One in red scrubs, the other in black.

These women, they are attractive. Around thirty, they look like they’re used to getting hit on in bars, to knowing what it feels like to have a man watching carefully as she leans over the pool table to take a shot. Neither woman makes eye contact or acknowledges anyone else in the elevator. There is an unspoken hierarchy. We all know it.

Upstairs at the bar there’s an unrelenting press of people. So many of them. Jostling together excitedly, they’re all hopeful on this festive night out, each one wanting to feel special in some regard, each one waiting for their life to pivot. Unshaven Bros in sports toques and ball caps, beta predators who only move in packs of two and threes, are looking over at a cluster of Friday night women worrying their phones. Men are pushed up against the bar three deep, each one competing for something.

The bartender is at the centre of it all.

Although completely overwhelmed, she’s working calmly through the chaos. Surrounded on all sides by some sort of want, she makes a millions subtle calculations with each one of her actions. Each person is a problem that must be solved, a fire that must be extinguished. Her face determined, she moves fluidly and with purpose, and all the men encircling her at the bar with their steaks and Keg-sized glasses of red wine, are watching.

A man around 60 leans in. Everyone is leaning in, trying to flag her attention. This man, he’s lived his life handsome, and the confident residue of that lingers within him still, “Can I be next?” he asks in a salesman’s voice. The bartender forces a smile and takes his order, and all the other men waiting stiffen a little, jealous.

He is pleased with himself, this man. He feels special.

When she returns, he leans in yet further, “That tattoo on your right forearm, the roman numerals, are they from your favourite Shakespeare passage? Are you an actress?”

It is not clear that she is flattered by this attention, but she gives a partial, evasive answer.

“It’s a date,” she says, giving the man a polite, discouraging smile. Gesturing to how busy she is, she moves to disengage and tend to other preening, signalling men, but this man was not finished. “This is my favourite passage,” he began, and then in his best Shakespearian accent:

“If music be the food of love, play on.

Give me excess of it that, surfeiting,

The appetite may sicken, and so die…”

And she is trapped, so trapped she is almost suspended in air.

Her eyes close for just a moment, as if it is all too much, and then she reanimates herself and begins to applaud robustly, cutting the man’s recitation short. It was as if a battle had been won, and she got to keep the secret of the tattoo– something so important, so crucial to who she wanted to be, that she had it written into her flesh–for herself.

How could that be?

Look at her.

She’s stunning.

I, of course, had the blunt interests of a boy who knew nothing about women or sex– although I was very interested in both– and I simply accepted Hollywood’s casual objectification of these mysteries. I didn’t know somebody was attractive unless Hollywood signalled to me that they were, something they usually did by a display of nudity. And so the promise of Jessica Lange, Kim Basinger or Jamie Lee Curtis taking off their top in some accessible, high velocity movie was simply too much for me to resist.

Streep, who even at a young age seemed to be playing adults rather than sex toys for naive adolescents, was cast in the sort of films that my parents might be interested in, in “prestige” films, and even though she was of the same general age as all the other celebrities I lusted after, she was stood apart from them, a European cousin, or something.

As an adult I came to love Meryl Streep. Not so much for her acting, which was always somehow obscured for me by her reputation for “acting,” but for her presence. Talented, charismatic and beautiful, she’s also fantastically articulate and charming, and like everybody else I was super keen to hear her speak at the Golden Globes.

Her speech was widely celebrated.

Meryl Streep, Hollywood’s single-combat hero, called to our better angels, and as we sat there listening it was as if the Stature of Liberty herself was speaking. Expecting to love every word of it, I was surprised to discover that I did not.

Although she might have been joking when she referred to the roomful of beautiful, insanely wealthy and adored people sitting before her as, “The most vilified segment of American society,” it made me roll my eyes . Whether she intended it with any irony or not is unclear, but the thrust of her argument was that Hollywood, full of outsiders and foreigners, was representative of some sort of scrappy refugee success story rather than a consumerist ideal of near-unattainable privilege. She continued, saying that if Trump had his way, all America would have left would be football and mixed martial arts– and as she said this, her voice rising in certainty, finger wagging, she admonished, “Which are not the arts!”

The home crowd cheered.

I don’t know.

I had thought I was the home crowd, too, but was I supposed to believe that actors were rescuing America from the things that the people who lived there liked? That football and MMA were unworthy to watch unless they were recreated in movie format starring celebrities?

Something like that?

I wasn’t sure.

Her audience was rapt, hanging on every word. And they were all so beautiful and dewy, so earnest and self-congratulatory in expression, so not of this earth that I imagined them separating from the rest of the world and rising up, up, up in some magical balloon that they knew the rest of us, so smitten, would never be able to let go of.

Her condemnation of Trump’s nascent war on journalism struck me as wanting, too, because there is likely no industry that succeeds so brilliantly at manipulating the press as does Hollywood. The Hollywood Foreign Press, who are responsible for the Golden Globes, are little more than a marketing wing for the industry, trading off favourable stories for glamorous access.

When we see our celebrities on the red carpet refusing to be objectified by not revealing who made their outfit and thus striking a blow for equal rights, we have to keep in mind that they’re still accepting money to advertise that dress.

Hollywood is about money.

Period.

If art or diversity or empathy is a byproduct of this pursuit, all the better, but if Meryl Streep were being honest with herself and the rest of us, she might acknowledge that she, like Trump, depends on a compliant media to promote her work and spin her narratives.

And so it goes.

Everything touches everything else.

It’s not like Streep was saying anything crazy, though. She was trying to do good, but her blind spots were, well, Hollywood in scope. Her words were tangled in contradictions, a stinging disregard for those who might not agree with her, and an imperious detachment from the pedestrian, discount store lives the rest of us struggle to lead, and that actually demoralized me.

Politicians and actors, I have found out, have all too much in common.