By Peter Spiliakos
Wednesday, August 28, 2019
The recent Simpsons clip in which “the Squad”
takes on Donald Trump has gotten flak for being “cringe,” but it is valuable as
a particularly clear example of what is wrong with much of mainstream, topical
comedy. The short is bland, sloppy, and timid not because the creators lack
talent but because they lack integrity. And before we blame them, we should
consider that the people who made the clip are rationally responding to the
tribalization of mainstream comedy and the fear of left-wing cancel culture.
Perhaps the most influential comedy program of the last
15 years was Jon Stewart’s revitalization of The Daily Show as a vehicle
for scathing, left-of-center satire. It spawned a host of imitators including
Samantha Bee, John Oliver, and Michelle Wolf, and its political style
eventually turned late-night network comedy in a more overtly partisan
direction. When Michelle Wolf was invited to host the White House
Correspondents’ Dinner, while the organizers had probably anticipated neither
her exact material nor the resulting blowback, they would have known that she
was not going to attack both parties. She was a comedian, and political comedy
was liberal.
It wasn’t always this way. The irony is that Stewart’s Daily
Show was, knowingly or not, a more exactingly and expensively produced
version of Rush Limbaugh’s mid-1990s television talk show. That show was
short-lived, but for a time it was the second-most popular late-night talk show
in the country. It, too, featured a polemicist mocking the opposition to the
laughs and cheers of a live audience that was desperate to be reassured that
they were good and smart.
For years, liberals had been trying to find a counter to
the conservatives who dominated talk radio. None of the liberal talk-radio
alternatives really caught on, but it turned out that liberals had been
imitating the wrong Rush Limbaugh show. When they figured out an infotainment
format that worked, it wasn’t Limbaugh’s three-hour radio program. It was his
30-minute television show. Whether they know it or not, Stewart and his
imitators are the illegitimate children of Rush Limbaugh.
This influence has extended beyond the explicit Daily
Show rip-offs such as the Samantha Bee and John Oliver efforts. When they
touch on public affairs, Stephen Colbert’s Late Show opening monologues
sound more like a 1990s conservative talk-radio rant (with the ideologies and
targets reversed) than a 1980s Johnny Carson opening segment. Colbert’s rival,
Jimmy Kimmel, regurgitates
talking points provided by Democratic congressional staffers. It is like a
television version of 1990s AM radio. On one station you have Limbaugh mad
about the Democrats. On the next station, you have any of a legion of Limbaugh
clones mad about the Democrats.
In adopting this style of partisan comedy, Stewart’s
imitators have made a contract with their audience. The unwritten (but brutally
enforced) rule of tribal comedy is that tribe comes before comedy. That makes
the gags predictable, but the predictability is the point. The people who like
that sort of thing want to be reassured. There are enough such people on both
the left and the right that Stewart, Colbert, Limbaugh, and others have made
wonderful livings. It does tend to leave out those who want to laugh more than
they want to be reassured that Trump’s secretary of the interior is very bad.
A second factor constraining mainstream comedy is the
fear of backlash from liberals in journalism and social media. This could take
the form of Joanna Schroeder’s widely shared Twitter tirade that her son might
be harmed by exposure to unwoke comedy. It could take the form of The
Atlantic’s Devin Gordon criticizing Joe Rogan for a including a few
jokes at Hillary Clinton’s expense in one of his comedy specials. Schroeder’s
argument is that unapproved comedy is a public danger. Gordon implied that
including some Hillary jokes in with the Trump jokes is a sign of bad
character. Gordon wrote, “Of all the things in the world for a comedian to joke
about right now, why these?”
In their different ways (respectively, hysterical and
passive-aggressive), Schroeder and Gordon are reminding mainstream comedians of
the rules of tribal entertainment: You don’t cross the tribe — and you
especially don’t cross the tribe for reasons of personal authenticity.
