Entertainment
The reality TV roots of the MAGA coalition
Back in 2001, few politicians gave much thought to Joe Rogan — or even knew his name. They might have heard something about “Fear Factor,” the crass show on NBC where people ate sheep eyeballs and submerged themselves in containers teeming with rats in hopes of winning $50,000.
But the idea that the show’s blandly macho host would become one of the most influential figures in American life would have seemed as ridiculous as, well, Donald Trump getting elected president. Twice.
Nearly a quarter-century later, Rogan hosts one of the most popular podcasts in the world, “The Joe Rogan Experience.” During the 2024 election, it became one of the most sought-after bookings for politicians seeking to court younger male voters, despite — or perhaps because of — Rogan’s history of spouting misinformation on vaccines, COVID-19, trans people and other topics.
Although it’s too soon to know exactly what went wrong for Democrats in 2024, Rogan’s lengthy interview with and subsequent endorsement of Trump in the final weeks of the campaign already feels like a watershed moment. Many liberals believe they need to find a progressive version of Joe Rogan in order to combat Trump 2.0. They might start looking outside the traditional party structure and turning to a medium that has become a breeding ground for influencers on the right: reality TV.
Rogan is one of many influential figures in the conservative media ecosystem and the so-called manosphere who rose to prominence in reality TV, daytime talk shows and other forms of alternative entertainment. And as Trump gears up for a second term in office, he is casting his new administration like a reboot of “The Surreal Life.”
Shortly after his win in November, Trump nominated former Congressman Sean Duffy, who starred in Season 6 of “The Real World” and went on to win multiple seasons of the spinoff show now known as “The Challenge,” for secretary of Transportation.
“Maybe he’ll pick one of the ‘Teen Moms’ to be secretary of Labor!” joked Jimmy Kimmel, who described Duffy as “one of his least embarrassing picks.”
Trump also tapped Mark Burnett, the TV producer whose fateful decision to cast the serially bankrupt Trump as a successful businessman in “The Apprentice” paved the way for his first White House run, as special envoy to the United Kingdom.
Television producer Mark Burnett, left, with President Trump in 2017.
(Evan Vucci / Associated Press)
Dr. Mehmet Oz, the cardiothoracic surgeon known for touting dubious cures such as green coffee beans and colloidal silver on his daytime talk show, is in line to run the Centers for Medicare and Medicaid Services, an agency that provides healthcare coverage to more than 160 million Americans. Longtime Trump supporter and failed senatorial candidate Linda McMahon, former chief executive of World Wrestling Entertainment, may soon be running the Department of Education, an agency that Trump has pledged to eliminate.
Nor is the reach of reality TV limited to formal administration appointments. Dr. Drew Pinsky, known for appearing on VH1’s “Celebrity Rehab,” is now a conservative talking head who regularly sits down with the likes of Laura Ingraham and Alex Jones. Podcast bro Theo Von, who formerly starred on “Road Rules,” “The Challenge” and “Last Comic Standing,” also interviewed Trump last year on his show, “This Past Weekend,” which is not overtly political but attracts a young, male demographic that increasingly skews right.
“People will vote for someone like Donald Trump because they just think he’s real and authentic” despite his long history of dishonesty, says Nelini Stamp, director of strategy for the Working Families Party and creator of the Real Housewives of Politics, an Instagram account that uses Bravo memes to spread a progressive message. To them, being real “means you say what you want, usually the first thing that comes out of your head.” In other words: acting like someone on reality TV.
Of course, Trump is a creature of reality TV himself, someone who not only rebuilt his image and his fortune through “The Apprentice” but also borrowed the medium’s blunt imagery and tendency to manipulate the truth to stage two successful presidential campaigns.
But he has also remade the Republican Party and its accompanying media ecosystem in his image, transforming a group of neoconservatives and deficit hawks into faux-populist, conspiracy-addled culture warriors whose party slogan could easily be the oldest of reality TV cliches: “I’m not here to make friends.”
It’s well known that Trump watches a lot of TV, particularly Fox News, and often hires (and fires) people based on their telegenic abilities rather than other more relevant qualifications.
There’s also a well-established history of mostly conservative politicians and pundits embracing reality TV, dating back to 2010, when Sarah Palin signed up to do a Burnett-produced series for TLC shortly after stepping down from her job as governor of Alaska in the middle of her term. Palin and former New York City Mayor Rudy Giuliani have both appeared on “The Masked Singer,” while former Texas Gov. Rick Perry and former White House Press Secretary Sean Spicer turned up on “Dancing With the Stars.”
