This article prompts readers to consider a single word that encapsulates modern liberalism. It examines how that word influences the landscape of comedy today. The crux of the discussion focuses on Conan O’Brien’s recent comments about the current state of humor in a politically charged atmosphere.
During an interview at the Oxford Union, O’Brien expressed concern that many comedians have allowed their anger towards President Donald Trump to overshadow the very core of their craft: humor. “You’re being co-opted,” he warned, suggesting that relentless focus on anti-Trump sentiment dulls their comedic edge. Instead of clever jokes, audiences are met with repeating refrains of disdain, like “F Trump. F Trump. F Trump.” O’Brien remarked that this reliance on anger is like being “lulled into just saying ‘F Trump,’” and in doing so, comedians risk losing their ability to create genuine laughter.
O’Brien’s observations highlight a troubling trend among certain late-night hosts, such as Stephen Colbert and Jimmy Kimmel, who have seemingly traded humor for bitterness. Rather than providing levity, they often appear overly emotional and petty, failing to engage their audiences. O’Brien reminds them, “If you’re a comedian, you always need to be funny.” He stresses that anger in art can be a tool for expression, but if comedians are merely shouting in rage, they’re forfeiting their best weapon.
The implications of O’Brien’s insights lead to crucial questions about the nature of humor and the individuals who wield it. Do many modern liberal comedians have the ability to laugh at themselves? Self-deprecation is often a cornerstone of comedy. An inability to laugh at one’s own shortcomings can hinder a comedian’s effectiveness. The article nudges readers to reflect on their own comedic influences: if those figures lack humility, can they truly be funny?
The word chosen to define modern liberalism—”smugness,” in this case—brings clarity to this quandary. Comedians who are smug and cannot chuckle at their flaws may struggle to connect with audiences. It raises a significant question: Can these comedians pivot toward a more balanced approach to humor if they take O’Brien’s advice? Theoretically, yes. However, it would require them to relinquish their entrenched animosity towards Trump, a task fraught with difficulty.
This struggle highlights the phenomenon known as Trump Derangement Syndrome (TDS), which some mental health professionals now recognize as a genuine pathology. The deep-seated outrage that characterizes TDS can prove an obstacle to personal growth and effective humor. Ultimately, while O’Brien’s perspective resonates with many, there is little expectation that figures like Colbert and Kimmel will suddenly rediscover their comedic instincts.
The article possesses a notable depth of insight that underscores the inherent dangers of mixing politics with comedy. As those in the entertainment sector navigate a rapidly changing environment filled with anger and division, O’Brien’s warning serves as a poignant reminder: true comedy thrives on wit and humor, not just anger and outrage. Whether or not comedians will heed this wisdom remains uncertain, but its relevance is clear.
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