Sentence examples for vague post from inspiring English sources

Facebook's 2018 kicked off with Zuckerberg's wishful, vague post about his personal challenge to "fix Facebook".

In a vague post called "World Leaders on Twitter," Twitter awkwardly sidestepped the controversy over whether Trump's Twitter account violates its terms of service altogether, instead asserting that it doesn't matter if a world leader violates its terms of service  — they should have a home on the platform nonetheless.

The best we've got for an explanation came from a very vague post on the observatory's Facebook, saying that the "Association of Universities for Research in Astronomy (AURA) is addressing a security issue" at the facility and has "no further comment at this time".

Keep in mind that the president is more than a little czar crazy, perhaps because the vague post of czar (of whatever) turns out not to require confirmation from a somewhat slow and balky Senate, even as it brings instant attention to some new aspect of his mega-agenda.

It was infused with those pre-9/11 years where an optimism about the future that seems almost naive and childlike today was rife, and even the vague post-apocalyptic future imagined in Tank Girl was still like a never-ending rave.

This week alone, there are three major new adaptations – Beowulf (monster with post-festive figure lolloping round some sand dunes), Jericho (cashing in on vague post-festive Victorian feels), and the heaviest fruit on the tree of historical rinsement, that universal shorthand for wading through treacle, War And Peace (Sunday, 9pm, BBC1).

"Endangered Pieces" is vaguely post-apocalyptic, post-traumatic — a description that also applies to Mr. Zustiak's recent "Painted Bird" trilogy.

Hunters become farmers, farmers manufacturers, and manufacturers drift into doing something vaguely post-industrial in the service sector.

The America inhabited by the Normans is eerily similar to our own: vaguely post-apocalyptic, at war, terrorist-plagued.

Takis's design for the forest, where George Humphreys' philandering Giove dons drag to pursue Paula Sides' virginal Calisto, is vaguely post-apocalyptic, with its twisted bits of metal, cogwheels and Anglepoise lamps a reminder that the opera takes place during Giove's re-creation of the world after its destruction by fire.

For all the establishing-shot flyovers of the city, whenever we are on the street, we are somewhere else, a fundamentally poetic place whose soggy decrepitude has a vaguely post-apocalyptic feel.