But this trend also suggests a more profound connection between the reality TV mindset — the kinds of personalities and viewpoints that thrive in the unscripted space — and the Trumpian worldview. It’s the reality TV-to-MAGA pipeline, and lately it’s overflowing.
“Reality shows tend to traffic in simple stories. There’s a hero, there’s a villain, there’s someone you love, there’s someone you hate. People are shown as one-dimensional on reality TV, and there’s always a person to blame if something goes wrong, and we see that in MAGA politics too,” says Danielle Lindemann, professor of sociology at Lehigh University and author of the book “True Story: What Reality TV Says About Us.”
Sean Duffy, shown in 2018, was a “Real World” cast member and congressman before President-elect Donald Trump nominated him to be Transportation secretary.
(Jacquelyn Martin / Associated Press)
“Most of us know that reality TV is not a pure mirror of reality, but we’re still connecting with it at the level of emotion, even if we don’t necessarily see it as 100% truthful,” she says. “Even people who support Trump don’t necessarily always believe what he’s saying.”
Duffy’s rise from “Real World” cast member to cabinet appointee is instructive. In 1997, the lumberjack and aspiring lawyer with a thick Wisconsin accent appeared in the Boston-set season of the groundbreaking MTV reality series. He repeatedly clashed with co-star Kameelah Phillips, calling her a “b—” and at one point likening her to Hitler because she expressed pride in her Black identity.
But Duffy, typical of “The Real World” in this era, which often cast sheltered conservatives alongside others who challenged their beliefs, didn’t suffer any consequences for the dustups. The following year, he participated in the spinoff “Road Rules: All Stars,” an early incarnation of the show that came to be known as “The Challenge.” There, he met and fell for his future wife, Rachel Campos-Duffy, who played a similar role in Season 3 of “The Real World,” set in the liberal bastion of San Francisco. She wasn’t shy about her politics, dragging her housemates to an event with Republican politician Jack Kemp, but she also kept an open mind, bonding with co-star Pedro Zamora, a gay AIDS activist who died of complications from the disease hours after the series finale aired. The Duffys married in 1999 and soon started a family that now includes nine children.
Duffy dabbled in reality TV for a few more years, then pivoted to politics. He served as district attorney of Ashland County, Wis., before staging a successful run for Congress in the tea party-fueled Republican wave of 2010. In the House, Duffy became an early supporter of Trump’s, speaking with Campos-Duffy at the 2016 Republican National Convention and defending the president throughout his scandal-plagued first term. Duffy resigned from Congress in 2019, citing the need to care for a child with health complications he and his wife were expecting. Both Duffys were soon hosting shows in the Fox News empire.
In interviews, Duffy has said that “The Real World” taught him about finding common ground with people from different backgrounds and belief systems. “You see the same thing here [in the House of Representatives],” he said in 2019. “If you give people a chance, and you build a friendship and a trust, it’s amazing the kind of legislation you can work on together and how many points of agreement you actually have.”
But reality TV changed in 2000 with the premiere of “Survivor” on CBS. The show, imported to the U.S. by Burnett, took the voyeurism of “The Real World” and added an element of Darwinian competition that other shows, including “The Challenge,” immediately tried to replicate. It’s notable that Duffy won $50,000 in “The Challenge: The Battle of the Seasons,” which aired in early 2002 and was the first season in which competitors were eliminated “Survivor”-style.
Reality shows like “Survivor” and “The Challenge” “really started to incentivize bad behavior,” says Susie Meister, co-host of “The Brain Candy Podcast,” who witnessed this shift firsthand as a cast member on “Road Rules” in 1998 and a competitor on multiple seasons of “The Challenge.” Cast members are acutely aware that they need to start drama to get called back for multiple seasons — and keep making money.
“It makes sense to me that we’ve seen mostly conservative politicians embrace that approach of uncensored speech and rejection of civility and politically correct language,” she says. “The public conflates that with the truth: ‘They’re telling it like it is.’ Instead of seeing it as shocking and crude, it’s seen as, ‘Finally, somebody’s being honest and being authentic,’ whether or not they are.”
