Voters gave America’s rudest man permission to return to the White House; what else have they given permission to? Michael Che has one idea. “So y’all gonna let a man with 34 felonies lead the free world and be the president of the United States?” he asked during last night’s “Weekend Update.” “That’s it. I’m listening to R. Kelly again.”

The joke captured a feeling that’s been circulating in America ever since last Tuesday’s election: silver-lining nihilism, a relief that we can stop trying to be good. Kamala Harris lost probably because of the economy, but the Republican campaign did effectively leverage widespread exhaustion with identity politics, inclusive speech, and perhaps even civility itself. Some of Trump’s supporters have celebrated by crowing vileness such as “Your body, my choice.” Some of Harris’s fans have openly denigrated the minorities who voted for Trump.

Eesh. But if this is, as my colleague Thomas Chatterton Williams posted on X, the “post-woke era,” then perhaps at least comedy—the entertainment form that’s grouched the most about progressive piety—will be funnier now. Maybe someone will channel the spirit of Joan Rivers in her prime, turning nastiness into a high art. But judging from last night’s SNL, we will not be so lucky.

The episode’s host, the comedian Bill Burr, seemed well positioned to interpret Trump’s win. With his Boston accent and stubbled beard, he has long drawn upon his white-working-class bona fides to critique both sides of the partisan divide. When he hosted SNL shortly before the 2020 presidential election, he mocked wokeness in a somewhat sneaky way: By accusing white women and gay people of hijacking the posture of oppression from people of color, he in effect co-opted the logic of intersectionality to call out its own excesses. Whether you were offended or amused by his monologue, it at least had a point.

Last night, however, Burr just seemed ornery. He opened with a promise to avoid talking about the election, and then said he’d just gotten over the flu. When you’re sick, he observed, you lie awake “just going through this Rolodex of people that coughed on you. Sniffled near ya. Walked by an Asian or something.” Smattered chuckles. “You try to fight it. You’re like, ‘They say on the internet that’s where all the disease comes from.’” Almost no laughs.

Eventually he got to the election. “All right, ladies you’re oh-and-two against this guy,” he said, referring to Harris’s and Hillary Clinton’s losses to Trump. “Ladies, enough with the pantsuit, okay? It’s not working. Stop trying to have respect for yourselves. You don’t win the office, like, on policy, you know? You gotta whore it up a little.” He added, “I know a lot of ugly women—feminists, I mean—don’t want to hear this message.”

Maybe in those oh-so-woke times a week ago, I’d feel compelled to spell out how repeating stereotypes about Asian people and reducing women to their looks effectively makes life harder for Asian people and women. Other pundits would have then defended Burr on the grounds that he’s mocking his own racism and America’s sexism. Let’s skip all that and agree that Burr’s attempt to push the line of acceptability led him to bomb in a way that was horrible to watch. He created the same sucking feeling that Tony Hinchcliffe did when he made an arena of MAGAs groan at the idea that Puerto Rico is floating garbage. There’s no wit, no passion, no aha to this kind of comedy. It’s just guys flailing about for a reaction.

To be fair, Burr might have just been tired. This election cycle “took forever,” even though most voters made up their mind long ago, he complained. Their choices were two “polar opposite” candidates: “It’s like, ‘Let’s see. What does the orange bigot have to say? How about the real-estate agent that speaks through her nose?’”  (“Orange bigot”—is this The View in 2015?)

The rest of the episode was a bit better than the monologue. Burr’s presence pushed the writers to focus on sketches about masculinity, an apt subject given the role that male voters played in the election. A segment in which young guys tried to get their dads to open up about their feelings by talking about sports and cars was oddly touching. A bit featuring a self-pitying bro at group therapy was amusingly deranged. In the edgiest sketch, Burr played a fire fighter with a fetish involving children’s cartoons, leading SNL to air an image of the dad from Bluey in a ball gag. Was this post-woke Hollywood vulgarity or what comedy’s always been—the search for surprise?

