The Fickle Nature of Media's Conservative Pivot
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Podcast Personality
Paul Grant Truesdell | Founder & CEO
J.D., AIF, CLU, ChFC, RFC
The Truesdell Companies
The Truesdell Professional Building
200 NW 52nd Avenue
Ocala, Florida 34482
212-433-2525 - Switchboard
paul@truesdell.net - General Email
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truesdellwealth.com
Truesdell.net
PaulTruesdell.com
youtube.com/@truesdellwealth
Find The Paul Truesdell Podcast also at:
Apple | https://podcasts.apple.com/us/podcast/the-paul-truesdell-podcast/id1586024560
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Rough Notes
The Fickle Nature of Media's Conservative Pivot: A Historical Perspective
In recent months, we've witnessed a noticeable shift in mainstream entertainment programming. Major networks and studios that once championed progressive content are now quietly pivoting toward more conservative-friendly shows and personalities. Whether it's the resurgence of Tim Allen's career or the proliferation of police procedurals like those produced by Dan Abrams, there's an undeniable trend toward content that appeals to traditional American values.
But make no mistake - this isn't about principle. It's about profit.
These entertainment conglomerates aren't suddenly having moral epiphanies. They're simply following the money. They've recognized that there's a significant untapped market of viewers hungry for content that doesn't lecture or alienate them. So now they're dangling these shows like shiny lollipops, hoping to attract conservative viewers and their dollars.
To truly understand this cynical cycle, we need to look back at the evolution of American entertainment. There was a time when our television landscape was dominated by shows that reflected traditional values. Programs like "Sky King," "Rin Tin Tin," and "Lassie" weren't just entertaining – they reinforced moral lessons about courage, loyalty, and integrity. The fictional town of Mayberry in "The Andy Griffith Show" presented an idealized American community where problems were solved through wisdom and common sense rather than government intervention or radical social theories.
These shows weren't explicitly "conservative" as we might define the term today – they simply reflected the mainstream American values of their era. Families could gather around their television sets without fear of being bombarded by political messaging or content that undermined their values.
The same was true of comedy in the golden age of television and stand-up. We had genuinely funny people who didn't need to rely on shock value or political divisiveness to get laughs. Steve Allen brought wit and intelligence to late-night TV. Bob Hope delivered clean, sharp punchlines that appealed to everyone. George Burns had impeccable timing and charm that transcended generations.
Even the more caustic comedy had a certain warmth to it. Don Rickles could insult everyone in the room, but there was affection behind his barbs. No one left a Rickles show feeling attacked – they left feeling like they'd been part of something special, even if they were the target of his jokes. Tim Conway and Carol Burnett created physical comedy so brilliant that it made their fellow cast members break character, and audiences still watch those clips decades later.
Dean Martin's celebrity roasts were masterclasses in how to be cutting without being cruel. Celebrities from all walks of life would gather to poke fun at each other, and everyone – the roasters, the roastee, and the audience – was in on the joke. Even Ronald Reagan, before his political career took center stage, could appear on these shows and demonstrate a self-deprecating humor that endeared him to audiences.
Then there were the philosophers of comedy. George Carlin didn't care about your political affiliation – he cared about human hypocrisy. His targets weren't conservatives or progressives; they were the powerful, the pretentious, and the dishonest. He made us think while he made us laugh. Rodney Dangerfield built an entire career on self-deprecation, turning his own insecurities into comedy gold without tearing others down. And Bob Newhart's understated storytelling and deadpan delivery created humor that was sophisticated and accessible at the same time.
But somewhere along the way, comedy began to change. What was once an art form that brought people together regardless of background or belief became another battleground in the culture wars. Today's mainstream comedy landscape is dominated by performers who mistake vulgarity for daring and political ranting for insight.
Amy Schumer represents this troubling trend perfectly. Her early work showed promising comedic talent, but she quickly descended into gross-out humor and explicit sexual content that pushes well beyond the boundaries of good taste. Her stand-up routines and sketch comedy often rely on shock value rather than genuine wit or observation. Even more concerning is her tendency to frame her comedy in explicitly political terms, alienating huge portions of potential audiences.
She's hardly alone. Many contemporary comedians have abandoned the unifying power of laughter in favor of applause lines that confirm the existing biases of like-minded audiences. Their acts aren't designed to make everyone laugh – they're designed to make certain people feel superior to others. The result is comedy that you wouldn't want to watch with mixed company – not because it's edgy or challenging, but because it's uncomfortable, divisive, and often just plain mean.
