Sophisticated Funny Quotes

I sat on the bed. Neither of us said anything. I wasn't slick and sophisticated enough for this. What do you say to boyfriend A when he finds you naked in the bed of boyfriend B? Especially if boyfriend A turned into a monster the night before and ate someone. I bet Miss Manners didn't cover this at all.

The French: a people who have used their sophisticated culture and beautiful language to bequeath to the world the sliced potato.

Folk wisdom: quaint sayings of urban sophisticates compiled from the suburbs.

I feel like someone in a terribly sophisticated play. The funny part is, I'm not sophisticated. I'm not anything. I'm just me.

Let me put it more artistically, with greater sophistication: They left us in the toilet. In the deepest pile of shit. And we're coated in the crappy residue of their desicions. But that does not mean we are the one who pooped, Moritz. And neither are we the poop. Never think that. We're not the poop.

Most unintelligent or foolish people do not regard themselves as that; they regard themselves as not-that-intelligent or not-that-wise.

Oh, well, that's not bad, I suppose. I mean, I'd prefer devastatingly sophisticated - but almost endearing is more than I could have hoped for under the circumstances.

The poorly sophisticated, since many of us are, as presumed to be, lacking in good arguments, we are then prone to being well-versed in insults.

(on the word "fuck") 'Oh, come on, Mum,' I sighed at her protest. 'It's just an old Anglo-Saxon word for the female organ which has been adopted by an inherently misogynist language as a negative epithet. It's the same as "fuck", it basically means the same as copulate, but the latter is perfectly acceptable. Why? Because copulate has its roots in Latin and Latin reminds us that we are a sophisticated, learned species, not the rutting animals that these prehistoric grunts would have us appear to be, and isn't that really the issue here? We don't want to admit that we are essentially animals? We want to distinguish ourselves from the fauna with grand conceits and elaborate language; become angels worthy of salvation, not dumb creatures consigned to an earthly, terminal end. It's just a word, Mum; a sound meaning a thing; and your disgust is just denial of a greater horror: that our consciousness is not an indication of our specialness but the terrifying key to knowing how truly insignificant we are.' She told me to got fuck myself.

There's a reason caveman started to develop sophisticated tools before the meteor wiped them all out: It's so they could fucking shave. Do you know how frustrating it must have been to be hunched over all night trying to start a fire only to finally succeed just to have your beard go up in flames? No aloe vera back then.

Well don't get your hopes up," I warned. "I'm a lot more trouble than i'm worth." "I don't doubt that," he said, indicating my box of junk. "What did you do to get sent here?" "I can't tell you." "Because then you'd have to kill me.

... there was one new metallic monstrosity stacked in one corner that she hadn’t seen the last time she was a visitor to his strange chamber, it appeared to be a mass of hard drives all fused together, but they looked too sophisticated to be merely hard drives. “What on earth is that?” “That’s my Kung Fu,” he said proudly, patting the top of the futuristic-looking stack. “Is that what you wanted to show me?” “No, but it’s impressive, isn’t it?” “If you say so.” Steves sighed and shook his head, so few people could appreciate the intellectual complexity of an almost untraceable hacking device.

The girl may have been tiny, but everything about her said, I'm not scared of you, so piss off.

Satire is a sophisticated lie told in a humorous way to reveal a more painfully funny truth.

The men in California are so sophisticated. I love how they're not above using all the antiaging products or doing their best to stay fit. It's not like here, where guys use a bar of soap and think they're suddenly Don Juan. You can see how it's hard for me to view this place as romantic and not backwoods.' Julia stood. 'Not really. I prefer manly men. I don't care to share my hair product with a guy. I'm funny that way.

Erm…I don’t know maybe for kissing me and tasting so damn delicious, maybe for holding my hand in public, maybe for looking far too hot in that sexy, snug tee when you should just be looking like Jo’s little brother. The words were on the tip of my tongue, but I chose the much more sophisticated reaction of scowling, hard. I would have kicked him again, but I was convinced he’d moved his legs out of the way. Coward.” ~ Ella, A Perfect Moment

You did all this,” I breathe heavy with awe. “You gave them the courage to take a stand.” He shakes his head. “No. You did. You started all this,” he leans in, his lips hot and warm breath tickling against my ear. “You gave me the strength,” he sucks in a quick breathe and lets out a laughing exhale. “You gave me the strength to break free of all these ridiculous canons of public behavior.” I smile, partly because I find his sophisticated speech funny, but mostly because he makes my heart bounce. I don’t believe it was me who inspired all these people. It’s obvious it was David. But I did manage to inspire. I inspired David and that’s all it takes. It takes for just one person to make a stand, and another to be moved and inspired by that one brave act. Gravity takes care of the rest as the word spreads and everything falls into place.

