Sentences with phrase «satire when»

«I think most people recognize political satire when they see it,» Chip Saltsman told CNN.

The expression is used so often now, it almost comes off as satire when a woman uses it.

Sometimes reality is far in advance of satire when it comes to absurdity.

I'll say more in my response video on TFF, but I think that some of the hard feelings toward satire in general is when people encounter satire when they expect, or even prefer, partisanship or demagoguery.

But satire is only satire when it comes from a position of weakness or involves self - mockery.

It's very hard to do satire when you take yourself too seriously.»

Not exact matches

When someone tells me that irreverence, satire and sarcasm strikes a tone that isn't Christ - like, I wonder what Bible they're reading.

Lady Susan, a cynical story about a predatory widow's romantic scheming, dates from the mid-1790s, when Austen was approaching twenty; Love and Freindship, a madcap satire of the sentimental novel, was written a few years earlier, when she was a formidably accomplished fourteen - year - old.

It can be easy for us to display blissful ignorance when we find humor in horror and see satire instead of sin.

So when Jesus tells the man «Go and sin no more or else something worse might happen to you,» I think he says it with a sparkle in His eye, some satire in His voice, and a head nod toward the disapproving and judgmental religious leaders.

When debate about an artist's merit no longer seems to have any point, one is left either with an icon of culture, too sacred to enjoy, or with a target of satire, brought down to our more humdrum level by a vaudeville lampooning of the unapproachable totem, as when graffiti artists paint a moustache on reproductions of the Mona LWhen debate about an artist's merit no longer seems to have any point, one is left either with an icon of culture, too sacred to enjoy, or with a target of satire, brought down to our more humdrum level by a vaudeville lampooning of the unapproachable totem, as when graffiti artists paint a moustache on reproductions of the Mona Lwhen graffiti artists paint a moustache on reproductions of the Mona Lisa.

I wish, however, that you had heeded the encyclical when you chose to publish Robert M. Price's reprehensible satire «The Bible, Corrected» in the same issue (January).

From the biblical prophets, to Chaucer's Canterbury Tales, to Swift, to Twain, to Orwell to our beloved Jon Stewart and Stephen Colbert, satire works best when the targets are the powerful and elite — be they institutions or people.

As a writer who has attempted some satire myself, I've observed a few things about when satire works and when it doesn't.

Satire only works when its most stinging indictments are directed toward the powerful.

This is why attempts at satire fall on their face when they make the weak their target.

When you start a blog exploring satire and faith, no one tells you what to do when you're accused of uglying up the bride of ChrWhen you start a blog exploring satire and faith, no one tells you what to do when you're accused of uglying up the bride of Chrwhen you're accused of uglying up the bride of Christ.

When Hendra admits that satire thrives on an «us versus them» approach, Father Joe responds: «You see, dear» I think there are two types of people in the world.

Its sharp satire was copied and pasted on Thursday when, in tribute, AS Roma overwrote the same footage to announce French forward Gregoire Defrel's arrival.

Now, Hamsher's photo was satire, and satire's always a little dangerous — particularly when it's about race, probably the most sensitive social ground in this country.

When satire did not work, the next week November 11, 2015, I returned to explicit economic advisory in «Reversing Economic Slowdown» where I noted that «I have been loud in warning about the dangers of allowing the economy slide into recession and the imperative of policy to prevent that eventuality, on social media, in my Businessday column and in discussions on Channels Television and CNBC Africa, but the sense I get is that many are yet in denial about the reality of our economic conditions».

When that fourth wall is broken by naming the figures of ridicule and using direct comparisons to current news stories, the satire often becomes too obvious, lacks subtlety, impact or originality.

Beatty's film looks even better when you compare it to the relatively lifeless stuff that has passed for political satire recently — the smart but self - satisfied Wag the Dog, the toothless Primary Colors, or even the Sisyphean journalism of Michael Moore's The Big One.

In the meantime, when he wasn't earning Emmy nominations for South Park or teaming with longtime partner Parker for the mock - patriotic puppet comedy Team America: World Police (2004), Stone was racking up producer credits on projects like How's Your News — a documentary series featuring disabled reporters exploring various topics — the short - lived political satire That's My Bush, and Kenny Vs. Spenny, which featured two hyper - competitive best friends taking part in a series of outlandish challenges.

The satire's extremely deft, and even when Lord and Miller, working with animation co-director Chris McKay, indulge their snarky postadolescent sensibilities with one too many torture sequences, the style of the animation doesn't mistake «realism» for «quality.»

In 1997, the first episode of the outrageous animated media satire South Park seemed to summarize the actor's status with a gag in which the two - year - old character Ike is persuaded to jump from a spaceship and fall several feet to the ground when his brother yells «Do your impression of David Caruso's career!»

