This was always one of the great inanities of Brexit.
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The National Football League gears up for another season and inanities abound.
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Several sources confirmed to me that Murdoch regales friends with Trump's latest inanities.
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Or is it a descent into the worst inanities of contemporary online discourse?
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Waking up in the night cringing at small talk, blurted inanities, perceived slights.
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And it's no Lee Israel—she'd balk at all the fast-flying verbal inanities.
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Yet hope we do, even as the vulgar sight gags and plot inanities pile up.
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I think if you stay disciplined about your conviction, you can run out these inanities.
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Bits For many people, social media has become an icky sludgefest of inanities, trolling and adolescent behavior.
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Beautiful pastel colors and blurry, Claude Monet-esque backdrops in the Urahara world keep its characters' inanities tolerable.
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Have Mr. Trump's relentless abhorrent words, deeds and Twitter inanities so deeply distracted us that we have forgotten who we are?
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But you're choosing to live in New York, and that means you're opting into the inanities and illogic of Big Apple life.
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Because that's honestly how all games should be broadcast—with a little Bill Walton in your corner, spouting out his genius inanities.
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You still may get inanities ("E is for electronics, which I hope to be playing soon"), but it will require some creativity.
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That exchange, one of the many inanities we hear while wandering around the city every day, feels rather Instagrammy and 2016, doesn't it?
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He punctured those who were pretentious, satirized that which was foolish, lamented what was distressing and pondered the endless inanities of daily life.
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An epic consecrating empire's end, rather than its origins, this book-length poem sings of the absurdities, inanities, and injustices that pervade modern life.
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Still, it is not only about being inefficiently intelligent and trying to raise a genius, not only about the inanities of the school system.
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The quotations we best remember from George W. Bush are his litany of gaffes and inanities ("Brownie, you're doing a heck of a job").
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But if they don't perform Shakespeare or even Arthur Wing Pinero must they star in tawdry Jazz Age inanities like Julie's (fictional) vehicle "Tickled Pink"?
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Several users could only explain away this election's inanities with Harry Potter magic, or turn to Jane Austen to knock some sense into this country.
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You can swipe the news alerts away, uninstall the Twitter app, stop paying attention to the guy in the White House and the people parroting his conspiracy theories and inanities.
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It allows you to compartmentalize, to lend sports the importance you feel they should have in our world, without being swept up too deeply in the balming inanities of sports talk.
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The Republican Congress simply has not had leaders who are willing to confront those members of the party who believe that you can govern by shouting inanities from the corner of the ring.
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They not only reorient the story as a warning to all sexes, but also provide a workaround for a musical that our cancel culture seemed ready to throw on the bonfire of the inanities.
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It's a wordy and ambling jam about navigating a domestic drama—specifically, going into anaphylactic shock while weeding a flower bed—in which Barnett drolly assesses the inanities and the ecstasies of life on earth.
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He's a contrarian—projects like Communist Slow Jamz, Black Ben Carson, and the 2nd Amendment EP are a giveaway—and his rhymes are built to confront and confound the inanities and stupid brutalities of the internet's darker corners.
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When Hillary Clinton used a foreign-policy address on June 2nd to savage Donald Trump as a man unfit to be commander-in-chief, her speech gained much of its power by quoting the businessman's boorish inanities more or less verbatim.
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The larger problem in this context is the prospect that he would pop off with such inanities while in the Oval Office, with powerful incentives not to offer corrections, and with no one around him with the stature to confront his ignorance and ego.
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Once Lauer takes a plunge into the online dating site Nerve — it's 2007, so this is before OkCupid and Tinder owned the market — the memoir starts using confession as a means to plumb the social mores, surface inanities and deeper dissatisfactions of the Internet's love economy.
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And as a leader of New York's lesbian separatist movement, she used her platform to expound upon the implausible possibilities of queer utopia: cosmic villages of homo-ness; artists (all people, she would say) who make sand castles and other inanities both inside and outside their heads.
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Eighth Grade did earn some attention during awards season, particularly from critics groups, both for its writer/director, the former YouTube comedian Bo Burnham, and for its star Elsie Fisher, who as our heroine Kayla had the unenviable task of living through the inanities and awkwardness of eighth grade.
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This wasn't about his praise for despots at home or abroad; it had nothing to do with the past year, which he's spent demonstrating that he has less of a hold on American history than a sixth-grader failing civics; he didn't mean to take back any of the off-the-dome inanities that inspired the right wing to embrace him as a hero.