Despite the value placed on “authenticity,” many reality TV stars adopt exaggerated personas to stand out. Meister is cognizant of the roles she played herself: She says she was cast because she was a virginal blond, but that going on “Road Rules” helped her evolve politically. Later, while pursuing a career in media, she faced subtle pressure to embrace a conservative, Megyn Kelly-style persona. “My agent said, ‘It’s a shame that you’re not conservative, because if you were, there are many more opportunities for women that look like you,” she says — i.e., white, fair-haired and conventionally attractive.
“Fox & Friends’” Steve Doocy, left, Ainsley Earhardt and Pete Hegseth interview Army 1st Lt. Clint Lorance in 2019. President-elect Donald Trump has nominated Hegseth to be Defense secretary in his second administration.
(Mark Lennihan / Associated Press)
American politics, particularly conservative politics, are increasingly dominated by brash figures who are able to command attention in a fractured media landscape — not discuss the nuances of policy. “Both the MAGA-sphere and reality TV tend to be populated by very charismatic, often flashy and bombastic people who capture our attention,” says Lindemann.
Trump, of course, played a fictionalized version of himself on “The Apprentice,” beginning in 2004. “Modern-day Trump was created out of ‘The Apprentice,’ which sold that [image] to Main Street America as the gold standard of success,” says Kwame Jackson, who was runner-up on Season 1 of the show and is now president of Kwame Inc., a consulting firm. “It was false, but America bought it hook, line and sinker. Unfortunately, it unlocked a lot of the most extreme demons of capitalism.”
Reality TV is also rooted in the anti-elitist idea that you don’t need to be talented, at least not in the traditional sense, to become famous. The conservative movement is, increasingly, driven by disdain for expertise and experience in science, medicine, government and more. “As long as you’re charismatic enough and believe the right thing, that is the only credential you need,” says Lindemann.
As 48.4 % of the country braces for another season of “The Trump Show” they were desperately hoping to avoid, many are wondering just how he managed another comeback — especially after 34 felony convictions, two impeachments and one violent insurrection.
Again, the answer lies in the collective mindset of reality TV, whose fans are highly tolerant of aberrant behavior and quick to forgive missteps. Stamp points to Teresa Giudice, the long-running “Real Housewives of New Jersey” star (and Trump supporter) who served 11 months in prison for financial fraud, then promptly returned to Bravo, and Erika Girardi, who remains a fan favorite despite questions about her estranged husband’s financial crimes.
“People can be a villain one season, and then you can like them another season,” Stamp says. Trump has had multiple “villain seasons,” she adds, but he’s also experienced several redemption arcs, most notably following the assassination attempt last summer, when the media framed him in a heroic light.
“People are like, ‘But Trump did Jan. 6! I can’t believe we have moved on!’” Stamp says. “That was four years ago. Have you ever seen reality television?”
Movie Reviews
‘Evil Dead Burn’ Movie Review – Spotlight Report
Sam Raimi‘s Evil Dead films and TV series are a fine example of creativity within constraints, playfulness, self-awareness and outright slapstick comedy. The Evil Dead series after Raimi is very, very different. Starting with 2013’s Evil Dead by Fede Álvarez, followed by Evil Dead Rise by Lee Cronin, the new series takes itself more seriously and emphasises pure horror, violence and gore. Some have considered this praiseworthy as it avoids being a mere retread of the old films, but the reception has been mixed.
In Sébastien Vanicek’s Evil Dead Burn, Alice (Souheila Yacoub) loses her abusive husband (George Pullar) to a motor accident. When she goes home to stay with his family, the consequences of the work of their dead grandfather researching the Necronomicon and the Deadites manifest in terrible ways. One by one, the family are turned into the Evil Dead.
Horror is a genre that depends on you relating to the protagonists so you care what happens to them. In the case of Evil Dead Burn, Yacoub does a decent job with the character she’s given, but the gonzo horror elements manifest so early in the film that she may as well be collateral damage in the onslaught, especially as the film’s early point of view is that of her brother-in-law (Hunter Doohan).
Fans of gory violence will get their money’s worth here, but there’s not a lot going on besides that. The film is a descent into madness and carnage that is so resolutely unpleasant that, after some of the early kills, it becomes numbing. It’s hard to gather what the tone is supposed to be, with lots of callbacks to the early films’ style by setting up inevitable kills with Chekhov’s weed trimmer, Chekhov’s fork and every other potentially dangerous prop the camera lingers on. The family are all deeply unpleasant at some level and so their deaths register as meaningless. Yes, the film has the obligatory something to say about how our tendency to ignore domestic abuse creates demons that destroy families, but then absolutely panders to bloodlust by absolutely revelling in some of the most extreme violence imaginable between family members (and a pet). To say this is not a film for the sensitive is to understate things considerably. This is a film that absolutely earns its content guidance warnings.
