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    ‘Rural America costs a lot of money’: Trump cuts are decimating a radio station at the edge of the world

    In Sand Point, Alaska, the radio dial is mostly empty. For a commercial broadcaster, running a station in this Aleutian Island fishing town of about 600 people just is not worth the cost of doing business. But KSDP, the local public radio station for Sand Point, is a community anchor, bringing listeners music, emergency alerts, live color commentary of high school sports, state and local news. Without a newspaper specifically serving the town, the station is residents’ resource for all things local.On 1 August, for example, KSDP hosted an interview with local fish biologist Matthew Keyes. Asking the questions was Austin Roof, general manager of the station. Over fuzzy microphones, the two volleyed stats back and forth about the escapement rates of “pinks” and “kings” (colloquialisms for two of the most fished species of salmon). Roof served as a stand-in for the laborers listening at home or aboard their ships, asking about the noticeably low catches early that summer; Keyes told listeners that while June was among the lowest harvests on record, July had been much better. He then announced the fishing schedule for early August: there would be no fishing allowed for 60 hours straight as officials monitored fish populations, after that, anglers could tune to the radio daily for specific opening and closing times. In a region where livelihoods are tied to this turbulent and highly regulated industry, this information gave residents a chance to plan their summer of labor.In just the past few summer months KSDP has brought listeners not only crucial information about local fisheries, but also delivered updates and orders to get to high ground in the wake of two tsunamis. All the while, legislators 4,000 miles away in Washington DC were solidifying a decision that will fundamentally alter the media available to millions of Americans, especially in rural areas: on 17 July, Congress voted to rescind all funding for public broadcasting.Within hours of Roof’s fishery interview, the hammer dropped: the Corporation for Public Broadcasting (CPB), through which federal funding is disbursed to public radio and television stations, announced it will close down at the end of September.The average public radio station in the US gets less than 13% of its budget from the federal government. For many coastal and big-city stations, it is an even smaller portion. But at smalltown and rural stations, where donor bases are less robust, that number can climb above 50%. KSDP, which operates a far-reaching AM signal, a web stream and four small FM repeater signals placed in villages across a several hundred mile stretch of islands, gets 70% of its operating budget from CPB – among the highest shares of federal support for any station in the country.“The rural communities are definitely gonna be hit the hardest,” Roof says. “How do you prepare for the end of the world? The loss of federal funding is truly that seismic for us.”View image in fullscreenChairs in KSDP’s broadcasting studio and office are stacked high with jackets. Shoes overflow from a cardboard box in the small meeting room, and haphazardly folded garments fill any unused tables or shelf space. Crammed in Sand Point’s city hall, the station doubles as a donation center and hosts clothing swaps a few times a year. If you attend a community barbecue in town, a public back-to-school party, or holiday celebration, there’s a good chance the radio station put it on. Power tools are a permanent fixture in the studio, and there is always a neighbor ready to do the simple fixes for free or cheap. Roof has personally ascended the station’s 200ft AM tower in climbing gear many times to save money on repairs.Until a few years ago, KSDP and the Sand Point area did not have a reporter dedicated to their stretch of the Aleutian Islands: a remote archipelago extending south and west from mainland Alaska, and home to roughly a dozen communities ranging in size from about 20 to a few thousand residents. For years, KSDP relied on coverage from the radio station KUCB in the larger Aleutian town of Unalaska, nearly 400 miles (644km) south-west, as well as statewide and national programs.Now the station finally has its own reporter: Theo Greenly, who splits his time between KSDP and two other radio stations, KUCB and KUHB, each hundreds of miles apart across the Pribilof and Aleutian Islands.Together with his colleagues Sofia Stuart-Rasi and Maggie Nelson at KUCB in the larger 4,400-person town of Unalaska, Greenly is one of just three journalists covering the 1,000-mile archipelago, and the only one assigned to cover Sand Point.View image in fullscreenGreenly’s reporting regularly brings him to isolated communities for weeks at a time, as ferries between towns in his coverage area sometimes run only monthly, and flights are often delayed or cancelled. “There are many, many places to get news from Washington or New York,” says Greenly. “But there are zero alternatives for news from this region.”Greenly has covered dangerous sea algae blooms, Indigenous