You sound off,” he said. “Why are you whispering? I thought you and Ana were having dinner together.” I bit my lip. “It’s kind of a funny story, but you have to promise not to yell.” “Why would a funny story make me yell?” he asked warily. “Well,” I drawled. “I was on my way to meet up with Ana, and there was this truck parked in an alley that didn’t look right. So, I left my bike on the street and went to check it out.” “Jordan.” I didn’t need to see him to know he was pinching the bridge of his nose, something he’d been doing a lot in the last few months. “Don’t worry. They didn’t see me.” His tone sharpened. “Who didn’t see you?” “The Gulaks. They were too busy loading the girls into the back.” I paused as the truck slowed going around a curve. “I slipped on without them having a clue I was there.” He swore. “Do not tell me you climbed into a truck with a bunch of Gulak slavers.” I scoffed softly. “Of course not. Give me some credit. I’m on the roof of the truck.” He growled something, and I heard another male laughing. It sounded like Mario, one of the warriors we were working with on this job, along with his mate, Ana. We’d been in Panama for two weeks, at the request of the government, to locate and shut down a human trafficking ring. But this one was a lot more sophisticated than any other Gulak operation we’d encountered, and they’d managed to evade us completely. Until now. “This is not a funny story,” he said in an exasperated voice.

A long time ago Ian had told her he was half in love with her, yet now that they were betrothed he’d never spoken a word of it, had not even pretended. She wasn’t certain of his motives or his feelings; she wasn’t certain of her own, either. All she really knew was that the sight of his hard, handsome face with its chiseled features, and hold amber eyes never failed to make her entire being feel tense and alive. She knew he liked to kis her, and that she very much liked being kissed by him. Added to his other attractions was something else that drew her inexorably to him: From their very first meeting, Elizabeth had sensed that beneath his bland sophistication and rugged virility Ian Thornton had a depth that most people lacked. “It’s so hard to know,” she whispered, “how I ought to feel or what I ought to think. And I have the worst feeling it’s not going to matter what I know or what I think,” she added almost sadly, “because I am going to love him.” She opened her eyes and looked at Alex. “It’s happening, and I cannot stop it. It was happening two years ago, and I couldn’t stop it then, either. So you see,” she added with a sad little smile, “it would be so much nicer for me if you could love him just a little, too.” Alex reached across the table and took Elizabeth’s hands in hers. “If you love him, then he must be the very best of men. I shall henceforth make it a point to see all his best qualities!” Alex hesitated, and then she hazarded the question: “Elizabeth, does he love you?” Elizabeth shook her head. “He wants me, he says, and he wants children.” Alex swallowed embarrassed laughter. “He what?” “He wants me, and he wants children.” A funny, knowing smile tugged at Alexandra’s lips. “You didn’t tell me he said the first part. I am much encouraged,” she teased while a rosy blush stole over her cheeks. “I think I am, too,” Elizabeth admitted, drawing a swift, searching look from Alex. “Elizabeth, this is scarcely the time to discuss this-in fact,” Alex added, her flush deepening. “I don’t think there is a really good time to discuss it-but has Lucinda explained to you how children are conceived?” “Yes, of course,” Elizabeth said without hesitation. “Good, because I would have been the logical one otherwise, and I still remember my reaction when I found out. It was not a pretty sight,” she laughed. “On the other hand, you were always much the wiser girl than I.” “I don’t think so at all,” Elizabeth said, but she couldn’t imagine what there was, really, to blush about. Children, Lucinda had told her when she’d asked, were conceived when a husband kissed his wife in be. And it hurt the first time. Ian’s kisses were sometimes almost bruising, but they never actually hurt, and she enjoyed them terribly. As if speaking her feelings aloud to Alexandra had somehow relieved her of the burden of trying to deal with them, Elizabeth was so joyously relaxed that she suspected Ian noticed it at once when the men joined them in the drawing room. Ian did notice it; in fact, as they sat down to play a game of cards in accordance with Elizabeth’s cheery suggestion, he noticed there was a subtle but distinct softening in the attitudes of both ladies toward him.

