The most damning flaw of Who is America?, of course, is that it ultimately says very little; for a satire advertised as “the most dangerous show in history”, it lands few punches, and enjoys no meaningful success in its efforts to reveal some broader truth about the increasingly divided cultural identity of the United States.
Very few of the sketches are as trenchant or as incisive as Baron Cohen presumably thinks; most illustrate little more than people’s surprising willingness to remain polite in the face of exaggerated caricatures. These segments are awkward at best – the most obvious example being the dinner party in the first episode, where two Republican election agents and Trump supporters hosted Baron Cohen’s liberal caricature Dr Nira Cain-N’Degeocello as he told them about his wife’s affair with a dolphin – but at worst feel like genuine missed opportunities. When Baron Cohen interviewed former presidential candidate Bernie Sanders under the guise of Billy Wayne Ruddick, a right-wing commentator in the vein of an Infowars style conspiracy theorist, it amounted to little more than farce: ‘Ruddick’ asks Sanders why, if he “believes in equality“, he doesn’t “move the 99% into the 1%“, leaving the senator clearly baffled, but still making an attempt to humour Ruddick.
It’s difficult to work out what, exactly, this is supposed to say about the state of America – it’s not clear what questions are even being posed. Sanders is far from beyond reproach as a politician and a potential presidential hopeful for 2020, and it’s not hard to think of ways to criticise or question him through a character like Ruddick; Baron Cohen’s ‘Truthbrary’ correspondent could’ve supported Sanders’ record on gun control, perhaps, or thanked Sanders for the part he arguably played in getting Trump elected. Either would have offered potential for a more vigorous examination of Sanders’ place in the American zeitgeist; indeed, anything would’ve been an improvement over what actually took place.
There’s something more discomforting, though, about Baron Cohen’s non-political sketches – something that highlights not just a weakness to his satire, but a genuine moral failing. Consider his efforts, as fashion photographer Gio Monaldo, to convince reality TV star Corinne Olympios to claim she went to Sierra Leone to fight Ebola and stop a massacre; what was presumably intended to be cutting commentary on celebrity culture, portraying Olympios as vapid and vacuous, is ultimately much more damning of Baron Cohen himself. Setting aside the fact that Olympios’ later account of what happened makes it clear the sketch was essentially tantamount to entrapment, and ignoring the fact that the reality TV star Baron Cohen felt was so deserving of criticism is also the one perhaps most famous for being sexually assaulted on The Bachelor, the implication that Baron Cohen thinks Olympios is in any way morally equivalent to the likes of Jason Spencer says far more about him that it does her.
But then, of course, that was always the problem with Who is America? – it’s a programme without any perspective, reduced to making broad, sprawling criticisms that are little more than fumbling swipes because it isn’t working from a meaningfully defined moral position of its own. Of course it doesn’t say anything, of course this supposedly dangerous piece of satire doesn’t land any punches: it never could.
Even the most successful sketches have a certain nagging air of pointlessness to them. Yes, right wing politicians – and, indeed, right wing people – are willing to say some pretty shocking things with relatively little prompting. And? This is hardly revelatory, or even news exactly – or rather, it’s hardly revelatory because it is the news, day in, day out, and has been since Trump launched his presidential campaign by calling Mexicans rapists. Undeniably, there’s something quite striking about a lot of Baron Cohen’s sketches, particularly those in character as Erran Morad, an Israeli anti-terror activist; even then, though, if you set aside the shock value, there’s something decidedly insubstantial about them.
Perhaps the most memorable sketch across the course of the series was the one that featured Jason Spencer, a Republican congressman from Georgia; ostensibly teaching Spencer how to protect himself from terrorists, Baron Cohen convinces the right-wing lawmaker to take upskirt photos, run around with his trousers down, and yell the N word. One of the more shocking moments of the series – Spencer took very, very little prompting – it’s also arguably the only sketch that had any real impact: shortly after the episode aired, Spencer resigned from congress.
It seems an impressive testament to the wider impact of Who is America? until you realise that Spencer was already a lame duck congressman, having been beaten in a primary some months earlier; his time left in office was already limited, and the significance of his resignation is ultimately very little. It’s not that Who is America? would’ve needed to prompt waves of resignations to have any meaning, but rather the fact is that, if shock value is all the show offers in a time when shocks amount to nothing, of course it’s going to be insubstantial.
What, though, is Who is America? actually trying to say? If its premise is that America is suffering from some moral rot on a wider cultural level, then what does the show highlight as the cause?
It’s worth looking at the programme’s title sequence, which is arguably the most telling aspect of the entire show when trying to divine what Who is America? is actually trying to say. A sweeping shot of sunlit uplands and a montage of iconic quotes from former presidents gives way to a dizzying series of intercut images: Trump mocking a disabled reporter, Charlottesville Nazis and Women’s march protestors, Hillary Clinton with Harvey Weinstein, and a great big question mark hanging over them all.
Here, in the contrast between the image of the America of old and “America today”, it becomes clear what Who is America? is trying to say, and why it ultimately says nothing at all. Of course Bernie Sanders isn’t held to account, of course Corinne Olympios and art expert Christy Cones are morally equivalent to Dick Cheney and Jason Spencer, of course there’s nothing to offer but shock value. Sacha Baron Cohen isn’t concerned with ethics, he’s concerned with aesthetics – the ultimate crime his victims have committed is simply looking foolish. That’s what sets America of the past, represented by Reagan, and America today, represented by Trump, apart from one another: appearances.
And so there’s only ever one answer to Baron Cohen’s central question, at least as it’s posed in Who is America?
Who cares?
