Golden Globes Best Quotes

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

A story carves deep grooves into our brains each time we tell it. But we aren’t one story. We can change our stories. We can write our own. Melissa and Wendy and Jane and I joked about the Golden Globes and gave each other fake awards. I gave Melissa “Best Person in Charge.” She gave me “Most Famous and Most Normal.” This meant and means a great deal.

More typical, however, are tail-chasing proclamations like this one, which can be found on the website of the MIT Innovation Initiative: “The MIT Innovation Initiative is an Institute-wide, multi-year agenda to transform the Institute’s innovation ecosystem—internally, around the globe and with its partners—for accelerated impact well into the 21st century.”20 This sounds distinctly like bullshit, but if MIT wants to think of itself in such a way, that’s their business. The problem arises when we enshrine innovation as a public philosophy—when we look to it as the solution to our economic ills and understand it as the guide for how economies ought to parcel out rewards. To put it bluntly, it is not clear that cheering for innovation in the bombastic way we see in the blue states actually improves the economic well-being of average citizens. For example, the last fifteen years have been a golden age of financial and software innovation, but they have been feeble in terms of GDP growth. In ideological terms, however, innovation definitely works: as a way of excusing soaring inequality and explaining the exalted status of the rich, it is the best we’ve got.

Asteria’s Ship’s Library Sailing Books Admiralty, NP 136, Ocean Passages of the World, 1973 (1895).  Admiralty, NP 303 / AP 3270, Rapid Sight Reduction Tables for Navigation Vol 1 & Vol 2 & Vol3. Admiralty, The Nautical Almanac 2018 & 2019. Errol Bruce: Deep Sea Sailing, 1954. K. Adlard Coles: Heavy Weather Sailing, 1967. Tom Cunliffe: Celestial Navigation, 1989. Andrew Evans: Single Handed Sailing, 2015. Rob James: Ocean Sailing, 1980. Robin Knox-Johnston: A World of my Own, 1969. Robin Knox-Johnston: On Seamanship & Seafaring, 2018. Bernard Moitessier: The Long Route, 1971. Hal Roth: Handling Storms at Sea, 2009. Spike Briggs & Campbell Mackenzie: Skipper's Medical Emergency Handbook, 2015 Essays Albert Camus: The Myth of Sisyphus & Other Essays, 1955. Biographies Pamela Eriksson: The Duchess, 1958. Olaf Harken: Fun Times in Boats, Blocks & Business, 2015. Martti Häikiö: VA Koskenniemi 1–2, 2009. Eino Koivistoinen: Gustaf Erikson – King of Sailing Ships, 1981. Erik Tawaststjerna: Jean Sibelius 1–5, 1989. Novels Ingmar Bergman: The Best Intentions, 1991. Bo Carpelan: Axel, 1986. Joseph Conrad: The End of the Tether, 1902. Joseph Conrad: Youth and Other Stories 1898–1910.  Joseph Conrad: Heart of Darkness, 1902. Joseph Conrad: Lord Jim, 1900. James Joyce: Ulysses, 1922, (translation Pentti Saarikoski 1982). Volter Kilpi: In the Alastalo Hall I – II, 1933. Thomas Mann: Buddenbrooks, 1925. Harry Martinson: The Road, 1948. Hjalmar Nortamo: Collected Works, 1938. Marcel Proust: In Search of Lost Time 1–10, 1922. Poems Aaro Hellaakoski: Collected Poems. Homer: Odysseus, c. 700 BC (translation Otto Manninen). Harry Martinson: Aniara, 1956. Lauri Viita: Collected Poems. Music Classic Jean Sibelius Sergei Rachmaninov Sergei Prokofiev Gustav Mahler Franz Schubert Giuseppe Verdi Mozart Carl Orff Richard Strauss Edvard Grieg Max Bruch Jazz Ben Webster Thelonius Monk Oscar Peterson Miles Davis Keith Jarrett Errol Garner Dizzy Gillespie & Benny Dave Brubeck Stan Getz Charlie Parker Ella Fitzgerald John Coltrane Other Ibrahim Ferrer, Buena Vista Social Club Jobim & Gilberto, Eric Clapton Carlos Santana Bob Dylan John Lennon Beatles Sting Rolling Stones Dire Straits Mark Knopfler Moody Blues Pink Floyd Jim Morrison The Doors Procol Harum Leonard Cohen Led Zeppelin Kim Carnes Jacques Brel Yves Montand Edit Piaf

