Category: Comedy
Conan O’Brien calls out lazy Trump-hating comedians
Late-night host and writer Conan O’Brien says Trump-deranged comedians need to step up their game.
Speaking at the Oxford Union Society, the former talk-show host and “Simpsons” writer lamented that some in the comedy establishment have given up on laughs in favor of angry tirades about President Trump.
‘We don’t have a straight line right now. We have a very bendy, rubbery line.’
“I think some comics go the route of, ‘I’m going to just say F Trump all the time’ [and] that’s their comedy. And I think, well, now, a little bit, you’re being co-opted because you’re so angry.”
“You’ve been lulled,” added the Harvard alum, likening the allure of crowd-pleasing but joke-free anti-Trump material to a siren song.
The comedian continued, “You’ve been lulled into just saying ‘F Trump. F Trump. F Trump. Screw this guy.’ I think you’ve now put down your best weapon, which is being funny, and you’ve exchanged it for anger.”
Finding the funny
The 62-year-old noted that he has always prided himself on finding a way to be funny in any situation, and he did not give his peers an out when it comes to political comedy.
RELATED: ‘I wouldn’t ask for no f**king charity!’ Mickey Rourke blasts ’embarrassing’ GoFundMe plea
“Any person like that would say, ‘Well, things are too serious now. I don’t need to be funny.’ I think, well, if you’re a comedian, you always need to be funny. You just have to find a way,” O’Brien told the audience at the esteemed student debating society.
“And you just have to find a way to channel that anger. … Good art will always be a great weapon, will always be a perfect weapon against power, but if you’re just screaming and you’re just angry, you’ve lost your best tool in the toolbox.”
Playing it straight
Earlier in the interview, O’Brien recalled that some of his most joyful memories in comedy were parodying different magazines or news outlets by mocking their tone and style. At the same time, he said it was impossible to parody something that doesn’t follow a “straight line.”
He referred to the National Enquirer, describing the outlet’s content as impossible to make fun of because it would print stories like, “Elvis found in Titanic lifeboat 105 years after sinking. He is now a woman, and he’s married a giant peanut-butter sandwich.”
“How do you parody that? You can’t,” he explained. “And I think with Trump we have a similar situation in comedy, which is people saying, ‘We’ve got a great Trump sketch for you. In this one, he’s kind of talking crazy and he’s saying stuff, and he tears down half the White House to build a giant ballroom, and he says it’s going to be the new Mar-a-Lago.’ Yeah, no, that happened yesterday,” O’Brien joked.
RELATED: How ‘conservative’ art can go from cringey to cathartic
Photo by Michael Loccisano/Getty Images
“Comedy needs a straight line to go off of,” O’Brien added. “And we don’t have a straight line right now. We have a very bendy, rubbery line. We have a slinky. We have a fire hose that’s whipping around, spewing water at 100 miles an hour or something else.”
How the right got Dave Chappelle wrong
For years, Dave Chappelle has been treated as a kind of honorary dissident on the right. Not because he ever pledged allegiance, but because he irritated the correct people. He mocked pronouns, needled sanctimony, and refused to bow. That was enough. In a culture addicted to easy binaries, irritation became endorsement. Chappelle was recast as the anti-woke jester, the last free man in a room full of rules.
“The Unstoppable…” puts an end to that fantasy.
The right’s long flirtation with Chappelle rested on a misunderstanding. He was never an ally. He was a contrarian whose targets briefly overlapped with conservative concerns.
As the Netflix special begins, Chappelle emerges on stage wearing a jacket emblazoned with Colin Kaepernick’s name across the back, a symbol doing more work than most monologues. It is declarative. Kaepernick, a distinctly mediocre quarterback who parlayed a declining football career into a lucrative role as a full-time political brand, has long functioned more as an abstraction than as an athlete. His protest became performative, his grievance a commodity, his kneel a credential. Before a word is spoken, the audience is told where power, sympathy, and grievance will be placed. Identity is not the backdrop. Quite the opposite. It’s the billboard.
Black and white
From there, the special settles into a familiar groove. Race becomes the organizing principle, the master key, the lens through which every topic is filtered and fixed. America is again framed as a racist hellscape, a uniquely cruel experiment, a place where whiteness looms as a near-mythical menace.
This is not observation so much as obsession. The fixation risks alienating white viewers almost immediately. Some in the audience likely sense it. Others — liberal self-flagellators by instinct — laugh along anyway, even as they become the punch line of nearly every joke.