This is a lesson conservative talk-show hosts learned
recently when the mass of center-right Americans decided to back Donald Trump
(whether enthusiastically or on a lesser-evil basis). Sean Hannity and Rush
Limbaugh managed this transition and are still cashing checks. Charlie Sykes
stuck by the standards of limited government and character. Sykes lost his
radio show and is now among the embittered, marginalized refugees at the
anti-Trump Bulwark.
The stultifying atmosphere of mainstream comedy has been
attested to by legendary comics including Jerry Seinfeld, Chris Rock, and Dave
Chappelle. These comedians already have vast wealth and pre-existing fan bases.
They can take a hit from the New York Times for the crime of not being
perfectly left on everything. They can afford to say what they think. Anonymous
sitcom writers don’t have that luxury. They have to say what the Devon Gordons
and Joanna Schroeders want them to say. Where networks used to fear petitions
organized by midwestern housewives, they now fear cancel-culture campaigns that
can be organized by any semi-employed liberal-arts grad who lives on social
media.
Both these influences — the tribalism and the fear of
cancel culture — can be seen in the Trump-vs.-Squad Simpsons clip. First
is the laziness of the opening gag where Trump sings “No one but me in America,
no taxes for me in America.”
It isn’t just that the gag is feeble. It is that the
writers have given up. They know that the audience they are writing for will
accepts slop as long as the message is vaguely reassuring. The Simpsons
started as a parody of bland, conformist 1980s family sitcoms, but the writers
of those sitcoms weren’t untalented. They were just scared and defeated. They
knew that a phony, unmoving scene in which a kid learns a valuable lesson from
a parental figure was safer than a much smarter joke that caused a stir. The
opening Simpsons gag is the exact same kind of defeated conformism, only
it is a conformism of political contempt. If you have the right target, better
safe than funny.
The next gag is even more revealing. The Squad sings to
Trump, “We’re more American than your wife.” If there is one thing liberals
have been clear on, it is that the immigrant who takes the citizenship oath is
immediately as American as the descendants of the Mayflower. It is a
noble view, and therefore the people who produced that segment are at least as
bigoted as the crowds who chanted “Send her back” about Congresswoman Omar.
But, of course, that isn’t the case, because in tribal
comedy, tribe doesn’t just come before comedy. Tribe comes before truth or
insight — tribe comes before professed values — tribe comes before everything.
Liberals can say that the first lady is less American because she is an
immigrant for the same reason that conservatives who celebrate immigrants like
Republican congressional candidate Scherie Murray can chant “Send her back” at
Omar. All scorn is fair when directed at
the opposition. Tribe comes first.
The final gag is perhaps the greatest betrayal of what
had once been a great show. The Democratic presidential candidates form a
chorus line and display a unity that has been notably absent from the recent
debates. While, in the real world, the Democratic candidates are calling one
another closet segregationists and corrupt, out-of-control prosecutors, an
alleged comedy show portrays them arm in arm. The scathing, satirical Simpsons
that parodied Bill Clinton and the Kennedy family is now reduced to idealizing
the Democratic party more than the Democratic party idealizes the Democratic
party.
There are still holdouts. Bill Maher generally agrees
with the Left, and he is, if anything, more obnoxious and cruel than Colbert
and Bee. But he will never be fully accepted, because on those occasions where
he disagrees with the Left, he is almost as venomous as when he attacks the
Right. In response, Squad member Rashida Tlaib called for a boycott of Maher’s
show. Maher is on a subscription service and his show isn’t
advertiser-dependent, but one imagines how such a call from a Squad member
would impact a writer with a less-established brand.
Maher, like Seinfeld, Chappelle, Rogan, and Chris Rock,
doesn’t fit within post-Stewart, topical network comedy because, however
liberal any of them might be on most issues, they can’t be trusted to bow to
every last demand for conformity. In today’s mainstream comedy of liberal
partisanship and fear of cancel culture, only the gutless are trustworthy.
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