Since its release in October 2018, Red Dead Redemption 2 has generated considerable controversy. Redemption 2, Rockstar Games’ highly popular video game set in a sprawling open world that resembles America’s southern and western states at the turn of the twentieth century, has attracted criticism from players who have disliked the perceived political messages the game presents. With numerous interactions with people of color, Native Americans, and feminist (suffragette) characters, the game prompts players to engage with the ongoing effects of colonialism, sexism, and racism, as well as the rising problems of an industrial and financial capitalist society. As such, the game’s depiction of Gilded Age and Progressive Era politics has resulted in a large amount of online criticism from a group of traditionally white, male, right-wing players. This article argues that Redemption 2 utilizes the Progressive Era as a vehicle to capture and speak to the current political climate, and that it is the game’s dual relationship with the past and the present that has aroused animosity from part of the game’s audience. Ultimately, it demonstrates how contemporary mainstream progressive politics can be interpreted within and projected upon the politics of the Progressive Era.

Radio drama gave Americans a new form of commercial entertainment in the 1930s, but the stories themselves contained time-honored elements. One of these was the rhetorical tradition scholars have identified as American civil religion. Radio Westerns were particularly well suited to promulgate familiar civil religion themes. They described the United States as an instrument of divine will in history, celebrated Americans as pious people, and associated national expansion with the implementation of God's will.

The Lone Ranger was the most famous Western to articulate these themes. The show's writers consciously sought to create in their hero a “composite of all men who uphold the laws of God and man.” During its long broadcast history from 1933 to 1954, the show attracted a large audience and inspired publishing, film, and television ventures. By the late 1940s, however, owing in part to World War II and in part to the Cold War, some Americans on both sides of the microphone found the old formula unsatisfactory.

Gunsmoke, which premiered in 1951, exemplified a second generation of radio Westerns. Though still civil religious, these Westerns located the United States' religious significance less in national triumph than in personal triumphs of its citizens. In doing so, they critiqued the earlier Westerns and shifted from what Martin E. Marty has called the “priestly” to the “prophetic” form of civil religion. Their impatience with the older Westerns' use of civil religion also paralleled theological critiques of the popular Christianity of the 1950s.