Is there any comedy? Some, but it feels out of place given the absolute brutality inflicted on the cast. While most of the other films were self-aware about setting up a ludicrously grisly end for a villain as a payoff, in Evil Dead Burn,the kills have very little flair. It’s also hard to know what the rules for getting rid of a Deadite are, as some of them are still upright and chatty after losing most of the contents of their skull and some are dispatched by the repeated application of a blunt object to the head. Towards the end, a McGuffin is added to make the kills final, but before that, who knows?
Should you watch Evil Dead Burn,? It certainly gets vocal reactions from audiences in a cinema, and if you’re a gorehound you’ll be in for a ride. If you’re a horror fan, it’s certainly a horror film, but violent instead of scary. If you’re just a fan of cinema who likes good films whether or not they’re horror films, then this will be an alienating watch. In Evil Dead Rise the decay of the family was more than background noise and factored into the circumstances of the individual deaths, but not here. It has slight pretences of being a film with Themes and Ideas, but in the end it just feels like an excuse to serve up limbs being mutilated, skulls being crushed and any number of stabbings, slicings and gougings rendered with psychopathic visual fidelity. If that’s what you’re after, that’s what it’s got.
Entertainment
‘Children of Blood and Bone’ author won’t see film after feud with star Amandla Stenberg
Tomi Adeyemi, the author of the bestselling fantasy “Children of Blood and Bone,” isn’t planning to see the forthcoming film adaptation — even though she co-wrote it.
Over the weekend, the Nigerian American author posted a video on TikTok addressing fans who have been asking her the same question, “Why don’t you post about the adaptation of your first film adaptation anymore?”
“There is a reason I will not post anything about the adaptation of my work,” the author wrote in what appear to be screenshots of a group chat. “I have not seen the film, and I will not watch it.”
The adaptation of the first installment of Adeyemi’s “Legacy of Orïsha” fantasy trilogy is slated to hit theaters in January 2027. Gina Prince-Bythewood — who wrote and directed “Love & Basketball” and helmed “The Woman King” — is directing. The film stars Amandla Stenberg, Thuso Mbedu, Tosin Cole, Damson Idris, Cynthia Erivo, Lashana Lynch, Regina King, Idris Elba, Chiwetel Ejiofor and Viola Davis.
Alongside the screenshots of her comments in the group chat, she shared a February 2025 exchange with Stenberg that shows the author severing ties with the actor.
Adeyemi shared only her final message to Stenberg, which reads, “Do not ever use my name in an interview or video again. Do not text me. Do not call me.” That exchange is followed by a notification that she blocked Stenberg, who plays Princess Amari in the upcoming fantasy flick.
The message from Stenberg that preceded Adeyemi’s reply is not shown in full.
Stenberg, who played Rue in “Hunger Games,” Starr Carter in “The Hate U Give” and, recently, Verosha “Osha” Aniseya and Mae-ho “Mae” Aniseya in Disney’s “Star Wars” series “The Acolyte,” had been getting flack from readers of the series, who claimed colorism was an issue while casting the movie.
In February 2025, Stenberg posted a since-deleted nine-minute TikTok addressing the controversy and told followers that Adeyemi had given the actor her blessing when cast as the series’ princess.
“I am four months into training for ‘Children of Blood and Bone’ and I am getting my ass whooped,” Stenberg joked in the video, per BET.
“This year was mostly defined for me, honestly, by contending with what it felt like to receive racist death threats just for existing in the ‘Star Wars’ universe, and that was a really difficult thing for me to move through,” she continued. “But honestly, it feels so much more painful for me to feel like I’m at odds with my own community.”
Stenberg said that she considers her skin tone when navigating her career choices and would “never go after a role” she didn’t feel well suited for. “I know that colorism is an insidious system that relentlessly impacts every facet of entertainment.”
The actor continued that it was actually a meeting with the “Children of Blood and Bone” author that gave her the confidence to pursue the role.
