“‘Black Panther’ Proves, Yet Again, That Diversity Sells in Hollywood,” ran a February headline in Forbes. And how: The film has grossed more than $1.2 billion and is now the highest-grossing superhero movie of all time at the domestic box office. And here’s another story about Hollywood successfully reaching out to an underserved audience: “Roseanne Revival Premieres to Massive Ratings,” declared Entertainment Weekly last week.

There haven’t been a lot of movies about black superheroes, and these days there aren’t a lot of sitcoms aimed at Trumpland either. The monster 18.2 million audience that turned out for the reboot of “Roseanne” — whose ratings topped that of any sitcom on any network in almost four years and even surpassed those of the “60 Minutes” Stormy Daniels interview in the 18-49 demographic around which the TV business is built — revealed a ravenous hunger for the types of characters network TV has simply given up on supplying.

In the new episodes, Roseanne Conner is seen sarcastically asking her left-wing sister, “Would you like to take a knee?” when she says a pre-meal prayer, expressing gratitude for the safe return of her military son from service in Syria, and then says, “Most of all Lord, thank you, for making America great again.” You won’t hear this kind of talk on “This Is Us.”

If catering to minorities can be an excellent business decision, Hollywood would be wise to take note of the largest minority it’s currently ignoring: Trump voters, who number 63 million. “Roseanne” star Roseanne Barr has been vocal about going after them, and not in a condescending way since she is one of them and speaks fluent Trumpish. She told Jimmy Kimmel last week, “Zip that f—ing lip” about Trump. This week she told “Good Morning America,” “The idea that people can agree to disagree is kind of missing from everything.

“I think that’s a conflict resolution . . . I really hope [the show] opens up civil conversation between people instead of just mud-slinging. I really do because I think we need to be more civilized in that.”

She told the New York Times the show would be an antidote to what else is available on network TV: “How families are still struggling and what they do about it . . . It’s about everything in our country. It’s about opioids and health care. How we deal with whole new issues that we didn’t even have before, like gender-fluid kids. How working class people — how and why they elected Trump.”

“Roseanne” is hitting network TV with the same impact “All in the Family” had in 1971. Except network TV was supposed to have learned some lessons since then. In a way it’s as clueless about the country it supposedly serves as it was in the 1960s, when TV was scrubbed clean of anything upsetting or controversial. Today’s television executive doesn’t want to be upsetting or controversial to liberals or any assumption they hold dear — such as their view that only bigots and bullies voted for Trump. What other sitcom would even dare to make a joke implying Colin Kaepernick is unpatriotic, even though polls show only 30 percent of the public supports his dissing of the American flag?

Politicians often speak of “bringing Americans together” but Barr is doing it

The same people who claim they’re fond of art that’s “transgressive,” meaning it breaks with norms they don’t like, turn around and claim offense when it comes to breaking with their own norms. No making fun of transgenders! No rape jokes! Ricky Gervais properly skewered this thinking in his Netflix special “Humanity,” in which he explained that while rape isn’t funny, when it comes to jokes about rape, it depends on the joke. (In his case, the joke involved mocking a Christian fundamentalist who said he looked forward to Gervais going to hell and being raped by Satan.) As for Gervais’ jokes about Caitlyn (née Bruce) Jenner, he pointed out that if all jokes about trans people are “transphobic,” then all jokes about Bill Cosby must be racist.

Yet New York Times columnist Lindy West paints Gervais as a public menace, calling his jokes “dangerous” because they perpetuate the “continuing international emergency” that is “transphobia.” West lumps Gervais in with “white men [who] were so victimized by the ‘sensitivity’ of marginalized people, they had no choice but to vote for Donald Trump.”

In fact, it’s people like Caitlyn Jenner who are worshiped so devoutly in our culture that you risk widespread condemnation and even damage to your career should you dare criticize or take issue with anyone who happens to be transgender. The people truly marginalized are Trump supporters, whom almost none of the cultural elites are afraid to mock. Politicians often speak of “bringing Americans together” but Barr is doing it, and Hollywood should seize the opportunity to do more to bridge the gap between itself and the Trump voters it has alienated. Instead, social-media mobs have been shredding Barr for being sympathetic to Trumpland.

In 1994, an episode of “Roseanne” was touted as a daring breakthrough because it featured a lesbian kiss. Today the show is breaking a new taboo simply by suggesting Trump supporters are human.

Kyle Smith is critic-at-large at National Review