The truth that SNL and the culture at large must now wrestle with is this: Trump may be back in office after four years away, but the world only turns forward. Wokeness has not been some fad; it hasn’t even been a movement that can be defeated. It’s been, as the term itself implies, an awakening—reshaping how people think about the relationship between the words they use and the society they live in. The case it made was so persuasive that it altered the English language likely forever. It also spread shame and overreached in a way that created backlash—but that backlash will cause cultural changes that build off what we just lived through, not reverse it entirely. The way to fully get back to a pre-woke time would be through actual Orwellian fascism.  

SNL isn’t counting that possibility out. Last night opened with the cast members speaking to the camera, telling Trump that they’d supported him all along, that they shouldn’t be on an enemies list, and that they’ll help him hunt down any colleagues who voted for Harris. Their tone was light but the satire was dark, highlighting the way that leaders—in politics, media, and business—who were once critical of Trump have taken to flattering him out of fear of retribution. The sketch anticipated a future that would make recent speech wars look quaint. But for now, as for long before, we can say what we want to say, not only what we think we should say.

When Donald Trump seemed poised to win the presidential election in 2016, Trevor Noah, then the host of The Daily Show, began the program’s live night-of special on a somber note. “It feels like the end of the world,” he said to a silent audience. “I’m not going to lie. I don’t know if you’ve come to the right place for jokes tonight, because this is the first time throughout this entire race where I’m officially shitting my pants.”

On Tuesday night, Noah’s predecessor, Jon Stewart, returned to anchor the same live presidential election-night special for the first time since 2012, and Stewart’s mood was noticeably lighter than Noah’s. Stewart didn’t make any apocalyptic declarations; instead, he seemed desperate to make his studio audience laugh—“We are obviously digging through the results to find some that you like!”—without reminding them too much of the election’s likely outcome, which had begun to clarify when the hour began. Stewart may have built his reputation as an acerbic comedic truth-teller, but on Tuesday night, he seemed subdued, more interested in soothing his viewers than in delivering biting assessments of the returns.

The overall approach felt oddly inert, perhaps a sign of how confusing the world of political comedy has become. That’s in part because comedians came to play a substantial role in Trump’s third presidential campaign. Trump and his running mate, J. D. Vance, went on a tour of podcasts hosted by comics who appeal to young male voters, including Tim Dillon, Theo Von, and Joe Rogan. Trump’s team also invited the comic (and another podcaster) Tony Hinchcliffe to take the stage at a rally last month at Madison Square Garden, where he made disparaging remarks about Puerto Ricans that received the kind of backlash many pundits called this year’s “October surprise.”

Forget attaining celebrity endorsements from pop stars and Hollywood’s A-list talent, in other words. Both Trump and his opponent, Vice President Kamala Harris, seemed to recognize the need for unconventional forms of outreach, but the Trump campaign in particular eschewed traditional journalists in favor of provocative comics and hosts who would provide friendly platforms for the former president. “A survey of many hours of conversations between these comedians and Trump mostly reveals slavish affection,” observed The New York Times of Trump’s podcast appearances, “and even a certain kinship … Trump and his hosts share a disdain of news media, a reflexive paranoia about so-called cancel culture, a delight in transgression and a love of cruel insult jokes.”

[Read: Why democrats are losing the culture war]

That shift toward comedians as sources of ideological validation has left established satirists such as Stewart in an odd position. Though Stewart has enjoyed plenty of success this election year—his return as the Monday-night anchor for The Daily Show helped reverse the viewership decline that happened during Noah’s stewardship, and his contract was recently extended through 2025—he continues to face an uphill battle in maintaining his impact.

