Mar 12 2025 26 mins
Upcoming & Ongoing Events
Starting Date: Sunday, February 23, 2025
Ending Date: None
AI and Wealth Management – On-Demand
https://truesdellwealth.com/events
Starting Date: Wednesday, March 5, 2025
Ending Date: Sunday, March 23, 2025
The Truesdell Military Portfolio – Seven Companies Profiled
https://truesdellwealth.com/events
Friday, March 21st, 2025 at 6:30 pm - All Reservations Taken
Casual Cocktail Conversation at the Stonewater Club
In-Person – Reservations Required – Text or Call 352-612-1000
“or” use the Contact Form: https://truesdellwealth.com/events/rsvp
https://truesdellwealth.com/events
Friday, April 18th, 2025 at 6:30 pm - Reservations Available
Casual Cocktail Conversation at the Stonewater Club
In-Person – Reservations Required – Text or Call 352-612-1000
“or” use the Contact Form: https://truesdellwealth.com/events/rsvp
https://truesdellwealth.com/events
Friday, May 16th, 2025 at 6:30 pm - Reservations Available
Casual Cocktail Conversation at the Stonewater Club
In-Person – Reservations Required – Text or Call 352-612-1000
“or” use the Contact Form: https://truesdellwealth.com/events/rsvp
https://truesdellwealth.com/events
Tunnel to Towers Benefit Concert
The Truesdell Companies was the primary sponsor of the Eirinn Abu benefit concert for Tunnel to Towers, which was held on February 28th at the Circle Square arena in Ocala, Florida.
Podcast Personality
Paul Grant Truesdell | Founder & CEO
J.D., AIF, CLU, ChFC, RFC
The Truesdell Companies
The Truesdell Professional Building
200 NW 52nd Avenue
Ocala, Florida 34482
212-433-2525 - Switchboard
[email protected] - General Email
Websites
truesdellwealth.com
Truesdell.net
PaulTruesdell.com
youtube.com/@truesdellwealth
Find The Paul Truesdell Podcast also at:
Apple | https://podcasts.apple.com/us/podcast/the-paul-truesdell-podcast/id1586024560
Spotify | https://open.spotify.com/show/2BYDLetiMboIGRFPjIkglJ
Transistor | https://thepaultruesdellpodcast.transistor.fm/episodes
LinkedIn: https://www.linkedin.com/in/paul-grant-truesdell?lipi=urn%3Ali%3Apage%3Ad_flagship3_profile_view_base_contact_details%3BUuNTfp3aQRyLPjGywquQRQ%3D%3D
Rough Notes
The Fickle Nature of Media's Conservative Pivot: A Historical Perspective
In recent months, we've witnessed a noticeable shift in mainstream entertainment programming. Major networks and studios that once championed progressive content are now quietly pivoting toward more conservative-friendly shows and personalities. Whether it's the resurgence of Tim Allen's career or the proliferation of police procedurals like those produced by Dan Abrams, there's an undeniable trend toward content that appeals to traditional American values.
But make no mistake - this isn't about principle. It's about profit.
These entertainment conglomerates aren't suddenly having moral epiphanies. They're simply following the money. They've recognized that there's a significant untapped market of viewers hungry for content that doesn't lecture or alienate them. So now they're dangling these shows like shiny lollipops, hoping to attract conservative viewers and their dollars.
To truly understand this cynical cycle, we need to look back at the evolution of American entertainment. There was a time when our television landscape was dominated by shows that reflected traditional values. Programs like "Sky King," "Rin Tin Tin," and "Lassie" weren't just entertaining – they reinforced moral lessons about courage, loyalty, and integrity. The fictional town of Mayberry in "The Andy Griffith Show" presented an idealized American community where problems were solved through wisdom and common sense rather than government intervention or radical social theories.
These shows weren't explicitly "conservative" as we might define the term today – they simply reflected the mainstream American values of their era. Families could gather around their television sets without fear of being bombarded by political messaging or content that undermined their values.
The same was true of comedy in the golden age of television and stand-up. We had genuinely funny people who didn't need to rely on shock value or political divisiveness to get laughs. Steve Allen brought wit and intelligence to late-night TV. Bob Hope delivered clean, sharp punchlines that appealed to everyone. George Burns had impeccable timing and charm that transcended generations.
Even the more caustic comedy had a certain warmth to it. Don Rickles could insult everyone in the room, but there was affection behind his barbs. No one left a Rickles show feeling attacked – they left feeling like they'd been part of something special, even if they were the target of his jokes. Tim Conway and Carol Burnett created physical comedy so brilliant that it made their fellow cast members break character, and audiences still watch those clips decades later.
Dean Martin's celebrity roasts were masterclasses in how to be cutting without being cruel. Celebrities from all walks of life would gather to poke fun at each other, and everyone – the roasters, the roastee, and the audience – was in on the joke. Even Ronald Reagan, before his political career took center stage, could appear on these shows and demonstrate a self-deprecating humor that endeared him to audiences.
Then there were the philosophers of comedy. George Carlin didn't care about your political affiliation – he cared about human hypocrisy. His targets weren't conservatives or progressives; they were the powerful, the pretentious, and the dishonest. He made us think while he made us laugh. Rodney Dangerfield built an entire career on self-deprecation, turning his own insecurities into comedy gold without tearing others down. And Bob Newhart's understated storytelling and deadpan delivery created humor that was sophisticated and accessible at the same time.
But somewhere along the way, comedy began to change. What was once an art form that brought people together regardless of background or belief became another battleground in the culture wars. Today's mainstream comedy landscape is dominated by performers who mistake vulgarity for daring and political ranting for insight.
Amy Schumer represents this troubling trend perfectly. Her early work showed promising comedic talent, but she quickly descended into gross-out humor and explicit sexual content that pushes well beyond the boundaries of good taste. Her stand-up routines and sketch comedy often rely on shock value rather than genuine wit or observation. Even more concerning is her tendency to frame her comedy in explicitly political terms, alienating huge portions of potential audiences.
She's hardly alone. Many contemporary comedians have abandoned the unifying power of laughter in favor of applause lines that confirm the existing biases of like-minded audiences. Their acts aren't designed to make everyone laugh – they're designed to make certain people feel superior to others. The result is comedy that you wouldn't want to watch with mixed company – not because it's edgy or challenging, but because it's uncomfortable, divisive, and often just plain mean.
Let me make one thing perfectly clear. I'm not a fan of YouTube. I find the whole Google ownership disgusting and manipulative, and I act...