“I had the opportunity to meet Tomi, the novelist, for the first time. … And she goes, ‘Amandla, I want you to know that when you were a little girl and you were cast as Rue in “The Hunger Games,” and people said that Rue’s death wouldn’t be as sad because you’re a Black girl — that inspired me to write this series so that Black girls like you and Black girls of all shades could have a story written about them,’” Stenberg said in the video. “We started crying, and I said to myself, ‘God wants me here.’”
Representatives for Stenberg, Adeyemi and Prince-Bythewood did not immediately respond to The Times’ request for comment.
Movie Reviews
‘Night Nurse’ Review: A Caretaker Explores Her Kink for Elder Abuse in the Year’s Strangest Erotic Thriller
There are any number of erotic thrillers in which rich old men are robbed blind and/or left for dead, but Georgia Bernstein’s admirably bizarre “Night Nurse” might be the first movie of its kind where elder abuse is the source — and possible subject— of its erotic thrills. If there are others, I’m not sure I want to know.
But this woozy debut feature doesn’t rely on its audience being turned on by the relationship between a nubile caretaker and her dementia-addled patient. Their psychosexual bond, meanwhile, hinges on cold-calling vulnerable old people under the guise of a grandchild in financial distress. (“I’m in trouble, nana, send me $10,000 or I’ll be left to rot in jail!” That sort of thing). With its slim wisp of a premise stretched into a Strickland-esque dreamscape that substitutes kink for conflict, the film itself hardly seems convinced by its own wrinkled lust — all desperate kisses and non-touching poses of subservience. More important to Bernstein is what that lust reveals about her characters’ deepest needs, specifically how their need to care and be cared for can be as easily perverted as any other form of desire.
As moody and weightless as the noir-accented score that blows through the movie like a curlicue gust of wind in an old cartoon (credit to musicians Sam Clapp and Steven Jackson), “Night Nurse” lacks the pulse required for its stray feelings to come alive. Still, the film ambiently taps into the latent eroticism of teasing out the distance between how you see yourself and who you really are. Bernstein plays with that distance like a telephone cord wrapped around her fingers, and Eleni — played by the excellent newcomer Cemre Paksoy, powerfully helpless — only frays even more as the receiver is brought near the hook. “Everything I did before today wasn’t me,” the nurse tells co-worker Mona (Eleonore Hendricks) after starting a new job at an Illinois retirement home. “It was somebody else.”
What she did before today remains unexplored (specifically, what she did to get herself fired from her last gig), but I’m guessing she’s probably changed less than she thought. There’s a faraway flicker in her eyes the moment she catches the vibe between Mona and Douglas (a ribald and elusive Bruce McKenzie), a white-haired seventysomething who shows early signs of dementia but still commands an undiminished sexual energy. “I’m not an invalid,” he coos as Mona bathes him in the tub, to which she replies, “yes, you are,” in a supplicant tone that hints at a rich history of power games between them.
Later that same night, Douglas will force Eleni to call a stranger, pretend that she’s their granddaughter, and ask for money — he’ll wrap the phone cord around the nurse’s body as she talks and shove her against the wall as they kiss. She’s into it. So into it that he has to clarify the terms of his whole deal: “If you’re looking for a pogo stick, I’m really not your guy.” But Eleni isn’t looking for anything to bounce on. She just wants to be needed, and maybe to need someone in return. Someone who will see her for who she really is and allow her the fantasy of pretending she isn’t being herself when she cons vulnerable strangers out of their money — when she exploits how enthralled those strangers are by the care they have for their loved ones.
“Night Nurse” doesn’t belabor the psychology, as Bernstein prefers to express her story through heavy-lidded suggestion. Somnambulating from the moment it starts, the film moves through a series of beautifully arranged poses that stretch their latent meaning thin across the surface (Lidia Nikonova’s cinematography lacquers every shot with a seductive dreaminess). We see Douglas smoking in a lawn chair with Mona and Eleni curled around his feet. Eleni riding in the backseat of a convertible as the wind blows through her curls. The full staff of nurses — all of them under Douglas’ sway — stumbling around his condo in a state of zonked out bliss as they roll on the prescription drugs they’ve stolen from the residents.
Once you’ve seen one shot of this movie, you’ve practically seen them all, at least until things escalate during a rushed and unsatisfying third act that forces Eleni into an honest confrontation with herself. People will do just about anything to feel needed — they’ll give whatever degree of care allows them to receive it in return. “Night Nurse” understands that desire, but remains far too numb to treat it.
Grade: C+
The Independent Film Company will relase “Night Nurse” in theaters on Friday, July 10.
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