As the face of a long-running television program, Stewart is constrained by ratings concerns and runtime logistics, but he’s also committed to performing a routine that’s barely changed over the years: an opening monologue, followed by correspondent-led segments, a guest interview, and a “moment of zen.” The new cohort of podcasters may also care about audience engagement, but they’re nimbler with their content—and they’re becoming more influential as a result. Stewart’s chosen platform for his comic punditry isn’t the dominant approach for political comedy anymore. (Several of The Daily Show’s offshoots, such as Samantha Bee’s Full Frontal, Larry Wilmore’s The Nightly Show, and Jordan Klepper’s The Opposition, failed to last, and on Tuesday, The Daily Show was the only late-night show to air a live special.)

Yet Stewart has seemed reluctant to adjust his strategy—or to criticize the actions of some of his peers. Note how he responded to Hinchcliffe’s set at the Trump rally: On an episode of The Daily Show, he praised Hinchcliffe as “very funny” and defended him against the negative news coverage of his set. In some ways, Stewart did what he’s often done: take aim at the larger institution of the media rather than a fellow comic. But by sidestepping the opportunity to scrutinize the growth of the comedian-to-campaign-influencer pipeline, he avoided examining his own role as a purveyor of political humor.

Other comedians have been more willing to consider their field’s shifting responsibility. In a Substack post, the ex–Daily Show correspondent Wyatt Cenac chided his former boss for his reaction to Hinchcliffe. “For Jon, it seems like comedians should be free to say whatever they want, wherever they want,” Cenac wrote. “And he seems more willing to defend the idea that the circumstances surrounding their jokes are irrelevant as long as people laugh.” Those “circumstances”—taking stages at rallies rather than clubs, offering their podcasts as prominent campaign stops—have also caught the attention of Marc Maron, one of the most prominent podcast-hosting comedians. Maron posted a statement to his website a week before the election criticizing contemporaries he believed had become mouthpieces for misinformation and casual bigotry. “The anti-woke flank of the new fascism is being driven almost exclusively by comics, my peers,” he wrote. “Whether or not they are self-serving or true believers in the new fascism is unimportant … When comedians with podcasts have shameless, self-proclaimed white supremacists and fascists on their show to joke around like they are just entertainers or even just politicians, all it does is humanize and normalize fascism.”

[Read: What happened to Jon Stewart?]

Maron’s comments double as a demand that his fellow performers recognize the stakes of participating in this political moment. But the comedy world’s response to those stakes has run the gamut. Perhaps some of the podcasters he’s calling out want to wield actual power to sway voters—and therefore, like the powerful leaders they’re catering to, build a dedicated fan base of their own. Other comics, like the team behind Saturday Night Live’s “Weekend Update,” may see their role as entertainers meant mostly to gesture at the issues driving headlines. After this latest election cycle, the one thing that seems clear is that political comedy—the point of practicing it, the changing flavor of its influence—is growing ever muddier.

For Tuesday night’s live show, meanwhile, Stewart opted to provide mostly distraction. His punch lines were as soft as his analysis of election results, struggling to dispel the undercurrent of unease. That’s not entirely Stewart’s fault: His audience seemed tense from the start, and the show faced some unexpected developments, including announced guest Senator John Fetterman of Pennsylvania canceling at the last minute, forcing Stewart to improvise and fill the extra time. Only at the end of the hour did Stewart fully embrace his own distress at the election returns, putting his head in his hands as he delivered a closing statement. “Look,” he began, before groaning and stumbling over his words. “What we know is that we really don’t know anything … I just want to point out, just as a matter of perspective, that the lessons that our pundits take away from these results, that they will pronounce with certainty, will be wrong. And we have to remember that.”

The plainspoken commentary was a refreshing moment that cut through the preceding aimlessness—but it also revealed a truth about the comedic genre’s stalwarts, like Stewart. Americans look to voices such as his in anxious moments; it’s why SNL has booked the typically no-holds-barred stand-up Bill Burr to host its postelection show this weekend. Yet Stewart has never claimed to be anything more than a performer, even when he was deemed the “most trusted man in America” during his initial run hosting The Daily Show. As he pointed out, none of us knows anything—perhaps, least of all, the comics who are tasked much too often with making sense of the nation’s chaos.