Everything wrong with woman's life blamed on men

A WOMAN is confident that every failure or shortcoming in her existence is ultimately the fault of men. 

After careful evaluation, Lucy Parry has decided that her unfulfilling job, inability to get on the property ladder and her toast burning this morning are all, when it comes down to it, because of the patriarchy.

She said: “Everyone knows the gender pay gap’s all down to selfish, sexist men. But I’m daring to think bigger.

“The traffic that made me late for work this morning? Guess who was driving the not one, not two, but three cars in front. The fillings I need? Because I’m grinding my teeth over men’s bullshit all the time.

“Phone battery low? Because they’re designed by men selfishly designed them with their gruff, masculine one-text-and-away power usage in mind, not women who know the necessity of scrolling Instagram. See? All it takes is lateral thinking.

“As for why I’m single, that’s obviously on men. For not being handsome, not earning for shit and boring on about the crap they’re interested in. They need to sort it out. I’m excellent to date.”

Colleague Martin Bishop said: “As a man, I fear nodding along to Lucy’s rant is yet another poor male decision which women will end up paying heavily for. Specifically her mates.”

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Wouldn't Casablanca be better as a ten-episode season where nothing happens? asks Netflix

NETFLIX is inviting viewers to imagine their favourite Warner Bros properties turned into prestige TV shows with moody lighting and no plot development. 

Following the streamer’s purchase of the Hollywood studio for $83 billion, audiences have been ordered to choose their favourite epic to be made into a ten-hour bingeable show with utterly glacial pacing.

CEO Ted Sarandos said: “You liked Chariots of Fire? You’ll like it even more when it lasts all day and they haven’t even left Cambridge yet.

“We’ll be bringing the values which have made Netflix a thriving business, if you ignore all the debt, to the Warner Bros library. Expect exhaustively explored backstories, characters who take up time but go nowhere, all impossible to make out through gloom.

“Think Deliverance is a classic? It’s even better as two seasons of high-concept adventure that ends before the famous bit because audiences lost interest. 2001: A Space Odyssey a favourite? Yes, but have you seen it animated?

Casablanca itself is already in production. By the end of season one, ten hours of thrilling character development, Rick buys a cafe. At the end of season six Ilsa stays with him because our algorithm says that’s what audiences would prefer. You’ll love it.”

He added: “Oh, and all this will be happening on a screen the size of a human fingernail, on the bus, without headphones.”