COMEDIANS BEGIN TO ADMIT THEY WERE PRESSURED INTO PUSHING THE LEFTWING PROPAGANDA LINE:
Bill Maher appeared on an episode of the “Fly on the Wall with Dana Carvey and David Spade” podcast on Wednesday, where the three comedians got into a discussion about the media’s lack of coverage around Doug Emhoff’s #MeToo accusations, and “Saturday Night Live” ignoring them completely.
The podcasters welcomed Maher and recounted the SNL skit last month where Spade returned to the show to play Hunter Biden, while Carvey portrayed his old character “Church Lady.” Spade expressed surprise that the troubled son of the president hadn’t been lampooned before.
Spade said he “was always curious as to why they never had anyone play Hunter Biden. It was just sort of ripe for the pickings,” adding, “I thought of maybe a hot-tub talk show with guests and girls.”
Maher then flipped the conversation to other missed opportunities by SNL, asking “How about, why didn’t they make fun of Kamala’s husband when he got ‘me-too’d’?,” adding that “it is amazing the way this country is so partisan, including in the media and the entertainment parts of it, that when something happens for your team that’s bad, it’s like, you know, the angel of death just flying over the house on Passover. Like, ‘we don’t see a thing here.’ Because, you know, Doug Emhoff was credibly accused of things that others have been accused of.”
Spade followed up by noting, “Yeah, and that wasn’t plastered everywhere.”
Maher criticized SNL for having Andy Sandberg portray Emhoff as a “funny kind-of dorky Doug” when the allegations against him were “as credible as many other accusations I’ve heard.”
Right from its earliest days, SNL has always pulled its punches — in its first season, the show was absolutely brutal towards Gerald Ford, but when Jimmy Carter replaced him, its comedy became noticeably more apolitical. The result was SNL’s most memorable characters, including the Coneheads, the Blues Brothers, the Nerds, and Steve Martin and Dan Aykroyd’s “Wild and Crazy” Festrunk Brothers. But this was simply because the show’s producers and writers were ‘70s-era liberals and leftists. There wasn’t the intense pressure generated by the denizens of social media to not attack anyone on the left, and the related cancel culture to remind everyone that Siberia awaits those who don’t toe the party line.