Satire is often defined as a moralistic mode of address that critiques the missteps and hypocrisies of those who wield cultural and political authority. It is a tactic of resistance for those who sit outside the circles of power and its success depends on the complicity of an audience of cultural insiders who are privy to the codes needed to “get the joke.” Consequently, satire is seen to be one of the most culturally specific forms of discourse as it speaks to issues of social cohesion and division rooted within the particular experiences of places and communities. Satirical sketch comedy has been one of the most successful genres on Canadian television and the nation’s unequal relationship with its powerful southern neighbor is a favorite target. Despite being on location in Washington, D.C., we know that Anthony St. George (played by Colin Mochrie) the ‘correspondent’ from the faux news comedy This Hour has 22 Minutes is not in anyway apologizing to Americans. Unless they live in a nearby border city, few Americans will ever watch the weekly comedy series as it airs on the national public broadcasting network, the CBC. The monologue engenders the shared, knowing laugh of the audience who is acutely aware of the disproportionate power that the U.S. exercises in the continental relationship (and the view that this power may not be exercised wisely). It reaffirms the negative sense of identity in the Canadian cultural project — to be Canadian is not to be American. Yet it is also double-coded as the apology provides a send up of the stereotypical Canadian etiquette wherein you apologize to the person who stepped on your foot. The self-referential acknowledgement of the ‘passive aggressive’ voice of the satirist raises interesting questions about the potentials and limitations of the genre. It can contribute to a momentary affirmation of community through the critique of the more powerful ‘other.’ Does the ‘political’ begin and end with the subversive wink and giggle — particularly when exercised between nations? And what is the role of reception? Does satirical critique preach primarily to the choir, so to speak? And, if so, does the laugh let us off the hook?