A recent interview between CNN's Elle Reeve and comedian Tim Dillon revealed the extent to which the corporate media no longer floats the best comedians and is now being dragged along by the current of popular opinion like a rudderless boat.

Props to Reeve for sitting down with Dillon and doing the interview, seeing any kind of mingling between the pro and anti-Trump flotillas is rare these days, let alone in such long form.

During the interview, Dillon cited that the divide is not just political, it's between the old institutions and the new media upstarts, "younger people seem to gravitate towards that kind of [new] media more than the kind of fake, stilted, corporate speak of of the traditional legacy media. But I don't know if it's that comedians have gotten smarter, media has gotten dumber."

The New York Times recently wrote a piece headlined, "Democrats Throw Money at a Problem: Countering G.O.P. Clout Online." In short, the left is looking for their Joe Rogan without realizing that Rogan jumped ship because of a politically correct climate that dominates the post-modern left. This ecosystem is antithetical to good comedy because the Liberal atmosphere of openness has been strangled by the rigid and dogmatic ideology of the identitarian, Progressive left.

And herein lies the reason why comedians have turned away from more traditional avenues and are finding their opportunities to speak more freely online. After all, a comic needs to be edgy, and that's not very easy to do if they are forced to follow a carefully tailored script that was approved by the human resources department upstairs.

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(Continued)

If politics is downstream of culture, and new ideas are upstream of cultural change, then as the river of American history flows into the future, comedians are a good indicator of what direction the current is flowing in the current day.

This was no more apparent than during the last election, when one would have been better off looking to the jesters than the pollsters if they wanted to know which way the public would vote.

It's a comedians job to trawl the stream ahead of what is considered acceptable. They cast their jokes deep beneath the surface of polite society, trawling to hook the ideas that everyone thinks in the back of their mind, but are too afraid to say out loud. In order to stay relevant comedians have to explore uncharted waters rather than drag up the same old tired jokes.

Reeve posited the idea that left-leaning comedians are failing, while the ones who lean right are seeing enormous success. Dillon countered by citing numerous successful left-wing comedians, but I must say I agree with Reeve on this point.

Left-leaning comedians are losing contracts and drying out like fish in the sun because inherent to good comedy is a willingness to question and prod the status quo. It just so happens that the right has become the party that is open to change and free speech, while the left continues to dig in their heels. If MAGA supports free speech, then the present left feels compelled to oppose whatever Trumpers support at every turn. Take Biden's immigration policy for example, which had more to do with undoing Trump's secure border agenda than improving the lives of the legal citizens in the United States. Or perhaps an even more pertinent example was Kamala's campaign: when asked if she would alter any of Biden's policies, Harris replied, "there is not a thing that comes to mind." MAGA ran on a platform of change, and the Democrats are stuck in the sand.

So while I agree with Reeve's assertion that left-leaning politicians are failing, I don't think that's a bad thing. There's a reason why comics like Tim Dillon, Joe Rogan, Andrew Schultz, and Shane Gilles are now perceived as leaning right: because apparently supporting free speech or being anti war is now a right wing position and this won't change until the left takes a hard look in the reflection on the surface of the sea. And perhaps that won't happen until it has become painfully obvious that comedians on the far left are not on the cutting edge, but making the same old Orange Man Bad jokes that they have been casting for just shy of a decade. They won't change their tack until these overfished waters are as vapid and empty as their ideology, and they are deprived of the ability to put food on the table.

If the postmodern left wants any hope of buoying bold and daring comics, they will have to steer their operations against the headwinds of politically correct society—away from what they believe to be the safe harbor never-Trumpism—and back towards the pillars of free speech.