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mperry

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This paper by Miles Mathis reflects on the life and death of Matthew Perry, drawing heavily from Perry’s own memoir. Mathis begins by stating his intent to share his unfiltered opinions, even if it alienates readers, and positions himself as a commentator from a bygone era. He then delves into Perry’s memoir, initially exploring the possibility that Perry faked his death, a notion not fully substantiated by the book. Mathis praises Perry’s memoir as informative, particularly for Friends fans and those interested in addiction, while critiquing its structure and the latter half’s decline into platitudes.

Mathis analyzes Perry’s self-perception as both likable and unlikable, charming yet self-described as a “big loser,” highlighting Perry’s lack of self-discipline and poor treatment of women. Two anecdotes from the book stand out: Perry crying as a child when losing at tennis and his jet-ski accident during filming, which led to his addiction to pain pills.

The author’s central thesis emerges: Perry frames addiction as a disease and a matter of bad luck due to genetics, a perspective Mathis strongly refutes. Mathis argues that Perry’s issues stem not from disease but from a profound lack of discipline, stemming from his upbringing and parental neglect. He criticizes Perry’s reliance on the American Medical Association’s diagnosis of addiction as a disease, suggesting it’s a scam to create a market for drug prescription.

Mathis contrasts Perry’s narrative with his own upbringing, emphasizing the role of consistent parental discipline and love in fostering self-control. He recounts his own experiences with corporal punishment as a child and in school, arguing that it instilled valuable lessons about consequences and self-discipline, rather than promoting violence or blind authority.

The paper then revisits the faked death hypothesis, presenting several “red flags.” These include the sale of $35 million in properties despite substantial income from Friends reruns and the puzzling circumstances of Perry’s death, such as the absence of drugs at the scene, his alleged fear of needles, and the immediate guilty plea of his assistant. Mathis also questions the official narrative by comparing it to the handling of Heath Ledger’s death.

Further support for the faked death theory comes from Perry’s oblique references to Heath Ledger and River Phoenix as individuals who “faked their deaths,” his repeated assertion that he is Batman, and the abundance of Batman imagery in his final days and at his alleged burial site in Forest Lawn. Mathis speculates that Forest Lawn, a cemetery he describes as a bizarre theme park, may be a cover for numerous fake celebrity deaths.

Mathis concludes by reiterating that addiction is not a disease but a failure of self-discipline, and advises young readers to avoid drugs altogether, emphasizing the value of natural pleasures and sensitivity over artificial highs. He critiques the notion of artificial pleasures and the numbing effect of drugs, advocating for a life filled with genuine experiences and heightened awareness.

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