language revitalization efforts, and a cargo ship carrying lithium batteries that caught on fire in a local port. He was on the ground when the Aleutian town of King Cove’s main employer, the Peter Pan fishing cannery, closed down, leaving many residents without jobs and many anglers unpaid for the hauls they had already delivered.In July, a resident of the 400-person town St Paul, located about 400 miles north-west of Sand Point, informed Greenly that the town was running out of food; the sole grocery store, owned by the local tribal government, had been waiting over a month to receive a large shipment of stock that it had paid for, but was stuck at the Anchorage airport. Ace Air Cargo had not flown to St Paul in all that time, citing weather issues. Not long after Greenly reported the story, the company got its cargo planes in the air, delivering more than 10,000lb of food and two tons of mail to St Paul.It costs money to report these stories but there is not a lot of money to be made in sharing them – especially in the far-flung, sparsely populated Aleutian Islands. Commercial radio stations are exceedingly rare here; there’s simply not enough listeners. Public media, by design, fills the market gap. “Rural America costs a lot of money,” says Roof.View image in fullscreenAlaska is one of the most heavily federally subsidized states in the US in terms of public services such as education, internet connection and media. Nevertheless, Nick Begich, Alaska’s sole congressperson, voted with all but two of his fellow Republicans to take back federal funds that had been allocated for broadcasting.Greenly followed debate on the cuts closely. “I mean, there is nobody covering this stuff,” he says, noting that he and his two colleagues in the Aleutians essentially double as the region’s only newspaper reporters, as the paper serving the archipelago runs print versions of the public radio pieces alongside stories reported out of Anchorage or by national newsrooms. And he says it is not just locals who will suffer if public journalism in Alaska takes a hit, mentioning that his colleagues were key in covering the 2023 story of the possible Chinese surveillance balloons over Alaska.“When Shell was doing exploratory drilling in the Arctic, this was their home port. When Chinese and Russian military ships cross into the Exclusive Economic Zone, we are the closest reporters,” he says. “If you don’t have reporters here, the nation is missing out on vital information.”Roof, the general manager, says KSDP has enough to “keep the lights on for a while”. And while he doesn’t have imminent plans to close, he knows that losing more than two-thirds of the station’s operating budget will fundamentally change what they can do. He says they will have to rely increasingly on volunteers rather than paid staff if they want to survive. And he can’t imagine how he will be able to continue hosting things like big public events. “Those are the kinds of things that really make our community a fun place to live,” Roof says. “And so I just don’t see that coming back.”View image in fullscreenRoof is already planning one major change due to the cuts: he expects to have to shut down KSDP’s far-reaching but costly AM signal by the end of the year. While AM listenership may be declining nationwide, it still plays an essential role here: AM signals reach much farther than FM, penetrate terrain, and carry extraordinarily far – sometimes hundreds of miles – over water, making it easy to be heard on distant islands or on ships. Roof is planning to shutter the AM signal rather than sell it, as he does not expect to have any interested buyers. The tower, he assumes, will be torn down and sold for scrap.For now, Roof plans to keep operating KSDP on a handful of very small, localized FM signals located in four villages across the Aleutians, and online via web stream, since many people in this region have internet connection for the first time thanks to new fiber optic lines and satellite systems such as Starlink. But not everyone lives in the villages with FM coverage, and the web is not always reliable, says Greenly. A ship’s anchor once ripped apart the fiber cable bringing internet to the Aleutian Islands.Ultimately, says Greenly, cuts to public radio will have an impact on residents regardless of how they tune in. “The word ‘radio’ is kind of a misnomer in a way,” he says. He tells me that people always ask him if people can’t just get this information online. “Yes,” he tells them, “because we, the radio station, did the work, investigated it, and put it on the internet.” Without the newsrooms and stations supported by CPB, he says, “they can’t get that information.”Greenly says he doesn’t know what will happen to his position. His role as the shared reporter for KSDP and two other local stations is funded by a grant from CPB. But his livelihood, he says, is the least of his concerns. “I’m more saddened for the nation than for myself. I’m worried about the community. I’m worried about Sand Point,” he says.As for him, the intrepid local reporter braving the elements to cover stories from fishing to fracking? He says: “I mean, I go back to bartending.” More

