"cosmic irony" is a correct and usable phrase in written English.
It refers to a type of irony that is perceived as being beyond the control of humans, often occurring on a universal or cosmic scale. You can use "cosmic irony" to describe a situation where events unfold in a way that is ironic or unexpected on a grand scale or beyond human understanding. Example: The protagonist in the novel believed in the concept of karma and how it determined one's fate. However, the cosmic irony of his life was that despite his good intentions, he faced a series of unfortunate events and was ultimately met with a tragic end.
There is a cosmic irony in the veil of insignificance that obscures the new and wonderful.
(Sadly, that was another abortive film project, the adaptation of a Terry Pratchett book called, with cosmic irony, Good Omen).
Fincher unleashes that primordial, archetypal fury along with its cosmic irony, making a movie that is a tragedy of our time.
Their assignment was to discuss examples of "verbal, dramatic and cosmic irony" that each author used to show that no man can escape his fate.
Now we felt as if we were part of some cruel cosmic irony: the family that spins for a girl and ends up with twin boys.
True, but some critics have pointed out the cosmic irony that extraterrestrial wonders are illustrated by shots of Earth's natural wonders.
imprint, said: "If a person I am talking to turns out to be a Don DeLillo fan, there's a good chance we are going to get along because it indicates a quality of mind and a certain appreciation of cosmic ironies.
The first I noticed, which had somehow broken away from the others in a cosmic act of irony, was a copy of the school's tornado procedures.
It all seems like a cosmic stroke of irony given that Big Little Lies a series about women banding together against an abusive man took home four awards, winning Best Miniseries or Television Film, with Nicole Kidman, Laura Dern, and Alexander Skarsgård winning in their respective acting categories.
And perhaps this is where we are headed: to an irony of cosmic, mythic proportion.
By an irony of fairly cosmic proportions, David Hepworth and Mark Ellen, the two former Whistle Test presenters whose overlapping career paths – from Smash Hits, to Q, to Mojo – can fairly be said to have defined the arc of British music journalism in the post-NME epoch, now find themselves valiantly clinging to the helm of (star-rating-free) The Word.
