Why the Left Can't Stop Crying Over Colbert's Cancellation

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It’s mourning in America for the Left.

Emmy-winning actress Sandra Oh paid her respects to the now-canceled “Late Show” on Wednesday by wishing a plague on CBS and parent company Paramount.

It’s all in jest, of course. So why did she cradle host Stephen Colbert’s hand like he had just lost a loved one? Because, in a way, he did.

So did Oh and the rest of progressive America. It’s why people are protesting the show’s cancellation outside CBS’s New York City theater, signing online petitions in the “thousands,” and major Democrats insist it’s Herr Trump’s fault.

Without evidence, of course.

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The Legacy Media, arm in arm with the modern Left, is crestfallen, and it can’t get up. We’re now a full week into life without Colbert’s “Late Show,” even though it doesn’t officially expire until May 2026. 

Why the extended outrage? It’s just one talk show that consistently ranks behind “Gutfeld!” in the ratings.

“The Late Show’s” demise isn’t an isolated incident. The Left’s pop culture dominance is on the decline, and the examples are everywhere.

We just experienced the first, so-called “Podcast Election” where rebel comedians helped Rock the Vote for President Donald Trump. Nearly every star in the progressive galaxy demanded we vote for Vice President Kamala Harris.

Even Han Solo. The country by and large tuned them out.

Late-Night TV isn’t dead, but the rumors of its demise aren’t exaggerated. It, like Thanos, is inevitable. And, with it, a nonstop barrage of progressive hectoring, multiplied by Legacy Media outlets for maximum impact.

Sketches like this didn’t help.

Two of the biggest media deals in recent memory involve right-leaning podcasts that don’t play by the Left’s rules – “Ruthless” and “Barstool Sports.”

That long-discussed Paramount-Skydance merger is here, at last. And, with it, the promise of “viewpoint diversity.” It’s why the rowdy “South Park” creators just snagged $1.5 billion (with a B) deal. The show famously hits both sides, one of many reasons for its decades-long success.

The woke mind virus has mostly run its course in Hollywood. Even The New York Times admitted so last year. Now, major studios are snipping progressive subplots from their product. Mainstream movies like “Inside Out 2” and “Bad Boys: Ride or Die” left the lectures on the cutting room floor.

Newer films like “Superman” and “The Fantastic Four: First Steps” either avoid liberal sucker punches or promote heartland values. Superman flies home to Kansas to tweak his moral compass in James Gunn’s new film.

Marvel’s Fantastic foursome speaks of family first and foremost, including a shockingly pro-life moment that wouldn’t pass muster a few years ago.

The loss of Colbert’s “Late Show” reflects the democratization of pop culture, buoyed by Patreon, Substack, YouTube and podcasting. That brings the late Andrew Breitbart’s ethos to life – more voices, not less.

Meanwhile, Elon Musk bought Twitter and gave right-leaning users a chance to be heard again on pop culture issues.

And boy, are they speaking up.

More importantly, the artificial voices propped up by left-wing outfits are on the chopping block, from Colbert to the hard-Left NPR. Why would CBS willingly lose $40 million a year just to keep Colbert’s pet project alive?

Hmmm.

What’s thriving? Bari Weiss’ The Free Press, an oasis from hard-Left news reportage. Rogue comedians who don’t align with any one party, like Tim Dillon, Andrew Schulz, Joe Rogan, Ryan Long and Theo Von.

Broadly speaking, stand-up comedy survived the woke rebellion and emerged stronger than ever. Shane Gillis offended the Left anew with his recent ESPY Awards monologue and nothing happened.

Even ribald movie comedies could be the next pop culture domino to fall.

The rage from the Left regarding all of the above is palpable. You can read it on Bluesky or watch Jon Stewart melt down from his “Daily Show” perch.

The fury extends to journalists. Consider this Gizmodo piece about a new, conservative film shingle trying to bring pro-American stories to the masses.

Rightwing forces in the U.S. have long coveted a key fixture of American liberalism’s soft power: Hollywood. The “dream factory” that deeply influences the ways Americans see themselves and the world around them has often been accused of (perhaps rightfully so) having a liberal bent. Now, it appears that a group with ties to America’s military-industrial complex has a plan to take over Tinseltown and mold it in their own image.

They’re afraid. And they should be. And the worst may be yet to come.

That doesn’t hide the fact that the Left still controls the levers of popular culture. TV. Film. Music. Theater. We just learned Larry David is joining forces with the Obamas for a historical comedy show on HBO Max. More like-minded projects will follow in the weeks and months to come – like a film railing against mass deportations.

Bank on it.

What’s different now? The rebels have breached the gates. They have the technology and distribution channels to compete on a more level playing field.

Progressives are losing their monopoly on arts and entertainment. And they’re not taking it well.

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