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    Dr. Demento Announces His Retirement After 55 Years on the Air

    Barry Hansen, mostly known by his D.J. name, said he’d end his show’s run after 55 years of playing parody songs. His syndicated show was once heard on more than 150 radio stations.“Monster Mash.” “Another One Rides the Bus.” “Grandma Got Run Over By a Reindeer.”The D.J. most responsible for lodging these earworms in listeners’ heads, Barry Hansen, better known as Dr. Demento, said last month that he would retire from the airwaves in October, on the 55th anniversary of his radio debut.Mr. Hansen, 84, started on KPPC-FM, a free form and progressive rock station in Pasadena, Calif., (now KROQ-FM) in 1970 and soon began focusing on what he called “funny music” because of listener requests for songs that made them laugh.After he played “Transfusion,” a song by Nervous Norvus, which had been banned on many radio stations in the 1950s, another D.J. at the station called Mr. Hansen demented.“Transfusion” — featuring the sound effects of vehicle crashes — is about a reckless driver who repeatedly gets seriously injured in car crashes by breaking traffic laws. In the lyrics, the driver gets a blood transfusion after each crash and vows to drive safely, before getting into another one.The novelty song struck a chord with Mr. Hansen, who would spin up similar parodies for his playlists for the next half century. The nickname Dr. Demento, which he adopted shortly afterward, also stuck.He referred to his fans as dementoids and dementites.“I have been doing this show for nearly 55 years, about two-thirds of my life,” Mr. Hansen said on his May 31 show, which broadcasts online. “It’s been a blast, but I have come to the decision that I need to hang up my top hat soon. The show you just heard is the last of my regular shows.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    E.U. Offers Emergency Funding for Radio Free Europe After Trump Cuts

    The European Union said it would provide short-term financing for Radio Free Europe, but the amount falls short of what the news outlet says it needs to stay afloat.The European Union said Tuesday that it was stepping in to provide emergency funding to Radio Free Europe, though the promised amount fell far short of what the news organization said it needed to stay afloat after the Trump administration froze federal support.Kaja Kallas, the European Union’s top diplomat, announced that the bloc would provide 5.5 million euros ($6.2 million) to support Radio Free Europe, which provides independent reporting in countries with limited press freedoms.“In a time of growing, unfiltered content, independent journalism is more important than ever,” Ms. Kallas said. But she added that the funding would be for the short term and that the European Union could not make up the news outlet’s entire shortfall.Since taking office in January, President Trump has ordered the dismantling of Radio Free Europe’s parent organization, the U.S. Agency for Global Media, which provides the broadcaster with $12 million in congressional funding each month. A U.S. District Court judge initially paused Mr. Trump’s termination of the congressional grants, but this month a federal appeals court ruled that the Trump administration could continue to withhold the funds.Stephen Capus, the president of Radio Free Europe/Radio Liberty, said on Tuesday that he was grateful for the emergency E.U. funding to keep the operation running “for a short while longer.” He said that the news organization was continuing to fight in court for the release of congressionally appropriated funds.“RFE/RL’s survival remains at risk as long as those funds are withheld,” he said in a statement.The news organization on Tuesday filed an emergency petition in U.S. District Court for the District of Columbia seeking its May funding. Radio Free Europe said last week that it had received its April funding from Congress, though it came six weeks later than scheduled, forcing the news organization to reduce programming and staff.Radio Free Europe/Radio Liberty, which has been funded by Congress since it began broadcasting during the Cold War, reports on human rights and corruption in several countries run by authoritarian governments. In the 1980s, it reported on the aftermath of the Chernobyl nuclear accident, details of which the Soviet authorities had obscured.Today, it broadcasts in 23 countries, including Russia, Ukraine, Iran, Afghanistan and Pakistan, as well as nations in Central Asia and the Caucasus. More

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    Audio Data Shows Newark Outage Problems Persisted Longer Than Officials Said

    <!–> [–><!–>On April 28, controllers at a Philadelphia facility managing air traffic for Newark Liberty International Airport and smaller regional airports in New Jersey suddenly lost radar and radio contact with planes in one of the busiest airspaces in the country.–><!–> –><!–> [–><!–>On Monday, two weeks after the episode, Sean Duffy, the secretary of transportation, […] More