Education was still considered a privilege in England. At Oxford you took responsibility for your efforts and for your performance. No one coddled, and no one uproariously encouraged. British respect for the individual, both learner and teacher, reigned. If you wanted to learn, you applied yourself and did it. Grades were posted publicly by your name after exams. People failed regularly. These realities never ceased to bewilder those used to “democracy” without any of the responsibility. For me, however, my expectations were rattled in another way. I arrived anticipating to be snubbed by a culture of privilege, but when looked at from a British angle, I actually found North American students owned a far greater sense of entitlement when it came to a college education. I did not realize just how much expectations fetter—these “mind-forged manacles,”2 as Blake wrote. Oxford upholds something larger than self as a reference point, embedded in the deep respect for all that a community of learning entails. At my very first tutorial, for instance, an American student entered wearing a baseball cap on backward. The professor quietly asked him to remove it. The student froze, stunned. In the United States such a request would be fodder for a laundry list of wrongs done against the student, followed by threatening the teacher’s job and suing the university. But Oxford sits unruffled: if you don’t like it, you can simply leave. A handy formula since, of course, no one wants to leave. “No caps in my classroom,” the professor repeated, adding, “Men and women have died for your education.” Instead of being disgruntled, the student nodded thoughtfully as he removed his hat and joined us. With its expanses of beautiful architecture, quads (or walled lawns) spilling into lush gardens, mist rising from rivers, cows lowing in meadows, spires reaching high into skies, Oxford remained unapologetically absolute. And did I mention? Practically every college within the university has its own pub. Pubs, as I came to learn, represented far more for the Brits than merely a place where alcohol was served. They were important gathering places, overflowing with good conversation over comforting food: vital humming hubs of community in communication. So faced with a thousand-year-old institution, I learned to pick my battles. Rather than resist, for instance, the archaic book-ordering system in the Bodleian Library with technological mortification, I discovered the treasure in embracing its seeming quirkiness. Often, when the wrong book came up from the annals after my order, I found it to be right in some way after all. Oxford often works such. After one particularly serendipitous day of research, I asked Robert, the usual morning porter on duty at the Bodleian Library, about the lack of any kind of sophisticated security system, especially in one of the world’s most famous libraries. The Bodleian was not a loaning library, though you were allowed to work freely amid priceless artifacts. Individual college libraries entrusted you to simply sign a book out and then return it when you were done. “It’s funny; Americans ask me about that all the time,” Robert said as he stirred his tea. “But then again, they’re not used to having u in honour,” he said with a shrug.

If socialism and liberalism are distinct strands of Enlightenment humanism, then socialists are the hipsters of that humanism, advocating on particular issues before they're cool (also, like hipsters, socialists tend to have horrible beards). Today's easy liberal consensus--gender equality, racial equality, the idea that peg-legged tubercular five-year-olds should get statutory holidays from their coal-sorting jobs--is almost always yesterday's fiery and decidedly un-pragmatic socialist whinge. As it turns out, the middle of the political spectrum is a far more fun, sophisticated place to be after your comrades have already expended a lot of blood, sweat and tears yanking it in the proper direction for you (and guess which direction that usually is?).

You did all this,” I breathe heavy with awe. “You gave them the courage to take a stand.” He shakes his head. “No. You did. You started all this,” he leans in, his lips hot, warm breath tickling against my ear. “You gave me the strength,” he sucks in a quick breathe and lets out a laughing exhale. “You gave me the strength to break free of all these ridiculous canons of public behavior.” I smile, partly because I find his sophisticated speech funny, but mostly because he makes my heart bounce. I don’t believe it was me who inspired all these people. It’s obvious it was David. But I did manage to inspire. I inspired David and that’s all it takes. It takes for just one person to make a stand, and another to be moved and inspired by that one brave act. Gravity takes care of the rest as the word spreads and everything falls into place.

Class?" I asked in surprise. "Today?" "This isn't a spa vacation, Tiger Lily. Just be glad it's History of Wormwood and not conditioning." "Conditioning?" "Hope you've got a bottle of Icy Hot in there.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all. Astaire only got on his knees to execute a dazzling dance move, never as an act of submission. His characters were largely wealthy, self-assured, and worldly. He danced with sophistication and class. In his famous pairings with Ginger Rogers, the primary dance numbers had the couple dressed to the nines, swirling on equally polished floors to the strains of deeply moving romantic ballads.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all.

Funny how a sophisticated outfit can cover up lies, and how blind to the truth we are.

Terrorism comes in many forms, sometimes in the wealthiest suits signing a new law. Funny how a sophisticated outfit can cover up lies, and how blind to the truth we are.

Every Joke has a bottom, a familiar pain, anger, trauma. "Get it? Do ya get it?" Whatever the joke is, it's usually only funny once, sometimes not at all. David Bohm would report being distressed and disturbed by Krishnamurti's "jokes", and even Carl Jung thought Kierkegaard, with his emphasis on comedy was borderline pathological. Kierkegaard's comedy emphasized the "winning side". No one could make people laugh like Jung could, however, he wasn't necessarily trying to be funny. Some make people laugh due to the warmth of their rapport with the other, not necessarily because of the sophistication or memorization of a worn out joke. Compulsive joking about some familiar or unfamiliar pain will only take you so far. People get turned off by the repetitive need to find entertainment in something distressing and all too familiar.

