Some comments on utilizing satire for social criticism (I think I’m qualified, having taken the genre to heart enough to write a 600-some page novel replete with it):
Listen to the wise words of absurdist-satirist presidential candidate Vermin Supreme, who was asked whether he wouldn’t have to raise taxes to fulfill his campaign promise to provide free ponies to everyone in America: “No, they’re free ponies.”
Satire of political economy is difficult when many genuinely think no further about economics than what they want, right now—and not at “what is not seen”* as Bastiat put it—but I think Vermin’s (feigned) assured refusal to get the question really nailed it. Vermin Supreme knows how to speak to, and for, (many or most) modern Americans.
Unfortunately, satire has no way to reach the people who don’t get it. It’s an unfortunate general weakness of social satire that the people who most need to get the joke are the people at whose expense the joke is made. Therefore it flies over their heads.
I remember much the same thing with the militarism of the movie Starship Troopers; those who found it just an enjoyable, thrilling action film romp (and those who didn’t, but also thought it had nothing much to say to them) are those immersed, naively, in a culture of normalized nationalist and imperialist propaganda.
Robocop had the same problem with becoming visible as satire to a generation raised on both absurdly violent films and cop-as-hero legends propagated by mass media. (Even recently, it’s unabashed in prolefeed like the CBS show Blue Bloods.) The mythology of police righteousness is only just now (I think?) becoming distinguishable, foreign and strange enough to be noticed—and potentially rejected—by a large number, instead of perfectly normal to the culture, and invisible as propaganda.
I love the genre of satire from an artistic standpoint and it can be very difficult to separate that affection from adequately, realistically measuring its effectiveness. I believe George Orwell, the writer of my favorite satire, had much the same problem. His favorite books included Swift’s Gulliver’s Travels and Yevgeny Zamyatin’s We, and he felt drawn to expressing his own criticisms of automatic thinking (“the gramophone mind”**) collaborating with authoritarian impulses, in this form above others. It’s certainly entertaining to those who slyly get the joke, but remarkably impenetrable to those who do not.
Orwell’s intended preface to Animal Farm, rejected by the publisher, reflects some of his own ambivalence about satire. For there Orwell felt the need to render in explicit prose some of his intention, instead of letting the book speak for itself.
Personally, I know that I have benefitted from reading the implicit, humorous, artful criticism of satire all the more in the context of reading such trenchant, direct, and explicit statements and analyses, also.
Satirists generally forget that many of their audience lack education in the points necessary to understand the attack, and to fully benefit from the art of satire, much as abstract visual art speaks more (and more emotionally) to those who have some familiarity with its prerequisites. It’s no coincidence that the satirical novel evolved alongside the literary form of the essay.
PS. I’ve said so before, but I just want to append that an additional difficulty with satire is that inventing fictional exaggerations as means to mock reality becomes more and more challenging when extreme and absurd realities are already playing out. How do you skewer an intelligence chief who built himself an Enterprise bridge as a control center? How do you mock Trumpish narcissism?
* Examples of “what is not seen” (because these factors are invisible, or only appreciated on a delay, or on alternate possible timelines):
impositions upon other individuals and groups, opportunity costs of various relative priorities, financial costs and other unwanted and unforeseen outcomes like bureaucratic/state empowerment, loss of individual autonomy, decline or replacement of competitive services, and legal/regulatory burdens, and finally, alternate methodologies for actually obtaining desires besides demanding them by political dispensation, which may not actually work.
** “For all I know, by the time this book is published my view of the Soviet régime may be the generally-accepted one. But what use would that be in itself? To exchange one orthodoxy for another is not necessarily an advance. The enemy is the gramophone mind, whether or not one agrees with the record that is being played at the moment.” — from Orwell’s intended preface to Animal Farm