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    How Lost Radar and Silent Radios Have Upended Newark Air Travel

    On a recent afternoon in Philadelphia, an air traffic controller began shouting that he had lost his radar feed for planes flying in and out of Newark Liberty International Airport.Some of his colleagues still had radar but their radios went dead, prompting frantic calls to their counterparts in New York urging them to keep their planes away from Newark’s airspace.Then, for 30 harrowing seconds until the radios came back, there was nothing more to do but hope — as they had no means of telling pilots how to avoid crashing their planes into one another.Shortly after that, one controller discovered a trainee, who had been directing Newark traffic under supervision just moments earlier, shaking in the hallway.That was the chaotic scene on Monday, April 28, according to several people who were present when controllers working the airspace for Newark lost the means to do their jobs.The failure of the system the controllers rely on left several of those on duty that day with extreme anxiety, requiring a mental health respite that has caused low staffing levels for days since. It has also prompted more than 1,000 flights at one of the nation’s busiest airports to be canceled or delayed, leaving some passengers feeling frustrated and abandoned.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    The week in audio: Die Die DEI; Drama on 4: The Film; Good Hang with Amy Poehler; Confessions of a Female Founder and more

    The Slow Newscast: Die Die DEI (Tortoise Media)Drama on 4: The Film (Radio 4) | BBC SoundsGood Hang with Amy Poehler (The Ringer)Confessions of a Female Founder with Meghan (Lemonada)Working Hard, Hardly Working (Grace Beverley) | Apple podcastsThe Slow Newscast is usually worth a listen. Take Die Die DEI, from the week before last. Queasy and pointed, it tackles the issue of the Trump administration’s “war on woke”. As soon as the orange man-baby got into office, his government started shutting down inclusion programmes, and corporate US followed. Why? It’s not about saving money, or terminology-wrangling. It’s far more deeply prejudiced.View image in fullscreenWritten and presented by Stephen Armstrong, the show focuses on one particular member of the Trump administration: the deputy chief of staff for policy and homeland security adviser, Stephen Miller. Described baldly by one contributor as “a violently rightwing racist who is pushing a white nationalist agenda”, he is far from a nice guy. But Armstrong is wise enough to tell Miller’s story gradually. He was brought up in liberal, multiracial Santa Monica, California. Yet as a kid he dumps one of his friends by telling him exactly why he doesn’t like him. “Among that list of things,” recalls the friend, “was my Latino heritage. That was one of the things that disqualified me from being his friend.”We follow Miller through his college years, a controversial rape case (not his: he supported some lacrosse players who were falsely accused of sexual assault) and into the Senate. There, he uses the diversity, equity and inclusion (DEI) approach against itself, telling white people that they are, in fact, victims. “Hijacked victimhood” is what it’s called: the idea that your lifestyle – your life – is put in a precarious position because other people are different from you. The way Miller plays it, it’s a zero-sum game. You must triumph and “they” – people not like you – must be vanquished.Armstrong’s script is excellent. I could quote from any part of the show, but he really hits his stride towards the end. “Don’t get distracted by absurdities. This administration is throwing out so many bouncing, multicoloured balls that it’s almost impossible to focus on what’s important. The trick is to watch Stephen Miller. When he says something, it matters… The truth is, his views haven’t changed since he dumped his best friend for being Latino.”There’s something at once modern and classic about Armstrong’s script, and I thought about this while listening to Drama on 4: The Film, a small gem of a radio play about a movie. Its subject is a true story. In 1945, Sidney Bernstein, a film-maker and producer, was given hundreds of hours of footage from the Bergen-Belsen concentration camp. Shot by British army crews for the Ministry of Information, the footage was basic but devastating, full of appalling, cruel, hellish murder. How to make this into a film that would both engage and expose the public to the horrors of the Holocaust? How to do justice to the suffering? Amazingly, Bernstein asked Alfred Hitchcock to help. And Hitch, initially reluctant, said yes.Written by Martin Jameson, The Film is a Radio 4 drama of ye olde school: rather stagey, with theatrical speeches and performances. But it’s also nicely paced, well acted, clear, moral. I found myself almost relieved that it exists. Not just because it’s about the Holocaust, which should never be forgotten, but because it’s an interesting real-life story that’s a play, as opposed to an episode of a clever news podcast. Old-fashioned audio.View image in fullscreenHere’s an example of new-fashioned audio, and it’s one that promises much. Amy Poehler, delightfully funny comedian and actor, has decided “about four or five years too late” to give us a podcast. The pitch for Good Hang with Amy Poehler must have had producers drooling: Poehler simply scrolls her contacts list, calls up a famous mate and has a chat, avoiding anything controversial in favour of having a laugh.Her first episode was with Tina Fey, who, being Tina Fey, took over and gave us insight (she works 12 hour days, plus “homework” in the evening) and wit (she’s worried about becoming one of those older Hollywood types who just “tells it like it is”). But, God, it only takes a couple of episodes before we find ourselves riding on fumes. All is slapdash and self-congratulatory. An episode with actor Ike Barinholtz gives us almost nothing. There’s a passing reference to him getting in an ecstasy mess in Amsterdam when he was younger, but we breeze past, and by the end of the show we know him no better. In every episode, Poehler enthuses so much about her guest – to their face! – that it feels performative. She laughs too much and for too long. Are these incredibly successful, creative, funny people so insecure that they need bolstering every other sentence? (Yes, clearly.)View image in fullscreenIn a similar vein, please welcome Meghan, Duchess of Sussex’s latest podcast venture, Confessions of a Female Founder. Actually, don’t bother, unless OMG-yes-sister-and-you-look-so-good-while-doing-it is your thing. Honestly, I think it’s just how they talk over there. Their idea of a good hang, or a good podcast, is different from ours, and involves a lot less piss-taking.Meghan’s first show is with Whitney Wolfe Herd, founder of dating app Bumble, but, nope, we don’t learn anything much, except about how Megs and Whits met (it was NYE and Wolfe Herd was wearing a rhinestone cowboy costume! The embarrassment!) and how supportive they are of each other.View image in fullscreenIf you want a decent podcast from a 28-year-old entrepreneur who’s already built three companies and is generous with her business tips, then I recommend Grace Beverley’s Working Hard, Hardly Working, now on episode 133. She also interrupts her guests too much to talk about her own life, but you get far more corporate insight and life practicality. The world, it seems, is full of these frantically perfectionist, success-obsessed, greige-swathed young women trying to get their life to work. I’d say relax, but they can’t. More