Let me make one thing perfectly clear. I'm not a fan of YouTube. I find the whole Google ownership disgusting and manipulative, and I actively support those who challenge YouTube's dominance. But the reality we must confront is that streaming – whether through YouTube or other platforms – has completely transformed the media landscape. Streaming now consumes significantly more viewer hours than all network television channels combined. By some estimates, 42% of all media consumption now happens through streaming platforms, and there's a universe of content beyond just Netflix, Disney+, Prime, Max, and HBO.
This digital revolution has democratized content creation in ways that were unimaginable just twenty years ago. Everyday people are creating real, raw content that connects with audiences seeking authenticity. Take Joe Rogan's podcast – it's a phenomenon built on the simplest format imaginable: one person talking to another for up to three hours. No fancy production values, no elaborate sets, just conversation. And yet it draws millions of listeners and has become more influential than most traditional media outlets.
Beyond that, there's an entire ecosystem of educational content, how-to shows, and specialized interest channels. People are learning trades, discovering new hobbies, and accessing information that traditional gatekeepers would never have deemed commercially viable. Then there are the "shorts" – bite-sized content that admittedly caters to our diminishing attention spans but also creates new opportunities for creativity and expression.
Creating high-quality video content isn't easy. It requires skill, consistency, and often resources that independent creators struggle to access. But despite these challenges, alternative media platforms are flourishing. There's an enormous opportunity for someone to create a curating venue – a place where people can discover content that aligns with their values without having to wade through the increasingly politicized algorithms of mainstream platforms. Think of it as an alternative to what Drudge Report once was before its dramatic shift leftward – a trusted aggregator for conservative audiences seeking content that doesn't demonize their worldview.
The fracturing of this consensus began in earnest during the late 1960s and accelerated through the 1970s. Norman Lear's groundbreaking sitcoms, particularly "All in the Family," introduced explicitly political themes and began using entertainment as a vehicle for progressive messaging. While these shows were undeniably innovative and often brilliantly written, they marked a significant departure from the more wholesome, values-neutral programming of earlier decades.
As the decades progressed, this trend intensified. By the 1990s and early 2000s, conservative perspectives were increasingly marginalized in mainstream entertainment. Hollywood became not just liberal but actively hostile toward traditional values. Television shows, films, and later streaming content began to incorporate progressive messaging not as subtext but as their primary purpose.
Throughout this period, conservatives who worked in entertainment often remained silent about their views, fearing professional repercussions. Stories of blacklisting and career sabotage for those who expressed conservative opinions became commonplace. Many talented actors, writers, and producers found themselves faced with an impossible choice: compromise their values or lose their livelihoods.
This intimidation extended beyond the entertainment industry. Conservatives across many sectors – business, education, healthcare, and more – found themselves increasingly fearful of expressing their views. The threat of being deplatformed from social media, debanked by financial institutions, or ostracized from social and professional groups hung over anyone who dared challenge progressive orthodoxy.
But something remarkable has happened in recent years. Backed into a corner, conservatives have finally begun to fight back. And in doing so, they've made a stunning discovery: they aren't the fringe minority that progressive messaging had led them to believe. In fact, they represent a massive consumer base with substantial purchasing power.
The market has begun to respond accordingly. Alternative media platforms have emerged to serve conservative audiences. Independent content creators have built successful careers by speaking to the values and concerns that mainstream media ignored. And now, sensing a shift in the cultural winds, major media companies are attempting to recapture the audiences they previously alienated.
This is where the danger lies. These corporate entities aren't embracing conservative content because they've had a change of heart. They're simply chasing profits. The same studios that produced explicitly anti-conservative content for years are now quietly developing shows with traditional themes and values. The same networks that mocked middle America are now trying to appeal to it.
The numbers don't lie. Conservative consumers represent an enormous market. Studies have consistently shown that right-leaning Americans control a disproportionate share of disposable income in many key demographics. When "Yellowstone" became a massive hit by portraying rural, traditional Americans with respect rather than derision, entertainment executives took notice. When Tim Allen's "Last Man Standing" continued to draw strong ratings despite network shuffling, they couldn't ignore the message.
But here's the critical point to remember: these companies have no ideological commitment to the values they're now happy to profit from. They're weathervanes, not compasses. They don't lead culture; they chase it. And when they sense the next shift in the cultural breeze, they'll pivot again without hesitation.
We've seen this pattern before. Remember how quickly corporations abandoned their "woke" marketing campaigns when they proved unprofitable? Remember how quickly streaming platforms removed content from their libraries when it no longer served their bottom line? These aren't allies; they're opportunists.
