Ann Coulter is Not Funny

by Akim Reinhardt

Image from FreeRepublic.comLet me be clear from the start. This article is not about Ann Coulter's politics, which I find to be dogmatic, bigoted, and intellectually dishonest. I've already written about that elsewhere.

Rather, politics aside, the goal here is to consider her humor and try to understand why it fails. To figure out why, despite her best efforts, Ann Coulter is not funny.

This is worth considering because Coulter often attempts to dismiss criticism and defend many of her horrific comments by bending them on the anvil of comedy. When people complain about something outrageous that Coulter says or writes, she and her supporters often insist that she is merely joking.

For example, after hiring her to write about the 2004 Democratic national convention, USA Today declined to publish Coulter's first article for the paper on the grounds that her writing suffered from a “basic weaknesses in clarity and readability that we found unacceptable.” When she refused their editorial suggestions, the paper let her go. Coulter responded that “USA Today doesn't like my ‘tone,' humor, sarcasm, etc., which raises the intriguing question of why they hired me to write for them.”

This is just one among countless examples of Coulter using her supposed sense of humor to deflect criticism. In that vein, one of her canned responses is that some people don't get her jokes because “Liberals” have no sense of humor.

This is, of course, a very strange and paradoxical accusation. For at the same time Coulter and other Conservatives are chanting that Liberals have no sense of humor, they're also endlessly complaining about how Liberals dominate the entertainment industry. And of course they're right about that. The entertainment industry, including all those professionally funny people ranging from comedy writers to standup comics, are overwhelmingly liberal and always have been.

There are people in this country who are so funny they can do it for a living; they're so funny that the broad American public will pay money to watch their movies, TV shows, and standup. And the vast, vast majority of those people are either liberal, or at the very least not conservative.

So where are all those side-splittingly funny Conservatives who, for some reason, aren't getting paid to be funny? Well, there's at least one, or so I've been told over and over. And her name is Ann Coulter. There's just one problem with this.

Ann Coulter is not funny. And I say this only with the deepest respect for comedy.

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New York’s Empire State of Mind: The Colonization of ‘Up’ Part I

by Ryan Sayre
11_elevator_inv

Elisha Otis was a solver of problems—practical problems involving bread ovens, steam engines, bed frames, and the like. Faced with the problem of safely bringing debris down from the second floor of his workshop, in 1852 he repurposed a railroad brake into an emergency elevator brake that would stop the lift cold in its tracks should the supporting cables snap. This small innovation opened an entirely new kind of space; a space we might call the 'up'. ‘Up’ had of course always existed, but never before as a habitable territory. As a place for work, life, and leisure, ‘up’ would have to be imagined. While colonial powers in the early 20th century were busy stretching railroad lines across continents, urban engineers in cities like Chicago and New York were beginning to bend Otis' elevator tracks ever further upward into uncharted verticality.

For a short three to four year period in the late 1920s and early 1930s, New York City drove its skyline 70, 87, and then 102 stories into the air. The expedition marked a transformational moment in the city. During these few years city traffic was detoured skyward. The city’s profile was nearly flipped on its axis. The goal of city planners was to rationalize the city and the ‘up’ seemed like the most efficient direction to take a growing population. But rationalization and efficiency are never linear; the stories of buildings are marked by countless twists and turns.

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