[If ever a year both needed and yet resisted a heavy dose of satire, it would be 2024. So for this year’s April Fool’s series I’ll share a humorous handful of SatireStudying posts—please add your thoughts on these and any other satirical texts you’d highlight for a knee-slapping yet pointed crowd-sourced weekend post!]
On the
value and the limits of satire when it comes to contemporary, contested events.
One of the
more interesting artistic transformations of the 21st century has
been that of writer and director Adam McKay. McKay
rose to prominence through his collaborations with comedian Will Ferrell (and
others) on a series of extremely silly comedies: Anchorman (2004) and its sequel, Talladega Nights (2006), Step
Brothers (2008), and The Other Guys (2010).
If you haven’t had a chance to see any of those films, the most important thing
to emphasize (and one you can gather from just about any clip from any of them) is that
they are almost entirely, and very purposefully, non-thematic, overtly not
interested in social or cultural issues and just trying to make audiences laugh
as consistently and hard as possible. But in 2015, McKay wrote and directed The
Big Short, a satirical dramedy based on Michael
Lewis’s book of the same name about the 2008 housing crisis and financial
meltdown. And 2018 saw the release of a second, very similar McKay film, Vice, a satirical dramedy based on the life and
political career (to date) of Dick Cheney (starring Christian Bale as Cheney,
Amy Adams as his wife Liz, Sam Rockwell as George W. Bush, Steve Carrell as
Donald Rumsfeld, and many more actors).
These
satirical yet serious takes on hot-button contemporary issues parallel in many
ways one of the 21st century’s most popular cultural genres: the
satirical news commentary and comedy program. Originated by Comedy Central’s The Daily Show (especially once Jon
Stewart took over the hosting gig), this genre has
become one of the most prolific in recent years, from Stephen Colbert
and John Oliver to Samantha Bee and Hasan Minhaj (among others!). Even late-night
talk show hosts have gotten in on the act in diverse but equally compelling ways.
What unites all these satirical news programs is their desire to walk a fine
line between making audiences laugh (not constantly, but at least consistently)
and providing thought-provoking commentary on current events, and I would say
McKay’s recent films are aiming for that same sweet spot. I haven’t had a
chance to see Vice yet, but I did see
The Big Short and it was most
definitely seeking to provide both laughs and knowledge, often in the exact
same sequences (as with the famous and controversial use of random beautiful actresses to talk
about the fine points of housing policy and economics). As that hyperlinked
sequence featuring Margot Robbie notes, knowing these seemingly boring details
is pretty vital to understanding the last decade in American life, and the goal
of using comedy and satire to convey such details links McKay’s recent films to
these news programs.
Yet I have
significantly more ambivalence about McKay’s films than I do about those
programs, and I think it boils down to one factor: the use of talented, likable
actors to create sympathy for figures who have contributed negatively and
destructively to these recent histories. That was somewhat the case with The Big Short’s protagonists, mortgage
brokers (played by highly likable actors such as Ryan Gosling and Christian
Bale) who seemingly fought the system yet at the same time profited greatly by
predicting and betting on the upcoming crash and crisis. And it’s very
definitely the case with Vice—again,
I haven’t had a chance to see it as of this writing, but part of the reason why
is that I love watching Christian Bale in anything, and really don’t relish the
thought of him playing Dick Cheney, to my mind one of the truly evil figures in
the last century of American political and social life. Every historical figure
is a flesh-and-blood human being, with various layers and sides, and so I
suppose every one is also worth extended attention and even sympathy. But I
don’t know that we need an entire film creating such a multi-layered portrait
of Dick Motherfucking Cheney (that’s his full name, y’know), and I likewise am
not at all sure that the lighter touch of comedy and satire are appropriate
when it comes to depicting such a figure. I suppose there’s a place for such
films, but they’re likely to remain non-favorites for this AmericanStudier (and
for reviewers such as Slate’s Bilge Ebiri, it
seems).
Crowd-sourced
post this weekend,
Ben
PS. So one
more time: What do you think? Other satirical works you’d share?
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