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And this is the critical point: in a media world where what people shout overshadows what they actually do, the backlash sometimes appears to be the only dissenter out there, the only movement that has a place for the uncool and the funny-looking and the pious, for all the stock buffoons that our mainstream culture glories in lampooning. In this sense the backlash is becoming a perpetual alter-ego to the culture industry, a feature of American life as permanent and as strange as Hollywood itself. Even as it rejects the broader commercial culture, though, the backlash also mimics it. Conservatism provides its followers with a parallel universe, furnished with all the same attractive pseudospiritual goods as the mainstream: authenticity, rebellion, the nobility of victimhood, even individuality. But the most important similarity between backlash and mainstream commercial culture is that both refuse to think about capitalism critically. Indeed, conservative populism’s total erasure of the economic could only happen in a culture like ours where material politics have already been muted and where the economic has largely been replaced by those aforementioned pseudospiritual fulfillments. This is the basic lie of the backlash, the manipulative strategy that makes the whole senseless parade possible. In all of its rejecting and nay-saying, it resolutely refuses to consider that the assaults on its values, the insults, and the Hollywood sneers are all products of capitalism as surely as are McDonald’s hamburgers and Boeing 737s.
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Thomas Frank (What's the Matter With Kansas?: How Conservatives Won the Heart of America)