed possible to *like some things about a piece of media and dislike things about that same piece of media all at once*.

The film, now 20 years old, is probably the most famous art ever made by trans people. But its cultural legacy doesn’t end there.

But as much as he was teaching me about movies, Roger Ebert was also showing me how to write-- I became a student of clean and concise sentences that emphasized clarity and the right balance of humor, thoughtfulness, and accessibility, as well as how to shape my raw impressions into well-rounded opinions that cohered on the page into narratives. The idea that the most interesting part of a movie happens after you see it-- during the post-mortems you have with others and with yourself in your own head-- was something that carried over easily to the songs and albums I was discovering at the time.

What endures more, for me at least, is the pleasure of thinking about a work of art, arguing with myself over it, getting frustrated while going nowhere and then coming out of that mess with a slightly clearer sense of what I believe. Or maybe it’s a better context to put the work in. Or it could be as minor as solving the problem of striking the right tone to end a review in a way that captures exactly what I think with a bit of flair. The privilege of calling that your job is, to steal a phrase from Hamlet, devoutly to be wished.

what has made us all anxious about truth and accuracy in personal narrative is not so much the published memoirs that turn out to be false or exaggerated, which has often been the case, historically, but rather the unprecedented explosion of personal writing (and inaccuracy and falsehood) online, in Web sites and blogs and anonymous commentary—forums where there are no editors and fact-checkers and publishers to point an accusing finger at.

It’s scary how the Memo makes Sandler and Murphy whipping boys, simply to sustain true Hollywood vulgarity. It perpetuates the collapse of critical thinking. When Sandler-bashing (and I don’t just mean the ludicrous Razzies, ratified only by tabloid media) turns into excoriation, it is necessary to examine the media’s cowardice and prejudices. The Sandler Memo has reduced criticism to a profession of chain letters.

They're are distraught and stuck in a pre-maturity funk.

Not so much 'debunked', but this article calls out Krakauer on a number of conclusions and omissions from his book (and the subsequent movie). To summarize: the poison/moldy seeds theory doesn't hold water, and McCandless probably just simply starved to death. McCandless had money and a map with him on his final trek, but the book and movie omit this. Also, one of the final self-portrait photographs might have a clue as to the "injury" alluded to in his final note: one sleeve of his shirt looks armless.

Jim Carrey as a genius, the "representative jester of our time." "Carrey’s dream sequence of movies is a prophecy, a warning that this clanking ego-apparatus in which each of us walks around, this fissured, monumental self, half Job and half Bertie Wooster, cannot be sustained. Out of his own seemingly bottomless disquiet, Carrey writhes and reaches into the bottomless disquiet of his audience."