I could tell Jeung was skeptical about my line of questioning from the get-go. There was a long pause, after which I could hear him puzzling hesitantly on how best to respond. “I don’t know if silence is necessarily secret-keeping,” he said slowly. “I’m sure parents don’t talk about their kids about a lot of things. They don’t talk about their sex lives. I don’t know that it’s necessarily a Taoist approach. There are probably things they’d just rather forget. And there is a Chinese popular religion thing where people don’t talk about negative things. It’s why people don’t talk about cancer. You know The Farewell?” he asked, citing Lulu Wang’s Golden Globe- and BAFTA-winning film about her family’s decision to hide her grandmother’s lung cancer diagnosis from her. Her grandmother was supposed to live only six months, but her family thought she would fare better and live longer if they told her she was just fine. The approach may have worked. At the time I am writing this, eight years after her diagnosis, Lulu’s grandmother is still alive.

from what our official accounts allow.28 Schwaller too recognized that whoever built the Sphinx, the Great Pyramid, and the temples at Luxor and Karnak was mathematically and cosmologically astute. From 1936 to 1951, Schwaller and his wife, Isha, herself the author of a series of novels about ancient Egypt (Her-Bak: Egyptian Initiate is the best known), studied the ancient Egyptian monuments. Schwaller found evidence in them for pi, but also for much more: a knowledge of the precession of the equinoxes, of the Pythagorean theorem centuries in advance of Pythagoras, of the circumference of the globe, as well as evidence of ϕ (phi), known as the Golden Section, a mathematical proportion that was again supposedly unknown until it was discovered by the Greeks. As John Anthony West makes clear, the Golden Section is more than an important item in classical architecture. It is, according to Schwaller, the mathematical archetype of the universe, the reason why we have an “asymmetrical” “lumpy” world of galaxies and planets, and not a flattened-out, homogenous one, a question that today occupies contemporary cosmologists.29 In his writings, Schwaller linked phi to planetary orbits, to the architecture of Gothic cathedrals, and to plant and animal forms.

from what our official accounts allow.28 Schwaller too recognized that whoever built the Sphinx, the Great Pyramid, and the temples at Luxor and Karnak was mathematically and cosmologically astute. From 1936 to 1951, Schwaller and his wife, Isha, herself the author of a series of novels about ancient Egypt (Her-Bak: Egyptian Initiate is the best known), studied the ancient Egyptian monuments. Schwaller found evidence in them for pi, but also for much more: a knowledge of the precession of the equinoxes, of the Pythagorean theorem centuries in advance of Pythagoras, of the circumference of the globe, as well as evidence of ϕ (phi), known as the Golden Section, a mathematical proportion that was again supposedly unknown until it was discovered by the Greeks. As John Anthony West makes clear, the Golden Section is more than an important item in classical architecture. It is, according

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I’m also not going to tell you how I learn from my kids. Fuck that. I’m the grown-up. They and, subsequently, you as you read this, are learning from me. I’ve got no beef with her as an actress, but when Amy Adams won her Golden Globe she did one of those actressy things that drive me insane. She thanked everybody: costars, agents, managers, and so on. Then at the end she thanked her obnoxiously named child, Aviana, a name that I’m pretty sure she took from the sparkling water she was drinking on set. This kid, by her own admission, was not old enough to understand what Mommy was saying. So why did she thank her? Because the little tyke had taught her how to “accept joy and let go of fear.” Her daughter was three. She probably only taught Amy how to have a Guatemalan chick take care of her while Mama was on set all day. My twins have taught me basically nothing except that kids are expensive and have no gratitude. I hate the parent-shaming crap that is so pervasive today. It’s like the guy who announces his wife is his best friend. He doesn’t mean it; he just does it to make the rest of us look like assholes. As I write this book, there is an Apple commercial showing how I can be closer with my kids through apps. It shows happy dads connecting with their progeny by using apps to map the stars, garden and take pictures of tidal pools. You know, shit that I never do with my kids because I’m too busy earning the money to buy them the iPhones they use to ignore me. Ads like this are just not realistic. The only thing I do with my phone is watch a little porn, then call my agent and yell at him to find me work so that my kids can enjoy all those app-tivities with the nanny. If this ad were at all realistic, if it looked in any way like my life, it would show the dad screaming at the mother to get the glass replaced on her broken iPhone and then he and the kids staring at their phones while ignoring each other.

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