For conservatives who have felt marginalized and dismissed by mainstream entertainment for decades, the current trend may seem like a victory. Finally, they're seeing content that doesn't mock their values or treat them as villains. But this apparent win is built on shifting sand.
True cultural change doesn't come from corporations reluctantly acknowledging an underserved market. It comes from building genuine alternatives with integrity. The conservative entertainment ecosystem needs to develop its own infrastructure – production companies, distribution networks, and platforms that are committed to traditional values not as a marketing strategy but as a guiding principle.
Some of this work is already underway. Independent filmmakers are creating quality content that speaks to traditional values. Alternative streaming platforms are providing distribution for content that might never find a home on progressive-dominated services. Conservative investors are beginning to understand the importance of building cultural institutions, not just political ones.
This is the path forward. Rather than celebrating the crumbs now being offered by mainstream media companies, conservatives should focus on building something more substantial and sustainable. Support the creators, platforms, and companies that have demonstrated a genuine commitment to your values, not those that are merely exploiting them temporarily.
The entertainment landscape is indeed changing, but don't be fooled by corporate opportunism masquerading as cultural realignment. These major companies have shown time and again that they will abandon any principle in pursuit of profit. When economic conditions change or when they calculate that progressive content is once again more marketable, they'll reverse course in an instant.
Be discerning consumers. Recognize the difference between authentic representation of conservative values and cynical pandering. Your attention, your subscriptions, and your dollars are powerful. Use them to support those who truly share your worldview, not those who are simply exploiting it for a quarterly earnings boost.
The future of entertainment doesn't lie with the fickle giants who once scorned you and now court you. It lies with the creators and platforms that have proven their commitment through actions, not just convenient market positioning. That's where your loyalty should lie – with those who stood by your values when it was difficult, not those who embrace them only when it's profitable.
Starting Date: Sunday, February 23, 2025
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AI and Wealth Management – On-Demand
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The Truesdell Military Portfolio – Seven Companies Profiled
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Friday, March 21st, 2025 at 6:30 pm - All Reservations Taken
Casual Cocktail Conversation at the Stonewater Club
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Tunnel to Towers Benefit Concert
The Truesdell Companies was the primary sponsor of the Eirinn Abu benefit concert for Tunnel to Towers, which was held on February 28th at the Circle Square arena in Ocala, Florida.
Podcast Personality
Paul Grant Truesdell | Founder & CEO
J.D., AIF, CLU, ChFC, RFC
The Truesdell Companies
The Truesdell Professional Building
200 NW 52nd Avenue
Ocala, Florida 34482
212-433-2525 - Switchboard
paul@truesdell.net - General Email
Websites
truesdellwealth.com
Truesdell.net
PaulTruesdell.com
youtube.com/@truesdellwealth
Find The Paul Truesdell Podcast also at:
Apple | https://podcasts.apple.com/us/podcast/the-paul-truesdell-podcast/id1586024560
Spotify | https://open.spotify.com/show/2BYDLetiMboIGRFPjIkglJ
Transistor | https://thepaultruesdellpodcast.transistor.fm/episodes
LinkedIn: https://www.linkedin.com/in/paul-grant-truesdell?lipi=urn%3Ali%3Apage%3Ad_flagship3_profile_view_base_contact_details%3BUuNTfp3aQRyLPjGywquQRQ%3D%3D
Rough Notes
The Fickle Nature of Media's Conservative Pivot: A Historical Perspective
In recent months, we've witnessed a noticeable shift in mainstream entertainment programming. Major networks and studios that once championed progressive content are now quietly pivoting toward more conservative-friendly shows and personalities. Whether it's the resurgence of Tim Allen's career or the proliferation of police procedurals like those produced by Dan Abrams, there's an undeniable trend toward content that appeals to traditional American values.
But make no mistake - this isn't about principle. It's about profit.
These entertainment conglomerates aren't suddenly having moral epiphanies. They're simply following the money. They've recognized that there's a significant untapped market of viewers hungry for content that doesn't lecture or alienate them. So now they're dangling these shows like shiny lollipops, hoping to attract conservative viewers and their dollars.
To truly understand this cynical cycle, we need to look back at the evolution of American entertainment. There was a time when our television landscape was dominated by shows that reflected traditional values. Programs like "Sky King," "Rin Tin Tin," and "Lassie" weren't just entertaining – they reinforced moral lessons about courage, loyalty, and integrity. The fictional town of Mayberry in "The Andy Griffith Show" presented an idealized American community where problems were solved through wisdom and common sense rather than government intervention or radical social theories.