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By producing a unique and memorable user experience, the design approach known as "Flightd," which emphasizes fluid, lightweight motion, can enhance brand identity. A sense of creativity, agility, and sophistication can be communicated by fluid, intentional animations. Consistent use of "Flightd" across digital touchpoints generates a unique visual language, making the brand readily recognized. A favorable emotional bond with the brand can be fostered by these smooth encounters, which can also increase user engagement and give the impression of seamless navigation. When carefully incorporated, "Flightd" becomes a subdued yet effective component that upholds the character and principles of the brand.

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The massive success of the personalized recommendation algorithm relies on a few tricks, but the underlying principle is quite intuitive: If you like a certain kind of content, you’ll probably like other content similar to it. For instance, I recently liked a video of a man singing “Barbie World” by Nicki Minaj to the grave of President Lyndon B. Johnson. The algorithm correctly inferred that I enjoyed the song and sent me more funny “Barbie World” videos, which improved my experience on the app. It also probably pushed those videos to people who fit the same demographic profile as me, since they’re also likely to respond positively. When these songs accompany a meme or dance that people want to re-create, a trend is born. At its core, this process is the same as those on Vine and Musical.ly, just spread through a more sophisticated recommendation system. The videos are now especially compelling because they make it seem as if everyone were hopping onto a trend (a perception exacerbated by your biased recommendation feed). Because we’re social creatures, your recommendation page will pressure you to watch or participate in these trends, so you can feel caught up on the latest cultural references.

Both Funny Girl and Show Boat also take pains to show their heroines’ modest roots. We see Magnolia performing in bad plays with bad actors on the Cotton Blossom show boat and are fully aware of the modest but loving family from which she sprang. Similarly, we see Fanny start out in low-class vaudeville and witness her modest Henry Street roots, where her mother runs a neighborhood saloon. Much more compelling parallels lie in the story of each heroine’s love life. Both wed for love, both wed professional gamblers, and both are ultimately abandoned by their loving but unreliable spouses. Magnolia falls in love with Gaylord Ravenal, a Mississippi gambler; Fanny falls for Nicky Arnstein, a New York gambler.3 To the relatively innocent eyes of Magnolia and Fanny, each man is handsome, suave and sophisticated, living exotic lives far beyond the two women’s sheltered upbringings. Magnolia’s mother Parthy objected to the match, but her father Cap’n Andy helped it along; we know little about Fanny’s mother’s attitude toward her marrying Nick. Each couple marries for love. Once wed, each moves away to live the high life elsewhere. Magnolia and Gaylord move to Chicago where they have their daughter Kim. Though we don’t see them, we hear reports that they party amongst the city’s elite, living opulent lives. Similarly, once wed, Fanny and Nicky enjoy a life of fine restaurants, champagne, and jewels. They revel in materialistic splendor, reflecting each husband’s good luck at the gaming tables. This point is especially hit home by Nicky’s refusal to wed Fanny unless he makes a bundle, not wanting to be beholden to Fanny’s bank account. Their “glitter and be gay” worlds eventually unravel, however, as the gamblers’ luck turns. Eventually Gaylord abandons Magnolia and Nicky leaves Fanny. Gaylord leaves Magnolia flat, forcing her return to the stage for a livelihood. By contrast, because Fanny is already a star her pain at abandonment is not economically devastating, though certainly as emotionally crushing as Magnolia’s. Not only do both abandoned wives carry on, both make still-bigger names for themselves professionally. Unlike the Cinderella musicals, both Show Boat and Funny Girl center primarily upon romance, rather than social acceptance. Magnolia and Fanny fall head over heels for their respective beaux, seemingly oblivious to their men being gamblers and hence rather disreputable ne’er-do-wells. Consequently, both Fanny and Magnolia attain public renown but privately suffer. So why wed gamblers?

Similarly, in Funny Girl, Nicky Arnstein’s polished exterior belied his shaky moral underpinnings; there is nothing truly substantial beneath this gambler’s flashy exterior. The thrill of an exciting life with Nicky is quickly replaced by Fanny’s terror and despair. Still, Nicky was a male version of what Fanny wanted to become: sophisticated and successful on her own terms, thanks to her unique talents, living the high life above the hoi polloi, free from having to compromise or fit in.