Griffin Movie Quotes

Peter and Jessie were like Romeo and Juliet. Have you ever seen that old movie? Starring Leonardo Dicaprio?

It was not the flesh we would have chosen, but I had long since given up dreams of resembling anyone from the movies and, with the pragmatism of the perfectly average, come to realise that this was me and that was fine.

Out on the path, sudden, luminous, and artificial, a seven-foot dragon swayed around the corner, followed by an equally tall mantis and a griffin. Like elegant plastics, internally lit and misty, they wobbled forward. When dragon and mantis swayed into each other, they—meshed! He thought of images, slightly unfocused, on a movie screen, lapping. “Scorpions…!” Tak whispered.

Nothing in a movie would ever scare her after those agonized cries. She could hear the blood in those screams.

Digital technology enables new modes of production and distribution, which in turn enable new sorts of representations that anticipate sexual minorities as audiences. But these practices are predicated on assumptions about those audiences, and they hinge on privileges associated with gender, race, and class that delimit the forms of diversity they are able to engender at all. This paradigm is most evident in cinema, where digital technology has resulted in a large number of distributors circulating movies to sexual minorities across different delivery platforms. Despite this multiplicity, the movies they distribute are striking in their similarities. They tend to animate narrative paradigms steeped in ideas about personal agency that actively curb attention to the different forms of diversity that characterize the very publics they convene.

Samuel Delany outlines the impact of these developments on the ability of diverse publics to form in New York City. He charges that while cross-class contact flourished in the Times Square area’s adult movie theaters in the 1960s through the 1980s, gentrification has largely exiled the queer, working class, and racial and ethnic minority publics who used to commingle there with relative ease. Beginning in the 1990s, city ordinances regulating sex-related commerce and renewed corporate interest in refashioning New York as a family friendly tourist destination marginalize some publics in the interest of generating profit from others.

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reality becomes a part of the story. “The man who sat beside you in the bus becomes the voice of the neighbor. The little girl who disappears at the beginning of the book looks like your best friend’s grandchild. You visualize the towns you’ve visited and the restaurants you’ve eaten in. What you love becomes what you love in the book, and the fears of the characters become your own. It’s immersive, but also transient. It’s like when you watch a movie made from a book. It probably doesn’t look exactly like what you thought it would, because you’re seeing the experience another person had with that book.

Maybe we're all obsessed with taking selfies not because we're all narcissists, but because after a while, living one's life solely from behind the eyeballs can become a bit terrifying. It's the same reason we stare at ourselves in the mirror: to make sure we're still there, the character of our life movie.

I bare it so they don't have to.

It may have been derivative, lighthearted fluff but Once Upon a Dead Man also seemed like the ideal vehicle to help facilitate Rock Hudson’s transition from movie to television star (even if he dismissively referred to the tube as “illustrated radio”). The much-publicized two-hour movie would serve as the pilot for a new NBC series called McMillan & Wife.

Overtown remained the center of black life in Miami until the arrival of I-95, the vast stretch of American highway that ran from Maine down the East Coast all the way to Miami. It stomped right through the middle of Miami’s most prominent black neighborhood in 1965, a ravenous millipede with a thousand concrete legs. Had the 3,000-kilometer highway been halted just 5 kilometers to the north, black Miami might have had a different history. Instead the highway, touted as “slum clearance,” bulldozed through black Miami’s main drags. Gone was much of Overtown’s commercial heart, with its three movie theaters, its public pool, grocery store, and businesses. Goodbye to clubs that had hosted Ella Fitzgerald, to the Sir John Hotel, which had offered their finest suites to black entertainers banned from staying in whites-only Miami Beach. But more important, goodbye to a neighborhood where parents knew which house every child belonged to.

Eliza flips open Weird Tales March 1999, Hey I just had a fun lil spark of inspiration. I know you're busy this summer but I was wondering if maybe at the end of summer you would be interested in doing an afterward for my new book Satanic Panic & the Very Special Episodes. The book is a materialist counterfeit reality. The book was inspired by my 400th viewing of one of my all time favorite movie The Truman Show and I was thinking about the psychological implications of that flick, about how even after Jim Carrey's escape from the dome would he ever truly be able to trust his surroundings. I don't think so. I'm also reading some classic madness-caused-by-society texts like Anti-Oedipus and Foucault's Madness and Civilization. And I'm also reading about all of the classic kinds of schizo delusional thinking like delusions of reference, fregoli syndrome (in my opinion the scariest of all delusions), stuff like that. The book is a meta tavern confession. These two guys are sitting in a super shabby tavern and they've both basically forgotten how they got into this shabby tavern and they both kind of convince themselves and each other that they're on a set that's meant to look like a shabby tavern. The shabby construction they believe exists to give them a hint that they exist in a counterfeit reality. There are some fun neoplasms in the book like omniscinditus. One of the characters invents that word and says the word means "special secret purpose or message hidden inside common objects and concepts." The two characters basically convince themselves that everything has omniscinditus. And as I've been writing this book my mind has wandered back to mediation technology because my mind always wanders back to mediation technology. For the afterword I was wondering if I could give you a prompt for an essay that I want to be both a thing that informs Satanic Panic and the afterword. I need an expert. My prompt is, if you are down (and if you are not down I totally understand and will not be offended), about mediation technology in the hands of hypercapitalists and the algorithm as a delusion machine. I don't know what the prompt question(s) would be here. It's not necessarily a question about truth or falsity. Or maybe it's not quite a question of is this a possibility? Maybe the question(s) are about a composite of the old world and our new mediation tech as a behaviorism machine that tricks us into loving the machine. And maybe the question has something to do with the Descartes demon and tech and the old saying about how everyone throughout history has thought-demons lived in tech, but what if mediated tech became so advanced a "demon" could be invented. My thoughts always return to "well if a corporation or government or intelligence agency (some overflowing with incompetence and other silliness) can send people to a south american country or a middle eastern country or elsewhere and those people can, part of the time, successfully rally citizens and do a coup, why couldn't a technology successfully psychologically manipulate on a mass level as well? Is that what we are saying? That peepers in foreign lands can be easily tricked into coups and stuff like that? Are we talking about mind control and the Air Loom? If so, why is it when we speak of mass mind control happening in the US, scoffs happen? And why wouldn't money-powers go out of their way to create a delusion machine? Is having your masses ebb and flow between slight delusion to full to peace and tranquility and back to delusion beneficial to the money-powers and capitalism? I feel like the arrival of anxiety meeting the hope of tranquility and having that move back and forth over and over must be beneficial. And even if a psychological manipulation technology that advanced is far off, does that mean that powers-that-be are not working on making that a reality? In the book, I'm attempting to frame all of this in a materialist way without any mediation technology…