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In the United States, comedy seems to be dominated by the left as exemplified by shows such as The Daily Show and Full Frontal. While there are conservative comedians, they tend to avoid political comedy and instead seem more likely to comment on red necks rather than red state politics. As might be imagined, there has been considerable speculation about this political division in the art of comedy, one that mirrors the political divide in the arts in general. While I do not pretend to offer a definitive answer, it is certainly interesting to engage in some speculation.
Smug liberals might be inclined to avail themselves of the hypothesis that comedy requires intelligence and that conservatives are generally less intelligent than liberals. Conservatives might counter that liberal stupidity is what causes them to be amused by stupid liberal jokes. While comedy can be an indicator of wit; there does not seem to be a meaningful intelligence gap dividing the political spectrum; although people always think that their side is superior.
A rather more plausible explanation is that the difference does rest in psychology; that the same traits that draw a person to liberalism would also make a person more proficient at comedy. In contrast, the traits that draw a person to conservatism would make them less capable in regards to comedy.
Sticking with the classic definitions, conservatives want to preserve the existing social order and tend to have a favorable view of the established social institutions. Liberals tend to want to change the social order and regard the established social institutions with some suspicion. Since political comedy involves making fun of the existing social order and mocking established institutions, this would help explain why conservatives would be less likely to be engaged in political comedy than liberals.
It is worth considering that while conservative comedians would not be very inclined to attack conservative targets, there is still a target rich environment. There are obviously many liberal groups and organizations that would be ideally suited for conservative comedy—in fact, liberal comedians have already put down the foundations for mocking many of these groups. There are also numerous liberal individuals that would be suitable targets; they have already been softened up a bit by liberal comics.
Conservatives, such as Rush Limbaugh, do engage in mockery of institutions and social orders they regard as tainted with the left. However, this mockery tends to be more of an attack than an exercise in comedy: while some regard Limbaugh as a clown, he is not seen as a comedian. Or particularly funny. Given the abundance of targets and the willingness of conservatives to go after them, it is something of a mystery why this ecological niche of comedic liberal mocking has not been filled.
One possible explanation is a variation of the victim narrative that conservatives typically reject or condemn when it is used by the left to explain, for example, why women or minorities are underrepresented in an area. The narrative is that comedy is controlled and dominated by the liberals and they are using their power and influence to suppress and oppress conservatives who want to be comedians. If only conservative comics were given a chance to get their comedy out to the people, they would succeed.
Some might be tempted to reject this argument for the reasons typically advanced by conservatives when the narrative involves racism and sexism, such as claims that the failure of the allegedly oppressed is due to their own defects, to simply deny the disparity or to advance the bootstrap argument. While this approach might be satisfying, it is certainly worth considering that conservative comedians are the victims of oppression, that their voices are being silenced by the powerful, and that they are victims. The dearth of conservative comedians, like the dearth of minorities in the highest positions in society, does suggest that an injustice is being done. If conservative comedians are being oppressed, then steps should be taken to address this oppression, perhaps beginning with an affirmative comedic action program to help them get established in the face of a system that has long been stacked against them.
While this is certainly the sort of thing leftists love to do for the oppressed, it is also worth considering whether conservatives want to be comedians. As with other cases of alleged oppression, it might be the case that the reason that there are few, if any, conservative comedians is because few, if any, conservatives want to be comedians. If this is the case, then there is no oppression to address—things are as they should be. Another possible explanation lies in the nature of comedy, at least as it is defined by Aristotle.
As Aristotle saw it, comedy “is a subdivision of the ugly” and “consists in some defect or ugliness which is not painful or destructive.” Political comedy typical involves mockery across the lines of power, because politics is all about power relationships. Liberal comedy typically involves mocking upwards in regards to power. For example, female comedians making fun of the patriarchy is mockery originating down the power curve that is aimed upwards at the established institutions and norms. Since the mockery is going up the power divide, the comedy generally will not be painful or destructive—after all, the power advantage rests with the target and not the comic.
Since conservatives tend to support the existing power structures and established social values, the target of conservative comedy would tend to be people and organizations outside of those structures or those with different values. As such, conservative comedy would tend to be going down the power curve: the stronger going after the weaker. For example, a white comedian mocking Black Lives Matter would be shooting downward from an advantageous social position. While comedy can go down the power curve and still be comedy, this becomes rather challenging because it is very easy for such attempts to become painful or destructive, thus ceasing to be comedy. Trump provides an excellent example of this. While he often claims to just be joking, his enormous power advantage means that he is almost always punching downwards and thus appears bullying and cruel rather than comedic. This, I think, is a plausible explanation for the dearth of conservative comedians: mocking those who occupy positions of social disadvantage seems more cruel than comedic.