These shows weren't explicitly "conservative" as we might define the term today – they simply reflected the mainstream American values of their era. Families could gather around their television sets without fear of being bombarded by political messaging or content that undermined their values.
The same was true of comedy in the golden age of television and stand-up. We had genuinely funny people who didn't need to rely on shock value or political divisiveness to get laughs. Steve Allen brought wit and intelligence to late-night TV. Bob Hope delivered clean, sharp punchlines that appealed to everyone. George Burns had impeccable timing and charm that transcended generations.
Even the more caustic comedy had a certain warmth to it. Don Rickles could insult everyone in the room, but there was affection behind his barbs. No one left a Rickles show feeling attacked – they left feeling like they'd been part of something special, even if they were the target of his jokes. Tim Conway and Carol Burnett created physical comedy so brilliant that it made their fellow cast members break character, and audiences still watch those clips decades later.
Dean Martin's celebrity roasts were masterclasses in how to be cutting without being cruel. Celebrities from all walks of life would gather to poke fun at each other, and everyone – the roasters, the roastee, and the audience – was in on the joke. Even Ronald Reagan, before his political career took center stage, could appear on these shows and demonstrate a self-deprecating humor that endeared him to audiences.
Then there were the philosophers of comedy. George Carlin didn't care about your political affiliation – he cared about human hypocrisy. His targets weren't conservatives or progressives; they were the powerful, the pretentious, and the dishonest. He made us think while he made us laugh. Rodney Dangerfield built an entire career on self-deprecation, turning his own insecurities into comedy gold without tearing others down. And Bob Newhart's understated storytelling and deadpan delivery created humor that was sophisticated and accessible at the same time.
But somewhere along the way, comedy began to change. What was once an art form that brought people together regardless of background or belief became another battleground in the culture wars. Today's mainstream comedy landscape is dominated by performers who mistake vulgarity for daring and political ranting for insight.
Amy Schumer represents this troubling trend perfectly. Her early work showed promising comedic talent, but she quickly descended into gross-out humor and explicit sexual content that pushes well beyond the boundaries of good taste. Her stand-up routines and sketch comedy often rely on shock value rather than genuine wit or observation. Even more concerning is her tendency to frame her comedy in explicitly political terms, alienating huge portions of potential audiences.
She's hardly alone. Many contemporary comedians have abandoned the unifying power of laughter in favor of applause lines that confirm the existing biases of like-minded audiences. Their acts aren't designed to make everyone laugh – they're designed to make certain people feel superior to others. The result is comedy that you wouldn't want to watch with mixed company – not because it's edgy or challenging, but because it's uncomfortable, divisive, and often just plain mean.
Let me make one thing perfectly clear. I'm not a fan of YouTube. I find the whole Google ownership disgusting and manipulative, and I actively support those who challenge YouTube's dominance. But the reality we must confront is that streaming – whether through YouTube or other platforms – has completely transformed the media landscape. Streaming now consumes significantly more viewer hours than all network television channels combined. By some estimates, 42% of all media consumption now happens through streaming platforms, and there's a universe of content beyond just Netflix, Disney+, Prime, Max, and HBO.
This digital revolution has democratized content creation in ways that were unimaginable just twenty years ago. Everyday people are creating real, raw content that connects with audiences seeking authenticity. Take Joe Rogan's podcast – it's a phenomenon built on the simplest format imaginable: one person talking to another for up to three hours. No fancy production values, no elaborate sets, just conversation. And yet it draws millions of listeners and has become more influential than most traditional media outlets.
Beyond that, there's an entire ecosystem of educational content, how-to shows, and specialized interest channels. People are learning trades, discovering new hobbies, and accessing information that traditional gatekeepers would never have deemed commercially viable. Then there are the "shorts" – bite-sized content that admittedly caters to our diminishing attention spans but also creates new opportunities for creativity and expression.
Creating high-quality video content isn't easy. It requires skill, consistency, and often resources that independent creators struggle to access. But despite these challenges, alternative media platforms are flourishing. There's an enormous opportunity for someone to create a curating venue – a place where people can discover content that aligns with their values without having to wade through the increasingly politicized algorithms of mainstream platforms. Think of it as an alternative to what Drudge Report once was before its dramatic shift leftward – a trusted aggregator for conservative audiences seeking content that doesn't demonize their worldview.
