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Has political correctness gone too far

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A quick survey of recent popular American film and television comedy reveals a trend in the portrayal of racists, racism, and the sorts of stereotypes historically associated with conservative, Eurocentric worldviews. Comedians such as Sarah Silverman, films such as Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, and television shows such as FOX’s Family Guy all casually reproduce the external markings of racist beliefs in the service of comedy with what is presumably an ironic tone. As New York Times critic A. O. Scott notes in discussing the work of Silverman, such texts are often assumed not to be truly racist by virtue of the fact that they so effortlessly engage in the offensive. Ironic racism, in this view, takes advantage of the notion that in a culture so concerned with political correctness, only creators “secure (in their) lack of racism would dare to make, or to laugh at, a racist joke” (E13). Thus, to present racist characters in the current comedy environment may, paradoxically, testify to the creator’s ultimate lack of prejudice.

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In fact, writers about memes have rather various views of what relationshipshold betweem memes and entities that serve as their "survivalmachines" or "vehicles". Dawkins, in his original formulation,starts from the view that memes replicate by imitation. He then speaks atvarious points of a variety of different things which can transmit memes:individual humans (or their brains), ideas, songs (as in Auld Lang Syne),physical artefacts (such as hymn books), symbolic systems (such as languages),formal organizations (such as churches), and social institutions (such aspriestly celibacy).

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Although this understanding may suffice for the purposes of popular criticism, it neglects the question of how media texts are ultimately able to create messages that, while offensive on one level, can be deemed socially acceptable when considered in a larger context. It also fails to consider whether this trend makes a positive, progressive contribution to discussions of prejudice in America or works to annihilate the distinctions that make such debates possible. In this essay, we look to the show that perhaps best represents this phenomenon, Comedy Central’s South Park, in order to arrive at a better understanding of the ways in which the program’s overtly offensive ethnic humor operates within a broader discursive context. In doing so, we argue that the program’s integration of offensive humor into contemporaneous media discussions of ethnic prejudice works to show such prejudice as a systematic, social problem, not one that can be blamed on certain “bad” individuals.

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For some unpalatable memes, though, the pill simply won't carry enoughsugar. At this point a meme's adaptation may need to work more interiorchanges. It may, for example, try to persuade carriers by distinctively humanmechanisms: not that it would, on balance, be to ingest it, butthat they to do so. Law, morality, political correctness and goodtaste are meme-ingredients of this sort. Various subsidiary means havedeveloped to encourage these. Some appeal to human beings' wish simultaneouslyto conform to and maintain status within the group: socialisation, and itsmodern philosophical expression, universalisability. Others reinforcethemselves with a moral carrot - eternal salvation - or with a stickconscience, hellfire, etc.

Donald Trump on Political Correctness - The New York …

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