Chappelle takes aim at Elon Musk, at Trump, at the culture of DOGE-era absurdity, but the jokes rarely travel. They circle. Musk becomes less a human eccentric and more a symbol of tech-bro whiteness run amok. Trump is reduced to a prop, wheeled on whenever the set needs a familiar villain. That might be forgivable — useful, even — if the material pushed somewhere unexpected. It doesn’t. For a comedian of Chappelle’s ability, too much of the set feels curiously unambitious.
Left hook
The most telling moment comes in Chappelle’s account of Jack Johnson. Johnson, the first black heavyweight champion, endured explicit racism. That history is real. That is not in dispute. What is striking is how Chappelle treats that history. Johnson becomes less a man of his time and more a stand-in for black people in the present, besieged by the same “demonic white man.”
And so Chappelle conflates Johnson’s struggles with with the lives of rappers T.I. and the late Nipsey Hussle — and celebrates all three heroes for opposing white America.
As BlazeTV host Jason Whitlock recently posted on X:
This comedy special exposes [Chappelle] as highly controlled opposition, the ultimate plant, a fraud. He pretends to be a fearless speaker of truth to power. It’s laughable. No one with a brain can witness the Charlie Kirk assassination and then argue/suggest that Nipsey Hussle, T.I., and Jack Johnson were/are the real rebels, the real threats to American hegemony. Dave quoted Jack Johnson as saying his life was dedicated to the pursuit of pleasure. He was a boxer with the worldview of a modern gangsta rapper.
Some kings?
And then comes Chappelle’s praise of Saudi Arabia.
Not cautiously. Not ironically. He recounts performing at a comedy festival in Riyadh, openly boasting about the size of the paycheck. He describes feeling freer speaking there than in the United States. Freer. In a society where speech is monitored, dissent is criminalized, and punishment still includes public canings and amputations.
The audience laughs on schedule, applauding with the enthusiasm of trained sea lions. I found myself wondering why.
There is something almost surreal about hearing a man who has spent years describing America as uniquely oppressive extol the virtues of a monarchy where speech is tolerated only when it is toothless. The contradiction is never addressed. It simply floats past, buoyed by bravado and bank balance.
This isn’t hypocrisy in the cheap sense. It is something more revealing — and easier to miss because Chappelle is such a gifted orator. His moral compass isn’t anchored to freedom, but to grievance. America is condemned because it fails to live up to an ideal. Saudi Arabia is praised because it pays well and demands little beyond discretion.
It would be easier if “The Unstoppable…” were simply bad. It is not. Chappelle remains a master of timing. His cadence still carries. The problem is less talent than trajectory.
RELATED: Dave Chappelle faces fierce backlash over criticism of US while performing in Saudi Arabia
Photo by Arturo Holmes/Getty Images
Punching inward
What once felt dangerous now feels dutiful. What once cut across power now reinforces a different orthodoxy. Chappelle no longer punches up or down so much as inward, tightening his world until everything is interpreted through race alone.
The right’s long flirtation with Chappelle rested on a misunderstanding. He was never an ally. He was a contrarian whose targets briefly overlapped with conservative concerns. When he mocked trans men in women’s sports, it landed during a moment of peak absurdity, when the subject was everywhere and ripe for satire. It was easy. It was funny. But it was never a statement of allegiance.
“The Unstoppable…” makes that clear. The jacket, the Johnson parable, the Saudi sermon, the relentless racial framing — all of it points in the same direction.
Comedy, at its best, unsettles everyone. It exposes what our certainties conceal. In this special, Chappelle appears more interested in confirming his own.
Unstoppable, perhaps. But no longer subversive.
‘The Naked Gun’ creator David Zucker bashes ‘frightened’ Hollywood elites
Legendary “Airplane!” director David Zucker has a theory about why today’s movies are flopping so badly — and the folks in charge aren’t going to like it.
“The studios are very frightened people afraid to take risks,” the director told Align, stroking his chin. “I wrote an article … about the 9% rule. There’s 9% of people who just don’t have a sense of humor. There’s like zero sense of humor. So the studios are being guided by those people.”
‘There’s 9% of people who just don’t have a sense of humor.’
According to Zucker — whose cinematic pedigree includes comedies like “The Naked Gun,” “BASEketball,” and “Top Secret!” — cancel culture is still alive and well in the film biz, pushed by overly cautious studio brass.
Cracked rearview
“It’s like driving looking through the rearview mirror,” Zucker said — an attitude that leads to unfunny films that repackage old ideas with jokes that don’t land.
Zucker didn’t have to look far to find an example: the recent “The Naked Gun” reboot, which went ahead without his involvement.
RELATED: ‘Trey didn’t have a car’: ‘Airplane!’ director David Zucker on humble origins of ‘South Park’ empire
Blocked calls
Zucker recalled the confusion he felt when he learned Paramount had no intention of consulting him on “The Naked Gun” reboot, despite having pages upon pages of jokes already written. Instead, the studio went with “Family Guy” creator Seth MacFarlane, who came in and took over.
