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Public anger in research (and social media)
Hannah Jones, Yasmin Gunaratnam, Gargi Bhattacharyya, William Davies, Sukhwant Dhaliwal, Emma Jackson, and Roiyah Saltus

its own (real-life) van with the slogan ‘Stirring up tension and division in the UK illegally? Home Office, think again,’ targeted at gaining press and social media attention. More informally, photoshopped parodies multiplied on Twitter; examples included a slogan telling the Romans to go home (playing on the Monty Python ‘what did the Romans ever do for us?’ joke); another told the Australian lobbyist Lynton Crosby (rumoured to be behind the

in Go home?
Susan Manning

form a kind of anti-masque or ‘internal commentary’, as the narrator puts it.55 Both thematically and formally, then, Ivanhoe is proleptic of its own parodies, from Crotchet Castle and Rebecca and Rowena to Monty Python and the Holy Grail: Coeur de Lion fights under the banner of ‘The Black Sluggard’; Athelstane the Saxon Pretender is a lazy, good-natured glutton. This inconvenient strain of levity was noted by the novel’s earliest reviewers: ‘Instead of the grave and somewhat dignified style in which it behooved the celebrator of ancient deeds of chivalry to describe

in Special relationships
Grassroots exceptionalism in humanitarian memoir
Emily Bauman

loans (though he does eventually direct Yunus to the higher-ups); like a Monty Python sketch he is having fun with Professor Yunus, who is made a fool of even as he has played the fool in order to expose and challenge the unfairness of the system. The power of the fool is not so much to reveal or elicit particular information: that is the role of the sleuth or the investigator. It is rather to reveal

in Global humanitarianism and media culture
From starving children to satirical saviours
Rachel Tavernor

from Monty Python’s Life of Brian (1979), that ironically asks, ‘What have the Romans ever done for us?’ with the conclusion being that they significantly developed society. Similarly, in the Enough Food IF video, British characters are on their way to an anti-aid rally, determined to campaign against aid even after their discussion on the bus about the many ‘successes’ of international aid. The

in Global humanitarianism and media culture
Robert Fine and Philip Spencer

(London: Atlantic Books, 2009). 21 In 1979 the Monty Python film Life of Brian was treated as blasphemous by various religious groups and local authorities in the UK and the US. It was condemned as such by Malcolm Muggeridge and Mervyn Stockwood, the Bishop of Southwark, in a BBC televised debate. 22 See Paul Berman's compelling reflections on this

in Antisemitism and the left
Open Access (free)
Bridget Byrne and Carla De Tona

). Cheadle Heath, as well as other areas associated with ‘council houses and people on benefits’, was a common reference point as an area to avoid. Thus Cheadle Hulme for Melanie and Steve stood 54 Imagining places somewhere in the middle of a social order. This is the Monty Python version of the class system, where there is a clear order of looking down on others and being looked down upon. Whilst they describe Cheadle Hulme as somewhere that they are ‘comfortable’, they also remembered how, by having children at a younger age than was the norm for the area, they had

in All in the mix
Jes Wienberg

as a relic of another time, a time when the elite was supposed to acquire a broad spectrum of knowledge and proficiencies, a cultural code, so as to be able to function in state offices and mix at a distance from the rest of the population. To quote from the film Monty Python & The Holy Grail (1975), when King Arthur manages to complicate a question about the air-speed velocity of an unladen swallow and is therefore free to cross the Bridge of Death: “Well, you have to know these things when you’re a king, you know!” In more academic terms and with a reference to

in Heritopia