“You're taking classes? That's great. Crime scene etiquette, perhaps?”

1994 interview in Westword http://www.westword.com/1994-07-27/music/ted-s-world/full/

George notices that Terry died when he was just three years old, then George looks at Clarence, the second class wingless angel, and says that can’t be right. Harry not only lived past three years old, but he also saved an entire ship of being sunk by Kamikaze pilots, but reminds George, that because Paul was never born then, and he actually wasn’t there to save his younger brother from choking.
Chancellor McRaven speaking at the FBI Agents Association’s G-Man Honors Event - October 28, 2015, in Washington, DC.

Part V: More Rage. More Rage., page 184.
Going Postal: Rage, Murder, and Rebellion, From Reagan's Workplaces to Clinton's Columbine and Beyond (2005)
Context: Americans wanted to blame everything but Columbine High for the massacre- they blamed a violent media, Marilyn Manson, Goth culture, the Internet, the Trench Coat Mafia, video games, lax gun control laws, and liberal values. And still skipping over the school, they peered into the opposite direction, blaming the moral and/or mental sickness, or alleged homosexuality, of these two boys, as if they were exceptional freaks in a school of otherwise happy kids. They searched all over the world for a motive, except for one place: the scene of the crime.

Macavity: The Mystery Cat
Old Possum's Book of Practical Cats (1939)

Source: The Cultural Contradictions of Capitalism (1976), Chapter 5, Unstable America, p. 189

Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000
Reviews, Four star reviews
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.
Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.

Rivonia Trial

Interview in the documentary-film What the Health by Kip Andersen (2017).