Two months before 9/11, Comedy Central aired an episode of “South Park” entitled “Super Best Friends,” in which the cartoon show’s foul-mouthed urchins sought assistance from an unusual team of superheroes. These particular superfriends were all religious figures: Jesus, Krishna, Buddha, Mormonism’s Joseph Smith, Taoism’s Lao-tse — and the Prophet Muhammad, depicted with a turban and a 5 o’clock shadow, and introduced as “the Muslim prophet with the powers of flame.”David Hazony adds:
That was a more permissive time. You can’t portray Muhammad on American television anymore, as South Park’s creators, Trey Parker and Matt Stone, discovered in 2006, when they tried to parody the Danish cartoon controversy — in which unflattering caricatures of the prophet prompted worldwide riots — by scripting another animated appearance for Muhammad. The episode aired, but the cameo itself was blacked out, replaced by an announcement that Comedy Central had refused to show an image of the prophet.
Two weeks ago, “South Park” brought back the “super best friends,” but this time Muhammad never showed his face. He “appeared” from inside a U-Haul trailer, and then from inside a mascot’s costume.
These gimmicks then prompted a writer for the New York-based Web site revolutionmuslim.com to predict that Parker and Stone would end up like Theo van Gogh, the Dutch filmmaker murdered in 2004 for his scathing critiques of Islam.
This passive-aggressive death threat provoked a swift response from Comedy Central. In last week’s follow-up episode, the prophet’s non-appearance appearances were censored, and every single reference to Muhammad was bleeped out. The historical record was quickly scrubbed as well: The original “Super Best Friends” episode is no longer available on the Internet.[There's] a sense in which the “South Park” case is particularly illuminating. Not because it tells us anything new about the lines that writers and entertainers suddenly aren’t allowed to cross. But because it’s a reminder that Islam is just about the only place where we draw any lines at all.
Across 14 on-air years, there’s no icon “South Park” hasn’t trampled, no vein of shock-comedy (sexual, scatalogical, blasphemous) it hasn’t mined....Our culture has few taboos that can’t be violated, and our establishment has largely given up on setting standards in the first place.
Except where Islam is concerned. There, the standards are established under threat of violence, and accepted out of a mix of self-preservation and self-loathing.
This is what decadence looks like: a frantic coarseness that “bravely” trashes its own values and traditions, and then knuckles under swiftly to totalitarianism and brute force.
I was aghast to see that Comedy Central had bleeped out every mention of Mohammed in the second episode, as well as the extended "beeps" at the end of the episode during the obligatory "lessons learned" section of the show. While I can understand that the company needs to protect its employees, let us hope that the West as a whole learns its own lessons about the dangers of censoring criticism of Islam.
Something has gone terribly wrong. The core of liberal society is the belief that every new thought, every iconoclasm, every “dangerous” idea, can be uttered somewhere, by someone, as long as it doesn’t openly incite violence — and that every sacred cow is ultimately just a cow.
No cultural institution in our world has embodied this right more than South Park. Aside from being very, very funny (my apologies to the dour souls who disagree), it is also often vile, filled with offensive ideas, language, images, and more. South Park has, until now, been the one place where every holy thing can be made fun of, every taboo broken — especially religion. Nobody has to watch it if they don’t like it. But it should be out there, somewhere. With the collapse of South Park’s credibility as the slayer of all cows, something has been lost, something very deep to the inner logic of liberty. We have caught a glimpse of a world where religion is, well, so sacred as to brook no humor whatsoever. It is a dark world that we escaped several centuries ago, a world where power and claims of ultimate truths fuse together to crush freedom, creativity, and the bold human endeavors that have given us our entire world of scientific and political advancement. In a flash, we moderns are now forced to contend with the myth of our own invincibility: are we so arrogant as to think that modernity can never be undone?