A Minnesota native, LeGros found steady work when he migrated to Los Angeles after college in the early»80s, popping up as a guest star in such TV series as Knight Rider, and in Danny DeVito's directorial debut, the made - for - cable satire The Ratings Game (a.k.a..

«When I first read it, it was a really cool satire,» she says.

Satire loses its bite when its subject is anonymous, and the joke — most of the jokes — will be lost on director Phillips's 13 - 18 year - old male demographic.

Stiller's vanity - free characterization is so strong that it's no wonder Brad's Status feels most unconvincing and thin when it strays from Brad into his former friends» new lives without him — or, more worryingly, into a generic and hollow satire of the woke sensibilities of kids these days, for whom «cis» is an insult.

At a time when much studio animation is skewing older and hipper, «Shaun the Sheep Movie» (that missing «the» is itself a sly nod to the pic's lack of verbiage) is thoroughly preschooler - friendly, though older viewers can appreciate its droll asides and dashes of silly satire.

But that's just how good Jordan Peele's directing debut is, a thoughtful satire on race relations about a young black man who discovers things aren't what they seem when he visits his white girlfriend's family in the country.

When they set out to create an animated satire of Donald Trump's presidency, the creators of Our Cartoon President faced the challenge of effectively lampooning the president in a climate that is not lacking for Trump - bashing.

The bastion of modern satire, The Simpsons, was ahead of its time when it dealt with a similar situation as the new film Mr. Deeds.

The weak - sauce satire of paparazzi and dirty politics goes nowhere, so it's understandable when Spheeris shoehorns in a Rock the Vote event headlined by Mudhoney.

When one thinks of parody, one might immediately think of blitzkrieg spoofs like the Mel Brooks movie satires (Blazing Saddles, Young Frankenstein, High Anxiety, Spaceballs, etc.) or the 1980 airline - disaster - movie takedown Airplane!

The satire comes in the early post-war period when Americans were still not that aware of how they were being manipulated by hucksters to hawk their products on the radio and films were just getting ready to deal with that subject after a number of books and magazine articles were written tearing into advertisers.

When Sidney Lumet adapted Paddy Chayefsky's scathing satire Network, we were all still at the mercy of three TV networks, whose trusted nightly news anchors were the stentorian voices of God.

More of a satire of convention than conventional, Brother is a striking film that only missteps when it allows its cast (particularly Omar Epps) to improvise dialogue.

Imagine John Waters directing a teen take on «Cool Hand Luke» and you've got a rough idea of this genius pray - the - gay - away satire, in which Natasha Lyonne's pom - pom princess is sent away to re-education camp when her parents and friends suspect she's a little that way inclined.

When you make a film with overt political satire, it seems like that casting can't be a coincidence.

Hence when a film entitled I Love You Phillip Morris comes around, you can be forgiven for thinking that you're in for a satire along the lines of Jason Reitman's first feature Thank You For Smoking, or a whistle - blower drama akin to Michael Mann's Oscar - nominated The Insider.

In my humble opinion, I believe that both films are, as a whole, greater than the sum of their parts, primarily entertaining because of the choice key bits of hilarity and satire that, when strung along successfully, manage to make them very funny to quote from, despite the fact that they aren't really brilliant ideas in and of themselves.

«Throughbreds» (whose title was singular when it premiered in Sundance's NEXT section in January 2017) may have been overshadowed by «Get Out» at that film festival, but it's no less elegant or lethal, concentrating its satire not on racial mind games (the way Jordan Peele did, seizing the zeitgeist in the process) but a case of blue - blood breeding gone horribly awry.

The continuing glut of zombie movies hasn't taken any bite out of this social satire, in which slackers find it hard to tell when their fellow citizens start lumbering about and feasting on humans.

The satire of gullible intelligence officers and corrupt politicians (an oily, somewhat sinister Ernie Kovacs as the soft - spoken terror Capt. Segura) take a darker turn when the fantasies spun by Wormold take root in the spy community, leaving real victims in its wake.

(This slap on the wrist is a nice final joke — or «button,» to comedy writers — but doubling as satire, it also points to the way in which rich white men are treated when caught with drugs.)

Yet Kick - Ass isn't a satire so much as a shrine — a celebration of not simply what we love when we go to the movies, but also what the movies inspire us to be on drowsy Saturday afternoons, drunk on Mexican stand - offs, cops and killers acting like brothers, and physics that bend just enough to allow our heroes to run on walls, dodging bullets in their dark sunglasses.

Completely overrun by pratfalls, slapstick, and mean - spiritedness, Christmas with the Kranks never even comes close to being a satire on the falseness of the spirit of Christmas, especially when it tries to be all warm and fuzzy as it nears the end.

But the satire slips into ludicrous laugh - inducing ridiculousness when a series of off - screen accidents and murders start taking place, and the fashion world attitude towards real world death is, guess what, shallow!