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Hannah Gadsby's Nanette critiques comedy as an imperfect tool for processing and transcending trauma. Funny Cow, about a woman comedian in 1970s northern England, attempts something similar. Both say something about the intersection of comedy and trauma and what it reveals about how we relate to each other as human beings.
The views of Kevin 'Bloody' Wilson and Rodney Rude can be summed up in the quote: 'The soft new generation of PC-wary comedians need to grow some balls.' There seems to be a sense that comedy isn't funny nowadays unless it's offensive. But it's more than possible to create comedy that avoids this. In fact, it can be better.
Too few inversions of this power dynamic come along. So we are allowed to laugh a) that some careless handling of furniture can go a long way toward embarrassing people, and b) that those same people have expanded surveillance mechanisms and presided over lapses in data security. It schadens our freude, for sure.
Meetings between holiness and politics are inherently dramatic. Think of Jesus' trial, of A'Beckett's murder, of Luther at Worms, of Romero's last sermon. These were tragedies. In Fr Pierre Ceyrac, a French Jesuit priest who died last week, politics and holiness met dramatically, but as comedy.
The 17th century Ottoman traveller Evliya Celebi's Book of Travels describes Christians as pigs for slaughter. Yet its beautifully imagined world is open to Christian readers who can forgive the comparison. In the same way Dante has much to offer beyond derogatory depictions of gays, Jews and Muslims.
Dave Hughes' presence in the line-up is likely justified more by ratings potential than by any insights he might offer. The good will inherent to The 7pm Project's presentation makes it a positive alternative to other more lecherous, leach-like current affairs programs.
The Black Balloon's early '90s suburban locale is a tangible and familiar environment, where intolerance and ignorance brood beneath the surface. Lead actor Rhys Wakefield embodies everything that it is to be a teenager on the brink of adulthood.
The world’s financial markets are afflicted by a deep irrationality that imperils their very existence. On the surface, finance looks logical enough with its numbers, charts, mathematics, forecasts, ‘modelling’ and so on. But this only masks the fact that the system itself has been working on underlying assumptions that are either contradictory — such as that you can ‘deregulate’ finance when finance consists of rules — narrow minded or absurd.
Aden was a first and a trailblazer for a group of people who before her were long ignored in the mainstream fashion industry. She has many regrets and admits she made mistakes, but for a fresh-faced teenager who was given this huge responsibility, she says, she did good. I say different, she did bloody brilliant.
There is a common error about economics that, if not corrected, has far reaching consequences. It is the widely held belief that economic growth and consumption are the same. They are not.
The global economy was already teetering on the edge of such a debt crisis before the coronavirus hit. The economic shutdowns have accelerated the damage.
The issue of class, economic inequality, has for some time been conspicuously absent in contemporary political debate. In the wake of COVID-19, which will greatly exacerbate income and wealth disparities, such inattention must be addressed.
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