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What strikes me most about Trump, though, is how easily he still could become more popular — fast — if he just behaved like a normal leader for a month: if he reached out to Democrats on health care, taxes or infrastructure; stopped insulting every newsperson who writes critically about him; stopped lying; stopped tweeting inanities; and actually apologized for some of his most egregious actions and asked for forgiveness.
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27–29 Junimea also kept a record of "inanities" published in the Factionalist newspapers.Panu, p. 73 The "Red" series in government ended in November 1868, when Carol, troubled by the excesses of antisemitism, began selecting his ministers from the moderate right.Brătescu, pp. 26–27; Marton, pp.
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""Film Reviews: Beach Blanket Bingo". Variety. April 7, 1965. 6. Margaret Harford of the Los Angeles Times wrote that "Some of it is pretty silly," but the movie "is best when it is giving the kids a sly drubbing. Its teen-age inanities are not nearly so dull as its adult presumptuousness.
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Namrata Joshi of The Hindu criticized the film as a "compendium of inanities" and that the songs resembled standalone music videos. Shilpa Jamkhandikar of Reuters described the film as "a minefield of meme-worthy moments, replete with hilarious dialogue, a plot ripe for parody and abysmal acting". Umesh punwani of Koimoi gave the film 2/5 stars and said, "On the whole Race 3 is not entirely unentertaining but it is majorly disappointing".
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The hosts make frequent use of puns. Jokey sound effects and cheesy visual effects are often added as well. The exchanges between the two hosts is often a subplot of episodes themselves, with Anderson playing it mostly straight as a play-by-play man while Henson offers up off-the-wall inanities and non sequiturs as color commentary. Jill Wagner offers additional features reactions, and also provides interviews with the contestants filmed before their turn begins.
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'Mendelssohn (1883), 98-9 Franz Liszt, on the other hand, was more dismissive, calling Gusikov a 'Paganini of the Boulevards' whose 'gift, one might say his genius' would have been better applied to 'inventing an agricultural instrument' whereas his 'talent, being misguided, has produced nothing but musical inanities.' Gusikov attracted the admiration and friendship of the musicologist François-Joseph Fétis, who wrote a long article about him, based on their discussions in Brussels, in his musical dictionary.
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In addition to disputing current affairs, Kozelek discusses music venues, his own lyrical style, disc jockeys, the music industry, and fans of Kozelek's early band Red House Painters requesting unreleased, 25-year old music from them. Musically, the track is minimalist, taking inspiration from Philip Glass, and features resounding pianos, metallic clanging, oom-pah-styled tuba, and a "metronomic pulse." "No Christmas Like This" concerns itself with "various inanities." Kozelek recalls his Mardi Gras experiences on "I'm Still in Love with You".
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BBC News 2005. MacDonald P. Jackson wrote in a book review of The Truth Will Out that "it would take a book to explain all that is wrong".Jackson 2005, p. 39. Reviewing the 2007 American edition of The Truth Will Out in the Shakespeare Quarterly, David Kathman wrote that despite its bold claims, "the promised 'evidence' is non-existent or very flimsy," and that the book is "a train wreck" filled with "factual errors, distortions, and arguments that are incoherent" as well as "pseudoscholarly inanities".
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Quillinan's reply was a cento of all the harsh pronouncements of the erratic critic respecting great poets, and the effect was to invalidate as a whole criticisms that might have been defensible individually. Landor dismissed his remarks as "Quill-inanities;" Wordsworth himself is said to have regarded the defence as indiscreet. In 1845 the delicate health of his wife induced Quillinan to travel with her for a year in Portugal and Spain, and the excursion produced a charming book from her pen. In 1846 he contributed an extremely valuable article to the Quarterly Review on Gil Vicente, the Portuguese dramatic poet.
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Brett Todd of GameSpot criticized the commentary by Jim Nantz and Phil Simms, stating that they "offer nothing but inanities, generic observations about the 'offense' and the 'defense' that rarely refer to players by name, and loads of those obnoxious 'I'll tell you what' tics that make Simms so insufferable." Todd also commented that the passing game is too overpowered, though he praised the "Run Free" addition. Ultimately, the score given by Todd was 6.0. Forbes' Erik Kain also criticized the commentary, stating that the exclusive rights deal between EA and the NFL hindered the amount of improvements to the series.