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    US judge temporarily blocks Trump from firing Voice of America staff

    A federal judge on Friday ordered Donald Trump’s administration to temporarily pause its efforts to shut down Voice of America, stopping the government from firing 1,300 journalists and other employees at the US news service that were abruptly placed on leave earlier this month.District judge J Paul Oetken said in a Friday opinion that the Trump administration could not unilaterally terminate Voice of America and related radio programs that were approved and funded by Congress. Rescinding funds for those programs would require congressional approval, the judge wrote.Oetken did not require Voice of America to resume broadcasts, but his order made clear that employees should not be fired until further court proceedings could determine whether the shutdown was “arbitrary and capricious” in violation of federal law.“This is a decisive victory for press freedom and the First Amendment, and a sharp rebuke to an administration that has shown utter disregard for the principles that define our democracy,” said Andrew Celli, an attorney for the plaintiffs.The US Agency for Global Media, which oversees Voice of America, Radio Free Europe, and other government-funded media, did not immediately respond to a request for comment on Friday.The agency had told unions that it was about to terminate 623 Voice of America employees, a number that “entirely forecloses” any attempt to resume broadcasts at the level envisioned by Congress, according to court documents filed by the plaintiffs.Voice of America was founded to combat Nazi propaganda at the height of the second world war, and it has grown to become an international media broadcaster, operating in more than 40 languages and spreading U.S. news narratives into countries lacking a free press. As a group, US Agency for Global Media employed roughly 3,500 workers with an $886m budget in 2024, according to its latest report to Congress.Voice of America journalists and their unions sued the US Agency for Global Media, its acting director, Victor Morales, and special adviser Kari Lake last week, saying that their shutdown violated the workers’ constitutional first amendment right to free speech.The Voice of America employees’ lawsuit is one of four pending challenges to the Trump administration’s attempted shutdown of government-funded media programs. Other challenges have been filed by Radio Free Europe, a separate group of Voice of America employees, and grant recipient Open Technology Fund.US Agency for Global Media had argued that it had not violated the laws that governed Voice of America’s operations. The agency said in court filings that it had reduced operations to a “statutory minimum” by restoring broadcasts in Cuba and reinstating 33 employees at the Office of Cuba Broadcasting. More

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    ‘People feel terrible. They want to laugh’: can comedy make light of Trump 2.0?

