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It’s no secret that the American entertainment industry is an institution almost entirely devoted to profiting from the dissemination of government-sponsored ideas. Unless you have the bliss of complete ignorance, you should be well-acquainted with the symbolism that permeates every album, show, and movie that finds its way into the canon of popular culture.
Many times, in the pursuit of creating such content, expensive artists sacrifice the quality of their products to create a space for public messages. This trend is common in comedy and especially evident in late-night television, which is one of the many reasons why the dinosaur format struggles to stay relevant.
Last week, “The Late Show” hosted by Stephen Colbert on CBS featured Democratic US Sen. Elizabeth Warren and former Secretary of Energy Ernest Moniz. With such a stellar panel, it’s hard to believe that Colbert can’t maintain a top spot in the ratings.
Because late-night television is more than just reporting current events to a left-leaning audience, conversation between Warren and Colbert focused on the Senate’s opposition to Elon Musk’s business dealings on Twitter and his distaste for Musk as a billionaire who “doesn’t pay taxes” while “going on conspiracy theories on Twitter.”
“Someone is going to make decisions based on what we see on Twitter,” Warren said. “It can be made transparent, it can be made public, it can be made by the commission, we can decide to do that. We can make the rules there and anyone can see it. “
He went on to say that he believed decisions about how to manage Twitter “should be made public” but did not elaborate on what that would be or why the man who bought the company could not do it. what he wants.
Colbert and Moniz’s segment opened with the former energy secretary explaining the difference between “capable” and “capable” nuclear weapons.
If this sounds silly, that’s because it really is. From start to finish, watching shows like Colbert is a waste of time. Programs like these are rarely written for entertainment; After all, when was the last time someone honestly found joy, let alone relief or survival from watching it?
Last Monday on “Jimmy Kimmel Live!” – before the start of the 2022 midterm elections – Kimmel’s wife, Molly McNearney, it appeared in a show of “sounding the alarm” about “abortion rights” “still or at risk in 26 countries despite the majority of these countries supporting women’s right to choose.” McNearney – who insisted that being a mother is the “best” job in the world – recited some of the half-truths and outright lies used by the left in their support for abortion.
While troubling the audience about why women want abortions to remain legal, he asked, “Do you expect this to be good? Because it wouldn’t be funny.” But not every episode of late-night television is funny? They have comedians who host shows for a reason, and it’s not because of their political sensibilities.
The point of comics is to provide people with a momentary escape from the chaos of life, but the powers that be run these programs have access to them and understand that they can gain more success among the elite by spreading the gospel of control than by making fun of people. For example, even though Kimmel often insults Republicans and conservative politicians cost half of his audience, he was willing to end his late-night show if he was prevented from insulting President Donald Trump.
They know their business model alienates half the country, alienating advertisers, making it harder for networks to make money, but they don’t care.
After the Democratic Party’s shilling of talking points on the air, clips from talk shows are cut and circulated around the web as they shut down the algorithms of social media and the leftist with the generation of the virus in an attempt to make people’s attention with the messages of the administration. Sure, these washed-up comics may be doing silly dances and playing games with celebrities, but that makes the story go down easy.
It’s impossible to get access to any major media platform without having content from a late-night business network shoved in your face. It’s absolutely close to our institutions while being historically prominent in the cultural zeitgeist, all of which makes it a really powerful way to spread the word – it’s not funny at all.
Samuel Mangold-Lenett is a staff editor at The Federalist. His writing has appeared in The Daily Wire, Townhall, The American Spectator, and elsewhere. He is a 2022 Claremont Institute Publius Fellow. Follow him on Twitter @Mangold_Lenett.
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