“That’s how Fox is popular,” he said. “They all talk about, ‘Gutfeld’s the most popular.’ Yeah. He’s not popular because he’s a both-sides guy. He’s not a fair-use, ‘let’s look at the full context’ guy. He’s relentless.”

He added that Gutfeld’s appeal stems from his role in reinforcing a narrative for viewers already immersed in Fox’s brand of commentary:

“After a day of watching Fox News and being bathed in their very purposeful propaganda, it’s a great way to top off the night.”

Gutfeld’s rise as a ratings powerhouse has been celebrated in conservative circles, with some comparing his blend of anti-left humor and cultural commentary to Bill Maher’s early HBO days—albeit with a harder partisan edge.

On Right-Wing Media’s “Business Model”

Stewart went further, criticizing conservative influencers who claim to fight “liberal media bias” while profiting off the very opposition they claim to reject:

“The whole thing is f***ing ridiculous. If you look at the social media profiles of all the people that complain about the left-wing bias, they’re all right-wing influencers. Their entire economy is based on how willing they are to attack and defame and to crush liberals.”

He argued that figures like Gutfeld—and right-wing media more broadly—build careers off the existence of progressive voices, not despite them.

On the Fate of The Daily Show

With Paramount—the parent company of both CBS and Comedy Central—making big strategic moves and cutting high-profile shows like The Late Show, questions have surfaced about the future of The Daily Show, especially with Stewart back in the host seat (at least weekly) since 2024.

But Stewart said he’s not losing sleep over it.

“Unfortunately, we haven’t heard anything from [Paramount]. They haven’t called me and said, ‘Don’t get too comfortable in that office, Stewart,’” he joked. “But let me tell you something, I’ve been kicked out of s***tier establishments than that. We’ll land on our feet. I honestly don’t know.”

That blend of cynicism and calm confidence reflects Stewart’s signature approach—calling out absurdities with sharp humor, while acknowledging the bigger systemic shifts in the media industry.

What It All Means

The broader implications of Stewart’s comments speak to a larger question: What is the role of late-night TV—and political satire—when the media landscape is splintering and streaming services, social media, and partisan news have fractured audiences?

If The Late Show‘s cancellation signals that liberal-leaning late-night comedy is no longer “profitable” enough, what comes next? And if conservative commentators continue to define their success by the left’s supposed failure, are we headed for a culture where media is just a reflection of tribal loyalty, not dialogue?

For now, Stewart’s position is clear: late-night isn’t dying, it’s transforming—and its future will depend on whether it can evolve with an audience that demands more than just partisanship.