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(Colorado News Connection) Uproar over racist jokes at a Madison Square Garden rally for former President Donald Trump has put a spotlight on the increasing influence of right-leaning comedians.

Nick Marx, associate professor of film and media studies at Colorado State University and author of the book, "That's Not Funny: How the Right Makes Comedy Work for Them," said comedy has become politically weaponized, especially over the past decade and money is the main driver of division and partisanship.

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"It absolutely plays into the polarization of the United States on virtually every political issue," Marx contended. "They're trying to create different sets of 'in-groups' and 'out-groups' with their comedy."

In some ways, it is nothing new. Marx pointed out comedy has always created two groups, a laugh-er and a laugh-ee, the butt of the joke. He explained what has changed since the rise of Trump is conservative comics are no longer confined to niche right-wing comedy spaces, they are reaching more mainstream audiences through platforms like Netflix.

Long the bastion of liberal-leaning shows including Saturday Night Live and The Daily Show, comics lobbing political jabs from a right perspective are gaining ground through popular podcasts such as the Joe Rogan Experience. Marx warned while many guests may hold back because Rogan is on Spotify, the show can be a gateway to people who have some pretty nasty ideas about how the world works.

"These pathways exist, to the much more extreme and further right's trolling-type humor and avowedly racist and misogynist humor," Marx noted. "Comedy is very often a front door to those universes."

As the slur against Puerto Ricans at Madison Square Garden underscored, right-wing humor is also getting more extreme. Marx added because comedy is such a competitive field, many lean further to the right in order to get a social media boost, gain more listeners and advertising revenue.

"You have to stand out somehow," Marx acknowledged. "Comedians will joke about that which makes them money and gets them the next gig, the next booking, the next appearance on somebody's podcast."

This story is based on original reporting by Stacy Nick for The Audit.