Sublime

It seems that their audience is not those who are closest to being able to answer their critiques (i.e., people working in the industry), but instead others who are jockeying for position within what might be termed the “Critique Economy”, a largely discursive and academic mini-industry that seems to have consumed too much of the left’s energy of l

Sometimes, on projects, film critics have real jobs and their criticism is more or less a hobby. Other times, they are actually chartered to be film critics by a manager who values this behavior. Either way, all film critics share one trait: They believe that they can be successful even if the project they’re on is a failure. They have, in effect,

The result is that we largely end up going to writers of color to learn the specific—and go to white writers to feel the universal.

Paris is Burning, Jennie Livingston’s

Over the twentieth century, taste became less a philosophical concept concerning the quality of art than a parallel to industrial-era consumerism, a way to judge what to buy and judge others for what they buy in turn. This phenomenon—conforming too much with popular taste and thus insulating yourself from having a more inspiring, personal encounter

Americans have terrible taste, we should not be the tastemakers for anything. Let us admit our lowered position and learn from our betters.

This could be art, architecture, movies, television, comic books, podcasts, stories, music, instruments, dance, literature, fashion, hairstyles, food, poetry, toys, or branded products. Community members use these productions as outward expressions or justifications of their beliefs and ideologies that are subsequently integrated (and sometimes man

The opposite issue—appropriation—is also a significant source of complaints. This draws on the idea of standpoint theory, in which knowledge is rooted in “lived experience” and it is considered abhorrent for a character with a marginalized identity to be created or depicted by someone who is not a member of her group.