The New York Analysis of Policy and Government begins a two part examination of the contrast between Left wing vs, Centrist and Conservative attempts to influence the public.
Americans dissatisfied with the dismal results of “Progressive” leadership and concepts during the eight years of the Obama Administration are content with the defeat of Hillary Clinton, who based her campaign on promises to continue along the same path. For most voters, the election is over, and they assume that the left will, eventually, at least recognize the legitimacy of the new Administration, even if they vehemently disagree with its policies.
The facts indicate otherwise. Indeed, for many on the left, elections are only brief and episodic engagements in the much larger war of transforming American culture and political thought. For them, the true battleground is in not the voting booth. Rather, it’s in the halls of academia and in the boardrooms of media moguls.
While Republicans and conservatives produce (frequently boring) analyses based on facts, Constitutional law and historical precedent, the Left produces humorous skits, emotional appeals, and riveting entertainment that, despite the results of the 2016 campaign, have proven far more effective in capturing the hearts and minds of the public.
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The tilt toward the left is most apparent in the realm of comedy. An article in The Atlantic noted: “the brand of comedy [liberal Jon Stewart] helped invent is stronger than ever. Stephen Colbert is getting ready to bring his deadpan smirk to The Late Show. Bill Maher is continuing to provoke pundits and politicians with his blunt punch lines. John Oliver’s Last Week Tonight is about to celebrate the end of a wildly popular first year…Stewart, Colbert, Maher, Oliver and co. belong to a type of late-night satire that’s typically characterized as liberal, skewering Republicans (and, less frequently, Democrats) …“The Daily Show, The Colbert Report, Funny Or Die, and The Onion, while not partisan organs, all clearly have a left-of-center orientation,” wrote Jonathan Chait in The New Republic in 2011…”
The extraordinary shortage of conservative themes in most regularly scheduled programming is too significant and has continued too long to be coincidental. It is fascinating to note that in the late forties and fifties, when some Hollywood figures with ties real or imagined to Communism were subjected to blacklisting and investigations, is, though long past, frequently the subject of film and TV productions and discussions, while the decades-old and current discrimination against those with conservative viewpoints goes largely unheralded. In 2011, Ben Shapiro’s book, “Primetime Propaganda” detailed the reality of Left-wing exclusionary tactics in the entertainment industry. the Hollywood Reporter reviewing the tome, noted: “TV industry executives, writers and producers use their clout to advance a liberal political agenda.” The author bases his thesis on, among other things, 39 taped interviews…” One video Shapiro released “has producer-director Nicholas Meyer being asked point-blank whether conservatives are discriminated against in Hollywood. “Well, I hope so,” he answers…” Shapiro found that “Television has been perhaps the most impressive weapon in the left’s political arsenal.”
The Report concludes Monday.