via
https://ift.tt/2ClwM8Jwodneswynn:
Mel Brooks and Charlie Chaplain making Nazis into laughingstocks and buffoonish edgelord self-caricatures with an endless stream of biting jokes or Wolfenstein making them just cartoonishly evil and fun fun fun to visit violence upon may be the only effective ways to deligitimize Nazis in fiction on account of boneheads are all dumb as hell and have no self-awareness and will fall down and worship every little thing that projects an aura of strength.
Take American History X, for instance, which is a polemic all about how Neo-Nazis are weirdos, backstabbers, and rapists. I fucking hate that movie because even though the message is great it’s just so fucking preachy. But y'know who loves it? Nazis. Because Edward Norton looked real cool playing basketball. And that’s all they need. I’ve literally heard people irl and unironically singing “The White Man Marches On.”
And I’ve also encountered what Lindsey Ellis mentioned in her Mel Brooks video, boneheads unironically embracing “Tomorrow Belongs To Me” from fucking Cabaret.
But nobody’s singing “Springtime For Hitler.”
I mean, not to completely hijack a good point, but I honestly think this is the reason behind Hux in TLJ. It is the reason that makes me happy in a Doylian sense. TFA came out in a time when the great majority of people didn’t realize the Nazis were still around and a threat. They could afford to be all ‘they were terrifying and a little bit cool, but we know we’re destined to defeat them.’
By the time TLJ came out we knew we were fighting an ideological battle for our lives in real life, and making fascist analogues seem cool was suddenly apparent as a really irresponsible move.
Anyway, that’s a reasoning I can respect, so I’m sticking with it.