In a speech that’s getting a bit of flak for recycling some of his past lines, the stage- and screenwriter says it’s okay to make mistakes along the way:

And make no mistake about it, you are dumb. You're a group of incredibly well-educated dumb people. I was there. We all were there. You're barely functional. There are some screw-ups headed your way. I wish I could tell you that there was a trick to avoiding the screw-ups, but the screw-ups, they're a-coming for ya. It's a combination of life being unpredictable, and you being super dumb.

On leaving a very successful TV show:

"I’m me, the guy that thinks all of this is sort of ridiculous. It was a joke. Leaving was a joke that I thought would be a good joke because the show would grow and change. It seemed like a funny trick to play on everyone. It’s just like, what if Kramer [Michael Richards] left in the middle of Seinfeld’s height? And also what if that guy never said the n-word on a stage? What if that was the end of this character? I just thought that would be really fascinating."

All of the books about all of the David Bowies:

There are more and more books like this these days: rock histories and encyclopedias, stuffed with information, compendiums of every last detail from this or that year, era, genre, artist – time pinned down, with absolutely no anxiety of influence. And while it would be churlish to deny there is often a huge amount of valuable stuff in them, I do think we need to question how seriously we want to take certain lives and kinds of art – and how we take them seriously without self-referencing the life out of them, without deadening the very things that constitute their once bright, now frazzled eros and ethos.

The Washington University philosophy professor devotes 4,697 words to the importance of using one’s education to better communicate with loved ones:

I want to talk to you about talking, that commonest of all our intended activities, for talking is our public link with one another; it is a need; it is an art; it is the chief instrument of all instruction; it is the most personal aspect of our private life. To those who have sponsored our appearance in the world, the first memorable moment to follow our inaugural bawl is the birth of our first word. It is that noise, a sound that is no longer a simple signal, like the greedy squalling of a gull, but a declaration of the incipient presence of mind, that delivers us into the human realm.

According to a whistleblower, the SEC has been systematically destroying records of investigations for the last twenty years:

By whitewashing the files of some of the nation's worst financial criminals, the SEC has kept an entire generation of federal investigators in the dark about past inquiries into insider trading, fraud and market manipulation against companies like Goldman Sachs, Deutsche Bank and AIG. With a few strokes of the keyboard, the evidence gathered during thousands of investigations – "18,000 ... including Madoff," as one high-ranking SEC official put it during a panicked meeting about the destruction – has apparently disappeared forever into the wormhole of history.

Two 16-year-olds form a suicide pact, driving a Pontiac off a cliff. One of the boys survives:

To many of the people in Fillmore who considered the incident a cause for civic mourning and self-scrutiny, the idea of trying Joe for murdering his best friend seemed outlandish. To a prosecutor, however, the indictment had its own logic. The Ventura County district attorney, Michael Bradbury, was an aggressive law-and-order man, and he had a potentially strong case. With Joe's repeated announcements of his plan to drive off the cliff, the crucial element of premeditation was undeniably present.

A profile of the comedian who’s “not so funny anymore”:

Jon Stewart has made a career of avoiding "Whooo" humor. He has flattered the prejudices of his audience, but he has always been funny, and he has always made them laugh. At the Juan Williams taping, however, at least half of Stewart's jokes elicited the sound of Whooo! instead of the sound of laughter. He's been able to concentrate his comedy into a kind of shorthand — a pause, or a raised eyebrow, is often all that is necessary now — but a stranger not cued to laugh could be forgiven for not laughing, indeed for thinking that what was going on in front of him was not comedy at all but rather high-toned journalism with a sense of humor. Which might be how Jon Stewart wants it by now.

Paul Simon’s Graceland at 25.

The Paul Simon who, on a bus en route to New York City told his sleeping girlfriend that he was empty and aching and he didn’t know why, that Simon belongs to our parents. My generation may love him but he’s not ours. The Simon who is soft in the middle (or at least feels an affinity for men who happen to be), however, the one who reminds young women of money, who has been divorced and has a kid to prove it, and who has the means to catch a cab uptown and take it all the way downtown talking dispassionately while doing so about the comings and goings of breakdowns, that Simon belongs to us as much as he does to our folks because he is our folks.

A critical look at the contemporary art marketplace.

The trouble is that a business model has come to drive the entire art world, and like the corporate executive who regards the launch of each new product as a challenge to the success of the last one, because you must keep growing or you will die, the arts community finds itself in a state of permanent anxiety. There always has to be a new artist whom the media will embrace as enthusiastically as they embraced Warhol; there always has to be a show that will top the excitement generated by the last blockbuster at the Modern or the Met.

“The ‘hard’–science fiction writers dismiss everything except, well, physics, astronomy, and maybe chemistry. Biology, sociology, anthropology—that’s not science to them, that’s soft stuff. They’re not that interested in what human beings do, really. But I am. I draw on the social sciences a great deal. I get a lot of ideas from them, particularly from anthropology. When I create another planet, another world, with a society on it, I try to hint at the complexity of the society I’m creating, instead of just referring to an empire or something like that.”

Looking back on the George Floyd rebellion.

Armed only with their psychotic courage, they were running, dancing, singing, smashing, burning, screaming, storming heaven: all rapturous varieties of Baraka’s “magic actions.” I listened to 19-year-olds talk nonstop throughout the night we spent in jail, as they howled insults at the officers and swapped stories of humiliation by police. It struck me that they were too young to have seen even the initial phase of BLM. Though well-acquainted with power and violence, they were tasting “politics” for the first time. Whatever the fate of the movement, I suspect that much of their future thinking will be measured against the feelings that filled the nights of 2020: the vastness and immediacy, the blur and brutal clarity.

For years, homosexuals have, for the most part, been politically apathetic. Rarely did a candidate stir their enthusiasm; when homosexuals did vote, many of the more affluent ones tended to go Republican. But now the gay and lesbian community appears to be united for the first time in a Presidential race behind a single candidate -- Bill Clinton. And the money is pouring into the Clinton campaign -- $2 million so far from identifiably gay sources, according to Democratic Party estimates. "The gay community is the new Jewish community," says Rahm Emanuel, the Clinton campaign's national finance director. "It's highly politicized, with fundamental health and civil rights concerns. And it contributes money. All that makes for a potent political force, indeed."