Zucker attempted to explained the debacle:
“I’m excluded from it. I called him. He didn’t return my calls, refused to meet with me. So I don’t know. I don’t know what’s going on, but that’s Hollywood.”
Still he said MacFarlane did contact him after the movie finished production and spent “10 minutes just telling me how much he idolized [my movies], hard to get mad at a guy who keeps telling you what a genius you are.”
‘Painful’ viewing
Despite all the flattery, Zucker said he had no intentions of ever seeing the new version of “The Naked Gun,” recalling his experience watching “Airplane II: The Sequel,” with which he also had no involvement.
“If your daughter became a prostitute, would you go watch her work?” he asked. “So you know, it’s painful. It would be painful to sit through. It’s somebody else doing our movie, and they don’t know what they’re doing.”
RELATED: ‘The Naked Gun’ remake is laugh-out-loud funny? Surely, you can’t be serious
(L-R) Seth MacFarlane, Pamela Anderson, and Liam Neeson attend ‘The Naked Gun’ New York Premiere on July 28, 2025. Photo by Arturo Holmes/WireImage
In Zucker’s view, Hollywood’s risk-averse approach is especially obvious in comedies. “If you do a comedy that’s not funny, you can’t hide,” he noted, adding that the new “The Naked Gun” “must have been excruciating to sit through.”
It’s safe to say Zucker won’t be lining up for the upcoming “Spaceballs” reboot either. Not that he was a huge fan of the 1987 original, which he dismissed as “an attempt to copy ‘Airplane!'”
“You can’t do stuff that’s 10, 20 years old … puns [that] were fresh in 1982,” he laughed.
As for his own movies, Zucker said he hopes to advance the pun-filled, slapstick comedy genre he helped popularize — with his next project offering a fresh, humorous spin on film noir.
Joe Rogan, Christian? The podcaster opens up about his ongoing exploration of faith
Joe Rogan may not be ready to call himself a Christian, but the former atheist does find himself rubbing shoulders with believers on many a Sunday.
The podcaster once again revealed details about his ongoing exploration of the faith, including his habit of regularly attending church.
‘It’s almost like everybody is under a spell.’
He also demonstrated a newfound appreciation of why someone would need God in his or her life. When recent podcast guest Francis Foster expressed amazement at how much a friend of his could rely on religion as a foundation for getting through tough times, Rogan didn’t seem nearly as surprised.
“If you really do believe that, it definitely will help you,” the comedian concurred.
Church going
At that point, fellow guest — and Foster’s “Triggernometry” podcast co-host — Konstantin Kisin chimed in that he himself had been becoming more religious.
“I haven’t got there, but I have started going to church every now and again,” Kisin explained.
“Do you enjoy it?” Rogan asked.
“I love it,” responded Kisin.
“I do too,” confessed Rogan, adding, “It’s a bunch of people that are going to try to make their lives better. They’re trying to be a better person.”
Rogan then described his church experience as getting together with a group of people who read and analyze Bible passages.
“I’m really interested in what these people were trying to say because I don’t think it’s nothing,” Rogan said.
No ‘fairy tale’
From there, the New Jersey native addressed claims he has heard from atheists and secularists who dismiss Christianity as being “foolish.”
The 58-year-old pushed back against the characterization that Christianity as a collection of “fairy tales” by “self-professed intelligent people,” noting that a proper understanding of the faith requires considering historical context, translation difficulties, and oral vs. written tradition.
“I think there’s something to what they’re saying,” Rogan offered.
Trust the science
While noting that modern science has found physical evidence for the biblical flood story told in Genesis, Rogan said he also appreciated the Bible as a compelling depiction of society 6,000 years ago.
Further segments in the podcast revealed that, perhaps due to a renewed interest in faith, Rogan’s algorithm may have even changed.
– YouTube
This became evident when the group discussed some of Kisin’s protest journalism, where he asks befuddled liberals the reason they are attending the current protest of the day.
In response, Rogan pointed to a video of a man doing interviews at a left-wing No Kings protest. The man asks attendees if they believe in human rights, to which they affirm, until they are asked about human rights “in the womb,” which is when they dismiss the idea.
“It’s almost like everybody is under a spell,” Rogan laughed.
Rogan first confirmed he was going to church in June, after hinting at the idea that he was becoming more religious. He described his attendance similarly at that time:
“It’s actually very nice; they’re all just trying to be better people.”
Like Blaze News? Bypass the censors, sign up for our newsletters, and get stories like this direct to your inbox. Sign up here!
