1. This week, the STRANGER ELECTION CONTROL BOARD has released its election endorsements. It is a list that is sure to be filled with losers come election night. The past few major Stranger endorsements have been for politicians who have won the popular vote—Mayor McGinn, President Obama, Council Member O'Brien—but now The Stranger's back to advocating for lost causes. Why do you think that is? Did The Stranger's political taste temporarily veer toward the mainstream, or did the mainstream temporarily become more radicalized? Or is The Stranger simply weaving back and forth among all political ideologies, in the hopes that they will eventually earn the attention of a large enough audience to keep them in business for a little while longer? If you find it helpful, feel free to graph The Stranger's various political stances through the years.

2a. JEN GRAVES complains about the fact that some affordable artist housing in nonwhite neighborhoods is more than 80 percent white. According to the most recent census data, Seattle is 66.3 percent white. Do you believe Ms. Graves would be happy if 66.3 percent of the artists in the affordable artist housing were white? Wouldn't that be fair? Why or why not?

2b. How, exactly, would you measure .3 percent of an artist in such a way as to please Ms. Graves? Be as graphic as possible!

3. In her review of the Carrie remake, KELLY O portrays the film as an anti-bullying screed. Is it possible to provide a more obvious reading of Carrie without shutting down your necessary brain functions entirely?

4. REBECCA BROWN is back to writing positive things about Catholicism, this week going on about a desk belonging to a female saint who died at 24. Do the editors not notice Ms. Brown's Catholicism goes against The Stranger's institutional atheism? Does The Stranger not read things submitted by Ms. Brown before publishing them? Or is it simply that the editors are delighted to see Ms. Brown, a known lesbian, writing ecstatically about a beautiful 24-year-old woman?

5. Often, satirists assume the role of a fictional character and then live inside that role, never breaking character and using the skewed fictional worldview to comment on current events; Stephen Colbert is probably the most popular contemporary example of this approach. The voice that BRENDAN KILEY assumes during his theater reviews is that of a delusional dreamer who passionately believes that theater is still an art form that matters. In your opinion, is Mr. Kiley a successful satirist, or is his weariness at the pretense of the role showing through in his most recent reviews?