By Ross Douthat
Wednesday, September 21, 2016
When the histories of the Trump era are written from
exile in Justin Trudeau’s Canada, they will record that it was none other than
Jimmy Fallon who brought down the republic.
Or so you might have thought, at least, listening to the
furious liberal reaction to Fallon’s willingness to treat Trump like any other
late-night guest last week: kidding around with him, mussing up his combover
and steering clear of anything that would convey to late-night television
viewers that Trump is actually beyond the pale.
But the Democratic Party’s problem in the age of Trump
isn’t really Jimmy Fallon. Its problem is Samantha Bee.
Not Bee alone, of course, but the entire phenomenon that
she embodies: the rapid colonization of new cultural territory by an ascendant
social liberalism.
The culture industry has always tilted leftward, but the
swing toward social liberalism among younger Americans and the simultaneous
surge of activist energy on the left have created a new dynamic, in which areas
once considered relatively apolitical now have (or are being pushed to have) an
overtly left-wing party line.
On late-night television, it was once understood that
David Letterman was beloved by coastal liberals and Jay Leno more of a Middle
American taste. But neither man was prone to delivering hectoring monologues in
the style of the “Daily Show” alums who now dominate late night. Fallon’s
apolitical shtick increasingly makes him an outlier among his peers, many of
whom are less comics than propagandists — liberal “explanatory journalists”
with laugh lines.
Some of them have better lines than others, and some joke
more or hector less. But to flip from Stephen Colbert’s winsome liberalism to
Seth Meyers’s class-clown liberalism to Bee’s bluestocking feminism to John
Oliver’s and Trevor Noah’s lectures on American benightedness is to enter an
echo chamber from which the imagination struggles to escape.
It isn’t just late-night TV. Cultural arenas and
institutions that were always liberal are being prodded or dragged further to
the left. Awards shows are being pushed to shed their genteel limousine
liberalism and embrace the race-gender-sexual identity agenda in full. Colleges
and universities are increasingly acting as indoctrinators for that same
agenda, shifting their already-lefty consensus under activist pressure.
Meanwhile, institutions that were seen as outside or
sideways to political debate have been enlisted in the culture war. The tabloid
industry gave us the apotheosis of Caitlyn Jenner, and ESPN gave her its Arthur
Ashe Award. The N.B.A., N.C.A.A. and the A.C.C. — nobody’s idea of progressive
forces, usually — are acting as enforcers on behalf of gay and transgender
rights. Jock culture remains relatively reactionary, but even the N.F.L. is
having its Black Lives Matters moment, thanks to Colin Kaepernick.
For the left, these are clear signs of cultural gains,
cultural victory. But the scale and swiftness of those victories have created
two distinctive political problems for the Democratic Party.
First, within the liberal tent, they have dramatically
raised expectations for just how far left our politics can move, while
insulating many liberals from the harsh realities of political disagreement in
a sprawling, 300-plus million person republic. Among millennials, especially,
there’s a growing constituency for whom right-wing ideas are so alien or triggering,
left-wing orthodoxy so pervasive and unquestioned, that supporting a candidate
like Hillary Clinton looks like a needless form of compromise.
Thus Clinton’s peculiar predicament. She has moved further
left than any modern Democratic nominee, and absorbed the newer left’s
Manichaean view of the culture war sufficiently that she finds herself
dismissing almost a quarter of the electorate as “irredeemable” before her
donors. Yet she still finds herself battling an insurgency on her left flank,
and somewhat desperately pitching millennials on her ideological bona fides.
At the same time, outside the liberal tent, the feeling
of being suffocated by the left’s cultural dominance is turning voting Republican
into an act of cultural rebellion — which may be one reason the Obama years, so
good for liberalism in the culture, have seen sharp G.O.P. gains at every level
of the country’s government.
This spirit of political-cultural rebellion is obviously
crucial to Trump’s act. As James Parker wrote in The Atlantic, he’s occupying “a space in American politics that is
uniquely transgressive, volatile, carnivalesque, and (from a certain angle)
punk rock.” (The alt-right-ish columnist Steve Sailer made the punk rock
analogy as well.) Like the Sex Pistols, Parker suggests, Trump is out to “upend
the culture” — but in this case it’s the culture of institutionalized political
correctness and John Oliver explaining the news to you, forever.
Trump’s extremism also limits his appeal, of course. But
if liberals are fortunate to be facing a Johnny Rotten figure in this
presidential campaign, they are still having real trouble putting him away …
and if he were somewhat less volatile and bigoted and gross, liberalism would
be poised to close its era of cultural ascendance by watching all three
branches of government pass back into conservative hands.
Something like this happened once before: In the 1960s
and 1970s, the culture shifted decisively leftward, but American voters shifted
to the right and answered a cultural revolution with a political Thermidor.
That Nixon-Reagan rightward shift did not repeal the
1960s or push the counterculture back to a beatnik-hippie fringe. But it did
leave liberalism in a curious place throughout the 1980s: atop the commanding
heights of culture yet often impotent in Washington, D.C.
By nominating a Trump rather than a Nixon or a Reagan,
the Republicans may have saved liberalism from repeating that trajectory. But
it remains an advantage for the G.O.P., and a liability for the Democratic
Party, that the new cultural orthodoxy is sufficiently stifling to leave many
Americans looking to the voting booth as a way to register dissent.
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