Abstract

This paper discusses the intersection of humor and politics from a media perspective, particularly through the lens of television aesthetics. As a growing branch of television studies, television aesthetics tends to refer to stylistic analysis but also, more rarely, to an interest in philosophical aesthetics as applied to television (Butler, 2010; Cardwell, 2013). I will focus on the genre of political satire and identify the critically acclaimed television series Veep (HBO, 2012 – present) as a program which exemplifies the expression and underlying values of a contemporary strain of aesthetic sensibility – schadenfreude – that runs through its axes of coarse disempowering humor and the portrayal of politics. Specifically, the paper explores how Veep’s affective reception results from humorously overlapping two of the more problematic aspects that persist in the political landscape, namely, self-interest and ineptitude. This paper begins by reflecting on the universal prevalence of schadenfreude. The first section briefly traces key historical instantiations of political satire, understood as a genre that humorously derides the shortcomings and dissonances of a prevailing political milieu. The second section conceptualizes schadenfreude in satirical terms and underlies its philosophical foundations. The third section elaborates on the novelty of Veep by highlighting its gendered position as the first comedic fictional television program of a female president and outlines how its satirical modality depends on its coarse writing style and depiction of antiheroinism to make the problematic political milieu pleasurable to viewers whose normative experience of politics is frequently negative. The final section considers the ‘real world’ implications of Veep as a social commentary on unsavory political personas and perspectives. Article received: May 10, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly article

Highlights

  • Having lobbied tirelessly for a recount in Nevada to solidify her residency of the White House, crass president-by-default Selina Meyer of Veep (HBO, 2012–2019) finds herself winning the popular vote in the US presidential elections but losing to her opponent, the winsome Laura Montez

  • This paper discusses the intersection of humor and politics from a media perspective, through the lens of television aesthetics

  • I will focus on the genre of political satire and identify the critically acclaimed television series Veep (HBO, 2012–2019) as a program which exemplifies the expression and underlying values of a contemporary strain of aesthetic sensibility – schadenfreude – that runs through its axes of coarse disempowering humor and the portrayal of politics

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Summary

Introduction

Having lobbied tirelessly for a recount in Nevada to solidify her residency of the White House, crass president-by-default Selina Meyer of Veep (HBO, 2012–2019) finds herself winning the popular vote in the US presidential elections but losing to her opponent, the winsome Laura Montez. Since popular political satire can vary wildly in theme, it is helpful to conceive of it as bound between tonal extremities on a continuum: horatian (which deploys humor to mimic comedy and illicit optimistic laughter) and juvenalian (which uses critique in mimesis of tragedy to illicit pessimistic indignation).. Since popular political satire can vary wildly in theme, it is helpful to conceive of it as bound between tonal extremities on a continuum: horatian (which deploys humor to mimic comedy and illicit optimistic laughter) and juvenalian (which uses critique in mimesis of tragedy to illicit pessimistic indignation).4 This operational characterization has been translated into film. They are rendered as multifaceted and interesting, if terrible people

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