It’s Joe Rogan’s comedy world now. The rest of us are just trying to live in it.
downplayed the severity of COVID-19, he will do so as one of the richest and most influential men in American media., with the power to turbocharge careers by hosting comedians on his podcast or giving them plum spots at his Austin club, the Comedy Mothership. He is also comedy’s king, possessed of a seemingly divine power to do whatever he wants and suffer no consequences.
peddling bigoted material along the way, has used his own popular podcast Rogan-style to help build up fan bases for thewas canceled in 2016 amidst controversy over their white supremacist affiliations. One might look at all these comedians, who make straightforwardly bigoted comedy for audiences who eat it up, and wonder if Netflix is makingwhen it hired Gillis: a deliberate investment in right-wing comedy for right-wing audiences. Or one might look out at the broader landscape they inhabit and make a simpler conclusion: that this is just what comedy is now, in large part because of Joe Rogan, Spotify, Dave Chappelle, and Netflix.
It’s a simple proposition. Over the last decade, Spotify paid Rogan upwards of $500 million. Netflix, meanwhile, paid Chappelle at least $140 million for his seven specials with the streamer. It’s hardly mysterious that this period saw the proliferation of comedians with their same styles and politics, most notably their transphobia; it’s simple cause-and-effect. If you give a lot of money to artists of a particular sensibility—and if both those artists have the power to elevate like-minded artists—that sensibility will quickly become the norm, especially if they get an assist from an industry-reshaping pandemic..
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