The fracturing of this consensus began in earnest during the late 1960s and accelerated through the 1970s. Norman Lear's groundbreaking sitcoms, particularly "All in the Family," introduced explicitly political themes and began using entertainment as a vehicle for progressive messaging. While these shows were undeniably innovative and often brilliantly written, they marked a significant departure from the more wholesome, values-neutral programming of earlier decades.
As the decades progressed, this trend intensified. By the 1990s and early 2000s, conservative perspectives were increasingly marginalized in mainstream entertainment. Hollywood became not just liberal but actively hostile toward traditional values. Television shows, films, and later streaming content began to incorporate progressive messaging not as subtext but as their primary purpose.
Throughout this period, conservatives who worked in entertainment often remained silent about their views, fearing professional repercussions. Stories of blacklisting and career sabotage for those who expressed conservative opinions became commonplace. Many talented actors, writers, and producers found themselves faced with an impossible choice: compromise their values or lose their livelihoods.
This intimidation extended beyond the entertainment industry. Conservatives across many sectors – business, education, healthcare, and more – found themselves increasingly fearful of expressing their views. The threat of being deplatformed from social media, debanked by financial institutions, or ostracized from social and professional groups hung over anyone who dared challenge progressive orthodoxy.
But something remarkable has happened in recent years. Backed into a corner, conservatives have finally begun to fight back. And in doing so, they've made a stunning discovery: they aren't the fringe minority that progressive messaging had led them to believe. In fact, they represent a massive consumer base with substantial purchasing power.
The market has begun to respond accordingly. Alternative media platforms have emerged to serve conservative audiences. Independent content creators have built successful careers by speaking to the values and concerns that mainstream media ignored. And now, sensing a shift in the cultural winds, major media companies are attempting to recapture the audiences they previously alienated.
This is where the danger lies. These corporate entities aren't embracing conservative content because they've had a change of heart. They're simply chasing profits. The same studios that produced explicitly anti-conservative content for years are now quietly developing shows with traditional themes and values. The same networks that mocked middle America are now trying to appeal to it.
The numbers don't lie. Conservative consumers represent an enormous market. Studies have consistently shown that right-leaning Americans control a disproportionate share of disposable income in many key demographics. When "Yellowstone" became a massive hit by portraying rural, traditional Americans with respect rather than derision, entertainment executives took notice. When Tim Allen's "Last Man Standing" continued to draw strong ratings despite network shuffling, they couldn't ignore the message.
But here's the critical point to remember: these companies have no ideological commitment to the values they're now happy to profit from. They're weathervanes, not compasses. They don't lead culture; they chase it. And when they sense the next shift in the cultural breeze, they'll pivot again without hesitation.
We've seen this pattern before. Remember how quickly corporations abandoned their "woke" marketing campaigns when they proved unprofitable? Remember how quickly streaming platforms removed content from their libraries when it no longer served their bottom line? These aren't allies; they're opportunists.
For conservatives who have felt marginalized and dismissed by mainstream entertainment for decades, the current trend may seem like a victory. Finally, they're seeing content that doesn't mock their values or treat them as villains. But this apparent win is built on shifting sand.
True cultural change doesn't come from corporations reluctantly acknowledging an underserved market. It comes from building genuine alternatives with integrity. The conservative entertainment ecosystem needs to develop its own infrastructure – production companies, distribution networks, and platforms that are committed to traditional values not as a marketing strategy but as a guiding principle.
Some of this work is already underway. Independent filmmakers are creating quality content that speaks to traditional values. Alternative streaming platforms are providing distribution for content that might never find a home on progressive-dominated services. Conservative investors are beginning to understand the importance of building cultural institutions, not just political ones.
This is the path forward. Rather than celebrating the crumbs now being offered by mainstream media companies, conservatives should focus on building something more substantial and sustainable. Support the creators, platforms, and companies that have demonstrated a genuine commitment to your values, not those that are merely exploiting them temporarily.
The entertainment landscape is indeed changing, but don't be fooled by corporate opportunism masquerading as cultural realignment. These major companies have shown time and again that they will abandon any principle in pursuit of profit. When economic conditions change or when they calculate that progressive content is once again more marketable, they'll reverse course in an instant.
Be discerning consumers. Recognize the difference between authentic representation of conservative values and cynical pandering. Your attention, your subscriptions, and your dollars are powerful. Use them to support those who truly share your worldview, not those who are simply exploiting it for a quarterly earnings boost.
The future of entertainment doesn't lie with the fickle giants who once scorned you and now court you. It lies with the creators and platforms that have proven their commitment through actions, not just convenient market positioning. That's where your loyalty should lie – with those who stood by your values when it was difficult, not those who embrace them only when it's profitable.