Stephen Colbert makes me laugh so much that it sometimes makes me angry. I loved him in “Exit 57” and “Strangers with Candy”. But it was in 1997-at the time I was a co-creator and head author of “The Daily Show”-when I saw him doing what I love the most. To be satirically disassembled as part of the media itself.
At that time he had a job at Good Morning America and had produced a soft -washed segment that had exactly the right portion of satirical complicity – perfect for “The Daily Show”. I immediately went to my colleague and co -founder Madeleine Smithberg and said: “We have to get Colbert for the show.” She agreed and shortly afterwards Stephen became part of our “fake news” team and helped to redefine the late night and political satire.
Stephen is not just a brilliant satirist – everything he does is rooted in something real. His comedy always has a moral core, anchored in his belief, his commitment to justice and his firm will, to be held accountable. He uses his voice and humor to say the truth with deep compassion and sharp joke.
“Only for financial reasons?” I don’t buy it.
So forgive me if I have set the official explanation that CBS has set the late show, which has been running every evening for over three decades, “for financial reasons”.
Sure, traditional broadcasters fight for survival in the age of streaming and the short formats. But the timing is difficult to ignore. Colbert repeatedly attacked Donald Trump and denounced the increasing cowardice of the media in the face of fascism. In addition, CBS mother group Paramount-led by the Nepo billionaire David “Little Larry” Ellison-has just reached an agreement of over $ 16 million with Trump, who has now trumpet around that he was promised another billion for broadcasting and advertising.
But we should think it’s just about dollars and cent?
Stephen is not expensive. He is a threat. An incredibly popular, truth -loving comedian with moral clarity is dangerous at this moment. Especially when he knows, male and too influential to dismiss him as a marginal figure.
Anyone who educates politically is a risk – unless you hit down.
But here is the point: For many of us who have been doing political comedy for decades, this is not surprising. It is rare that it hits someone with this power and platform.
As a comedian who is loudly progressive and proud of pro-abrasion law, more doors were added to my nose than opened. Even today, comedy clubs rarely book comedians with clear opinions-unless these opinions are Joe-Rogan-compatible. Local media that used to advertise my shows now ignore me. Even in my hometown. And if a club even suspects that you mention the word abortion on stage? Regardless of whether the audience will come to you – good luck to find an event location that is behind you. Too controversial. Too niche. Too feminist. Men couldn’t laugh.
It is the story of my career
Today Louis Ck and Dave Chappelle fill stadiums and land Netflix deals, while comedians like Kamau Bell, Larry Wilmore, Samantha Bee and Michelle Wolf lose their shows. Always “for financial reasons”. Strange, how it works.
It seems that the only political jokes that are ready to defend this industry are those who step down.
This is nothing new – it is the story of my career. I realized early on that network channels do not want progressive voices. Even worse: they claimed that they wanted “provocative” – as long as the advertisers don’t bother or do not make shareholders nervous. Super provocative. So I left The Daily Show. I founded Air America. I started, which later became an abortion access front. I built my own platforms. I had to invest in rooms because nobody wanted to invest in rooms in which comedy can say the truth and stimulate acts. Especially not when a woman pitch her.
Political comedy is resistance with joy
Real political comedy is not just entertainment. It reminds the most affected by abuse of power that they are not alone. She gives you a voice. It throws light on the cruelty of the greedy. It is resistance as joy.
It moved me to see how other late night hosts stood behind Stephen. That’s right. But it also underlines the privilege gradient in this area: these are all white men who have held these coveted broadcasting sites for years. You have the security nets to express yourself without being afraid of getting on black lists or no longer being able to feed your families. Nobody will call them “hysterical” or “difficult” if they stand up for Stephen with a fair anger.
How can that feel?
That is why Colbert’s dismissal hits differently. Not only because he is one of the greatest, but because his distance is a warning shot. She signals comedians – even the white, male, successful – that there is a border. And when you cross them, you will find an excuse to saw you off.
There is fear behind these flimsy excuses. Fear of power that comedians are. Fear that people will actually listen to laugh.
When I think of Stephen and his values, I don’t think we will lose his voice. I hope he brings his genius to a place where he has full creative control. We need him – and we need the genius of every political comedian who still has the courage to comment.
Because we who do this work? We are not waiting for permission. We build it ourselves. Microphone in our hand. Middle finger raised.
Lizz Winstead is a comedy, activist, co-founder of “The Daily Show” and founder of Abortion Access Front, a team of comedians, authors and producers who use humor to deactivate abortion and to expose extremist anti-choice forces who try to destroy access to reproductives in all 50 states.