A similar pattern occurred in the West when, following our cultural revolution, new taboos replaced old ones, but mainstream humour failed to maintain its role of undermining them. Satirical comedy stopped laughing at prevailing ideas but instead, with Michael Moore and then The Daily Show, began making stupid peasants – older, rural Republican voters – the punchline.

The same is true in Britain, where the Right has limited political power and the Left has unlimited cultural power; following the American lead with Wojak-like conformity, British clapter-comedy such as the Mash Report, where the audience applauds rather than laughs, has made the political out-group the butt of jokes, while avoiding the sort of unspoken, absurd truths that make political humour bite.

The same is largely true of consciously “anti-woke” comedy, much of which is very poor quality; or, if I were to be charitable, is aimed at older people. Perhaps it is because it employs a similar tactic to clapter, using a political out-group as a punchline, without in any way hitting a taboo. Memes, in contrast, are more provocative and darker, coming from a place of genuine contempt and despair.