I laughed harder at the Trump rally than I wanted to.
It was 90 degrees with no shade, on pavement. People were red-faced, red-hatted, and scrabbling over chairs. But still, it was kind of funny.
When a firework went off, everyone in the crowd flinched, including the president. Then he leaned into the mic. “I don’t like that sound,” he said.
The timing was perfect. It had been almost a year since Trump was shot at a rally — the bullet narrowly missing his head, scraping his ear. A lot of people in the crowd had shirts that depicted that moment: Trump, defiant, raising his fist, blood streaming from his head, surrounded by Secret Service members. We all laughed.
Trump has his performance down pat at this point: the quippy asides, the confusion, the caricature. It’s all just a joke, until the moment it’s not.
When I was on a trip to Ireland this spring, a 50-something Irish man bought me a gin and tonic and confessed he liked to watch Trump’s speeches on television when he was bored. “I don’t like the man, but he is pretty funny.” I took a sip of my drink.
And the man added, “Well, funny for me because it’s not my country.”
There is something brutally comic about Trumpism. And something so deeply unfunny. We shouldn’t be laughing, but here we are, amusing ourselves to death.
Last week, CBS canceled The Late Show with Stephen Colbert, citing financial issues. It is hard making creativity profitable in America. Our overstimulated, exhausted electorate doesn’t have the time or attention span for anything more than quips, clips, and TikToks.
But it’s possible there were other reasons. The show was canceled just days after Colbert criticized CBS’s parent company, Paramount, for paying a $16 million settlement to Trump, who claimed a 60 Minutes interview with then-Vice President Kamala Harris was “unfairly edited.” Colbert called the settlement “a big fat bribe.”
In response to the news of The Late Show’s cancellation, Trump posted on Truth Social that he was glad of the show’s demise, calling Colbert — one of Trump’s most vocal critics — “unfunny.” The joker in chief doesn’t have such a great sense of humor when it comes to himself.
There is something brutally comic about Trumpism. And something so deeply unfunny. We shouldn’t be laughing, but here we are, amusing ourselves to death.
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Recently, a Norwegian man was denied entry into America — in his telling — because he had a meme that made fun of JD Vance on his phone. Meanwhile, the official Department of Homeland Security Instagram account recently shared a meme that declares, “My body is a machine that turns ICE funding into deportations.”
Who gets to be funny in America, and who gets to laugh? Who gets to make the jokes, and who is the butt of them? It’s all about power.
Writing in Politico in 2024 about Trump’s humor, Michael Krause noted that Trump supporters see him as an entertainer, a gadfly; his humor creates a powerful sense of in-group communication. Krause also wrote:
His critics along with experts in rhetoric and nationalist and populist movements and leaders say it helps him turn his opponents into not just enemies but jokes. They say it helps him recast his own liabilities as laughing matters and desensitizes his supporters to his most outrageous comments and proposals — the undermining of institutions, the abandonment of allies, mass deportations and all but outright invitations for Russian invasions and so on. They say the mirth masks the menace.
And the jokes lobbed at Trump become part of the message. At the Trump rally I attended, shirts declared support for “the outlaw and the hillbilly,” a rather aspirational rebranding of Trump’s many legal battles and Vance’s book Hillbilly Elegy.
In a 2024 essay for the New York Review of Books, Fintan O’Toole described Trumpian humor: “The comic mode is what creates the plausible deniability that in turn allows what used to be mainstream Republicans (and some Democrats) to remain in denial about what Trumpism really means.”
Too many people have said they didn’t take Trump seriously when he first ran for president. It was just too much of a farce. We were laughing when we should have been listening. It wasn’t a joke.
Writing this week in the Atlantic, a very funny woman, Alexandra Petri, observed of Trumpian humor:
They are so glad not to have to remember anymore that other people are in the room. What an enormous relief! Finally, they can say it! That is the project of Trumpism: becoming the only people in the room again. Becoming both the protagonists and the intended audience, the only people whose laughter counts.
Trump did not invent the genre of cruel jokes. He didn’t even invent politics as a vaudeville act, but he has made it the cornerstone of his success. He’s easy to listen to — an entertainer before he was ever a statesman. The laughter he incites among his supporters creates an us v. them mentality.
His rallies can be brutal because they’re a space for the world to turn upside down. A place where people can hear the president say what they can’t say in real life. It’s a steam valve, redirecting pent-up rage toward minorities, women, immigrants — anyone and anywhere except the place it should be directed — all with the plausible deniability of humor. What we should do is explode; what we can only do instead is laugh.
Writing in 1985, Neil Postman observed in his prescient Amusing Ourselves to Death, “Everything in our background has prepared us to know and resist a prison when the gates begin to close around us . . . But what if there are no cries of anguish to be heard? Who is prepared to take arms against a sea of amusements? To whom do we complain, and when, and in what tone of voice, when serious discourse dissolves into giggles? What is the antidote to a culture's being drained by laughter?”
Laughter itself isn’t the problem. It’s a tool, one that can be used for good or for ill. During the last election cycle, the humor of Kamala Harris acted as a foil to the humor of Donald Trump. Liberals extolled the “joy” of Harris’s campaign, while the right saw it as an opportunity for more mockery. Seeing someone as capable of humor gives them humanity; seeing someone as the butt of a joke takes it away.
Further reading:
The 19th interviewed LGBTQ comedians about being funny in this American moment.
Fintan O’Toole’s essay for the NYRB is worth reading in full.
And Michael Krause’s essay on how Trump uses humor was very thorough.
Also, every week, I try to make jokes about this current moment in my dingus of the week newsletter. A lot of people like it. You should read it.
Finally, my dear friend has a new comedy special out. If you need something good to laugh at, you should watch it.