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Chayefsky believed that television news desensitized viewers to violence and murder, and he was shocked one day when a respected news anchorman "rattled off inanities." He asked his friend, the NBC News anchor John Chancellor, if it was possible for an anchorman to go crazy on the air, and Chancellor replied "Every day." Within a week of that conversation, Chayefsky had written the rough draft of a script, centering on an elderly, disillusioned anchor who announces he will commit suicide on the air. In 1974, a local news anchor, Christine Chubbuck, committed suicide during a broadcast.
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The plan was as cunning as it was devious: Tristan Tzara and André Breton rented an auditorium at the Grand Palais. A group guided by Tzara distributed flyers and posters saying that Charlie Chaplin would appear "in the flesh" on February 5. The crowd heckled when Chaplin (not even aware of the event) never showed up, and Tzara was ready: his group hurled insults back at the crowd from the stage. The renown literary figure André Gide present in the audience, fooled as the others, described the happening: "Some young people, solemn, stilted, tied up in knots, got up on the platform and as a chorus declaimed insincere inanities".
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Jones is promoted from assistant to acting sales representative on the whim of his manager, over the heads of his far more experienced colleagues. As time passes and the inanities mount, Jones comes to believe in the existence of a conspiracy, given the logical fallacies of his work, selling orders to different floors of the same company. A meeting with upper management is impossible without an appointment, an appointment is impossible without the consent of mid-level managers, and managers fire anyone who ask questions outside the lines of preferred company policy. Employees are shuffled about at random or outsourced in cost-cutting maneuvers, and the theme of cost-consolidation is heavy throughout.
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They do have a compelling enough reason to stay in the Underworld -- though why Snow and Charming would spend so much time away from their newborn confuses me -- but overall, the episode was all about getting the board ready." Ratcliffe gave the episode a 7.0 rating out of 10. Gwen Ihnat of The A.V. Club gave the episode an excellent review, giving it a B. In her recap, she points out: "With “Souls Of The Departed” Once Upon a Time, believe it or not, has just crossed a key threshold: 100 episodes. For all this show's inanities and love of catchphrases and gaping plot holes where logic should exist, there's clearly something very compelling about Storybrooke and its residents that resonates with viewers.
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Although she found the ending disappointed, she also noted it was "a final, bittersweet encounter [which] rounds out [a] novel...full of wonderful moments, gentle humor, and a happily jaundiced view of contemporary attitudes and inanities." An anonymous reviewer in The Washington Post called it a "quaint and quirky novel" with "wry and witty thrust-and-parry writing", but felt that McCauley never explained the basis for George and Nina's love and that the ending left the reader without resolution. The novel was named a "Bear in Mind" book by The New York Times, as one which the editors felt were of particular interest. The New York Times also named the novel one of its "Notable Books of the Year".
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Ziya Us Salam of The Hindu noted the film's "loads of good music, beautiful locales, sweet smiles and lovely feel", and praised Zinta for putting "life into her character of Madhubala", while finding her less convincing in "mouthing the inanities used by the women of the street". Vinayak Chakravorty of Hindustan Times rated the film three stars, noted its resemblance to Doosri Dulhan and criticised it for occasionally coming across as "a veritable rerun of the stereotypes". Still, he noted Khan for playing against type and hailed Zinta's "admirable zest" as the "trumpcard of the film". Dinesh Raheja of India Today was slightly critical of the film's lack of subtlety but believed the directors are "masters of pace and don't allow your attention to wander", and credited Zinta "who gives the film its electric charge".
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By continuing with the design in a relief that was not coinable, Saint-Gaudens lost his best chance to explore the limits of artistry on circulation coinage." Saint-Gaudens wrote to Roosevelt later in January, "Whatever I produce cannot be worse than the inanities now displayed on our coins." However, Saint-Gaudens foresaw resistance from Barber, who "has been in that institution since the foundation of the government, and will be found standing in its ruins". In , the sculptor wrote to Roosevelt that he had sent an assistant to Washington to obtain the technical details of the redesign, but "if you succeed in getting the best of the polite Mr. Barber or the others in charge, you will have done a greater work than putting through the Panama Canal.
