Club (2006) Backlash and censorship Film director Jonathan Lynn generally advises against marketing one's work as "satire" because according to Lynn it "can substantially reduce viewing figures and box office" due to a presumed negative perception of satire in the [American] industry: Film, more than television, offers advantages for satire, such as the "possibility of achieving the proper balance" between realism and non-realism, using the latter to communicate about the former. The ideal climate for a satirical film involves "fairly free" political conditions and/or independent producers with "modest" financial backing. United States In the case of American satire, Roger Rosenblatt postulated that post-9/11 political climate "caused irony's death." Satire has been subjected to official and unofficial pressures concluding in self-censorship or outright removal of the material, with the reason given of satire not being economically viable. In the case of television, controversial content creators have been historically constrained by Federal Communications Commission regulations (Gray et al., p. 181), which threatens them with sanctions for airing alleged "indecent material" but also by industry and corporate watchdogs. Since the 1930s, with notable example being the Hays Office, there have always been organizations that "watch[ed] closely over media content to ensure it doesn't threaten the commercial climate in general and their products in particular." Typical pressures put on American satire that present topics of (anti-)war, patriotism, sex, religion, ethnicity, and race. In another view, censorship and content sanitization cannot eliminate satire. Production of political satire between 1929 and 1960 was scarce but uninterrupted. Pro-government comic relief satire devoid of criticism was one strain of satire found on radio and television during the 1940s and 1950s that was "mass audience-oriented, nonradical," and focused on "[safe] plot lines [of] middle-class, suburban, white characters" typified by 1950s sitcoms, such as I Love Lucy, while the so-called edgier strain was rediscovered in the burgeoning stand-up comic scene in the late 1950s and forward. The latter was typified by comedy music albums of Tom Lehrer, standup comedy of Lenny Bruce, MAD magazine, and Chicago improvisational comedy troupe Second City. Lebanon The 1978 film Alexandria . . . Why? by Egyptian filmmaker Youssef Chahine was banned in Lebanon and other Arab countries for satirical references of the 1952 Egyptian revolution. Russia Satirical films about "life in Russia during the Stalin era" were banned. In the 1990s, Russian television show producers were charged with "tax evasion and illegal currency dealings"