    “When Trump first won, there was almost a novelty to having a character such as him in a position of such vast responsibility – that was a new thing for comedy to address,” said Andy Zaltzman, chair of Radio 4’s The News Quiz and the satirist behind The Bugle podcast and multiple political comedies.The first Trump presidency spawned debate about whether it’s possible to satirise a man whose extreme appearance and rhetoric mean he presents as a walking caricature. The New York Times even ran a piece titled “How President Trump ruined political comedy”.Now comedians in the UK and US are trying to work out how to deal with a second, possibly darker, Trump presidency.“Trump is so ridiculous that he makes comic extrapolation harder,” said Chicago-born, London-based standup Sara Barron, who found much of the comedy targeting Trump “did not provide catharsis”.Zaltzman has just embarked on a tour and, post-election, is writing new jokes exploring the global implications. Trump’s absurdity means there are obvious punchlines, “but it can be harder to get to the heart of the issue”, Zaltzman said.“Comedy is so ubiquitous – anything that happens, there’ll be a thousand memes and TikToks. The challenge is finding an original angle. That’s always been difficult with Trump.”View image in fullscreenPreviously, Zaltzman’s solution was presenting Trump’s brain (a cauliflower) on stage, using chopped-up Trump speeches to make it “speak” about Australian cricketers: “I figured no one else would be taking that angle.”In the run-up to election day, Barron found a personal angle. Coincidentally, her career thrived under Trump’s last tenure, so she made a sketch satirising the instinct of many to think: “This terrible thing is happening, but here’s why it’s OK for me!”Fellow US-born, UK-based standup Janine Harouni isn’t happy that Trump is back but said: “It’s a gift for comedy because people are feeling terrible and they want to laugh.” During Trump’s first term, Harouni produced Stand Up With Janine Harouni (Please Remain Seated), in which she explored the political distance between her left-leaning self and her Trump-supporting father.“I wrote that show because I love my dad and cannot reconcile his political beliefs with how I feel about him personally. My father is also an Arab, son of immigrants, so I was really struggling with that,” Harouni said.She approached this via comedy because it felt so thorny. “Comedy is a release of worry and fear. If you can find a way to laugh at something that upset you, it doesn’t have control any more,” Harouni said. “I wanted it to feel healing and hopeful.”skip past newsletter promotionafter newsletter promotionView image in fullscreenBarron witnessed that power while performing on election results day – a reminder that comedians can “give people some kind of respite”, she said. “It was an electric gig. Everyone was so happy to be with like-minded people.”Catharsis is a driving force of political comedy, said Zaltzman: “It gives people a chance to laugh at serious news, which is valuable.” It can also challenge authority. “It absolutely has to hold power to account,” said Lewis MacLeod, the voice of Trump on Dead Ringers. “It becomes its own protest, but it’s done with laughs.”MacLeod perfected his Trump impression for the latest series by studying recent interviews. “Listening to him on Joe Rogan was a gift for any mimic. It was uninterrupted; he wasn’t arguing,” he said. “He’s a little bit older, more reflective. There’s this messianic tone.”MacLeod has also started caricaturing Elon Musk, who is likely to play a role in Trump’s administration. “There’s something of a mad, maniacal robot about him,” MacLeod said. There’s the danger of creating satirical impressions that are too likable: “That’s the rub of satire and mimicry.”With Trump’s increased support this time, Zaltzman questions the power of comedy to change minds but said: “The best comedy has elements of creativity and optimism, offering alternative ideas, hopefully that will emerge.”Harouni said, from her experience with her Trump-voting family, there’s reason to feel hopeful: “Not everyone who voted for Trump holds his worst beliefs.” She hopes the political comedy of the next four years considers that. “I like comedy that unites people from different systems of belief,” she said. “I hope people strive for that rather than continue to feed into the divisive narrative that’s driving Americans further apart.” More