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" Saibal Chatterjee of NDTV found the writing of the film and Shruti Haasan's acting performance to be extremely weak and concluded his review by saying that, "Watch Behen Hogi Teri only if you think a one-man show is good enough to offset the drudgery of a two-hour trudge through a maze of inanities." Saibal gave the film a rating of 2 out of 5. Shubhra Gupta of The Indian Express gave the film a rating of 1.5 out of 5 and said that, "The only element worth looking at in this film, apart from the dependable Kamat, is the rock-solid Rao. If he was given a better co-star than the strictly one-note Haasan, this might have turned out to be a better film.
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Hardy notes that 'Scott's movie has the merit of preceding them both'. Academic film historians Steve Chibnall and Brian McFarlane give the film a rather negative review. They point out that 'Peter Graham Scott can make nothing of the inanities of The Headless Ghost ... Like Scott's other films, this one moves along quite smartly, but this time there is virtually nothing worth moving. Clive Revill provides a touch of campy style as the ghost of the fourth Earl who steps down from his portrait, the special effects are simple but adequate, but the overall impression is one of meagre inventiveness ....' They call the three student characters 'unlikable' and compare them unfavourably to another trio of young people at the centre of a film: James Dean, Natalie Wood and Sal Mineo in Rebel Without a Cause (1955).
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Critic Richard Corliss wrote in 1978 that "All critics should have a sex movie among their guilty pleasures", and expanded that his favorite was School Girl because it was "one of the few porn comedies to poke holes in the inanities of the genre without letting the air escape from the spectator's libido". The film was later listed among Corliss's "Guilty Pleasures" as a postscript to Time Magazine's list of "All-Time 100 best films." In his essay, Corliss described the film as a "mini-masterpiece", offering that the film was "a funny, telling comment on how directors bring an audience's gamiest desires to life, and on how power helps define any human relationship." Corliss later wrote that the film was the "friendliest, most naturalistic porno I know" and that it was "a lovely, and hot, demonstration of the thesis that sex is power".
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Britain may or may not have the right answers to immigration questions, but we certainly now have a far more informed debate on them". Similarly, an article by Dean Godson of the centre-right think tank Policy Exchange published in The Times in June 2006 states: "The dramatic change in the terms of the immigration debate over recent months is largely down to the determination and courage of a single individual – Sir Andrew Green, the founder and chairman of MigrationWatch UK. Almost single-handedly, he has rescued the national discourse from the twin inanities of saloon-bar bigotry on the Right and politically correct McCarthyism on the Left". Jay Rayner, writing in The Observer quotes one senior BBC News executive, who stated: "We probably were reluctant and slow to take him seriously to begin with. We probably didn't like what he had to say.
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With his "Germany Trilogy", consisting of 100 Years of Adolf Hitler – The Last Hour in the Führerbunker, The German Chainsaw Massacre – The First Hour of the Reunification and Terror 2000 – Germany out of Control, Schlingensief came to prominence. Since then he shaped the cultural and political discourse in Germany for more than two decades and established himself as one of the country's most important and versatile artists. The "Germany Trilogy" deals with three turning points in 20th-century German history: the first movie Hundert Jahre Adolf Hitler ("A Hundred Years of Adolf Hitler", 1989) covers the last hours of Adolf Hitler, the second The German Chainsaw Massacre (1990), depicts the German reunification of 1990 and shows a group of East Germans who cross the border to visit West Germany and get slaughtered by a psychopathic West German family with chainsaws, and the third Terror 2000 (1992) focuses on xenophobic violence after the reunification process. One of Schlingensief's central tactics was to call politicians' bluff in an attempt to reveal the inanities of their "responsible" discourse, a tactic he called "playing something through to its end".
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Archived here. Later that year, Jones gave a highly negative review to Leckey's exhibition at the Serpentine Gallery, describing it as being "full of lumbering inanities".Mark Leckey's art creates noise without meaning by Jonathan Jones in The Guardian, 23 May 2011. Retrieved 24 February 2014. Archived here. The review provoked strong responses in art circles and many comments on The Guardian's webpage, including replies from Jones, forcing Jones on to the defensive in the reader comments section time and time again. Jones held to his position that the exhibition was just bad, and his review simply an honest reaction, replying to one reader that he had used "invective because – let's face it – if you really do feel dislike, you may as well exploit the entertainment value of that rage. In other words – bad reviews can be bloody good fun to read", adding "So here is where I am really coming from... I believe ninety-five percent of the British contemporary art that is endlessly promoted by galleries, museums and the media is worthless" and, probably tongue-in-cheek, "Artblogging, it's the new rock n roll".
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