While political comedy has long been a distinguishing feature of truly democratic cultures, one of the more notable shifts over the past two decades has been the merger of comedy into political commentary. What has this done to the conditions of our common life?

What’s the point of political comedy?

In a world marked by wicked social problems, The Minefield helps you negotiate the ethical dilemmas, contradictory claims and unacknowledged complicities of modern life.

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Protests are, by their nature, unequivocal and univocal. They tend to avoid nuance or fine distinctions, and most often do not invite dialogue. They make demands. Does the particular vocation of universities place ethical limits on the forms of expression available to protestors?

What are the ethical, and legal, limits of protests at Australian universities?

Reciprocity, cooperation, kindness, turn-taking, forbearance, empathy, experimentation — can these counter the decidedly illiberal, impatient, anti-pluralistic, well-nigh apocalyptic energies that now seem resurgent in parts of the West?

The decency of everyday life — are unwritten rules enough to sustain a good society?

During the pandemic, there was a sudden renewal of interest in Harold Ramis’s 1993 film “Groundhog Day” — especially its bleaker aspects. But this missed its sophistication and humanity, to say nothing of its acute depiction of moral growth.

What will endure? The ethics of “Groundhog Day”

Residents of Sydney have found themselves understandably overwhelmed by the compound traumas of two stabbing attacks in three days. How are we to make sense of the cycling-through of emotions in response to shocking public violence?

After the stabbings in Sydney — Grief? Anger? Revenge?

There has been an odd confluence of events over the past couple weeks that has managed to intensify the sense of a conflict between two of our most important democratic institutions: the law and the media.

What’s the point of political comedy?

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