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Hitler, unlike Stalin or Mao, was an intuitive master of media stagecraft. David Bowie’s too-clever quip that Hitler was the first rock star, for which Bowie was widely reviled at the time, was spot-on.

the media like Hitler because Hitler liked the media

Perhaps that’s why he continues to mesmerize us: because he flickers, irresolvably, between the seemingly inhuman and the all too human.

His psychopathology is a queasy funhouse reflection, straight out of Nightmare Alley, of the instrumental rationality of the machine age. The genocidal assembly lines of Hitler’s death camps are a grotesque parody of Fordist mechanization, just as the Nazis’ fastidious recycling of every remnant of their victims but their smoke—their gold fillings melted down for bullion, their hair woven into socks for U-boat crewmen—is a depraved caricature of the Taylorist mania for workplace efficiency.

there’s something perversely comforting about Hitler’s unchallenged status as the metaphysical gravitational center of all our attempts at philosophizing evil

he prefigured postmodernity: the annexation of politics by Hollywood and Madison Avenue, the rise of the celebrity as a secular icon, the confusion of image and reality in a Matrix world. He regarded existence “as a kind of permanent parade before a gigantic audience” (Fest), calculating the visual impact of every histrionic pose, every propaganda tagline, every monumental building

By denying everyone’s capability, at least in theory, for Hitlerian evil, we let ourselves off the hook

Yet Hitler, paradoxically, is also a shriveled untermensch, the protypical nonentity; a face in the crowd in an age of crowds, instantly forgettable despite his calculated efforts to brand himself (the toothbrush mustache of the military man coupled with the flopping forelock of the art-school bohemian)

there was always a comic distance between the public image of the world-bestriding, godlike Fuhrer and his Inner Adolf, a nail-biting nebbish tormented by flatulence. Knowingly or not, the Downfall parodies dance in the gap between the two. More immediately, they rely on the tried-and-true gimmick of bathos. What makes the Downfall parodies so consistently hilarious is the incongruity of whatever viral topic is making the Fuhrer go ballistic and the outsized scale of his gotterdammerung-strength tirade

The Downfall meme dramatizes the cultural logic of our remixed, mashed-up times, when digital technology allows us to loot recorded history, prying loose any signifier that catches our magpie eyes and repurposing it to any end. The near-instantaneous speed with which parodists use these viral videos to respond to current events underscores the extent to which the social Web, unlike the media ecologies of Hitler’s day, is a many-to-many phenomenon, more collective cacophony than one-way rant. As well, the furor (forgive pun) over YouTube’s decision to capitulate to the movie studio’s takedown demand, rather than standing fast in defense of Fair Use (a provision in copyright law that protects the re-use of a work for purposes of parody), indicates the extent to which ordinary people feel that commercial culture is somehow theirs, to misread or misuse as the spirit moves them.

the closest thing we have to a folk culture, the connective tissue that binds us as a society

SPIEGEL: Can you also get your revenge on him by using comedy? Brooks: Yes, absolutely. Of course it is impossible to take revenge for 6 million murdered Jews. But by using the medium of comedy, we can try to rob Hitler of his posthumous power and myths. [...] We take away from him the holy seriousness that always surrounded him and protected him like a cordon.”

risking the noose, some Germans laughed off their fears and mocked the Orwellian boot stamping on the human face, giving vent to covert opposition through flüsterwitze (“whispered jokes”). Incredibly, even Jews joked about their plight, drawing on the absurdist humor that is quintessentially Jewish to mock the Nazis even as they lightened the intolerable burden of Jewish life in the shadow of the swastika. Rapaport offers a sample of Jewish humor in Hitler’s Germany: “A Jew is arrested during the war, having been denounced for killing a Nazi at 10 P.M. and even eating the brain of his victim. This is his defense: In the first place, a Nazi hasn’t got any brain. Secondly, a Jew doesn’t eat anything that comes from a pig. And thirdly, he could not have killed the Nazi at 10 P.M. because at that time everybody listens to the BBC broadcast.”

Making a buck from the alt-right is quite simple. Get a blog or a YouTube channel. Then under the guise of political dialogue or pseudo-science, start spouting hate speech. You'll soon find followers flocking to your banner.

Publish a crappy ebook explaining why SJWs Always Lie. Or teach your followers how to “think like a silverback gorilla” (surely an arena where the far right already triumph?) via a pricey seminar. Launch a Kickstarter for a badly drawn comic packed with anti-diversity propaganda. They'll sell by the bucketload to followers eager to virtue-signal their membership in the rank and file of the alt-right

the seemingly bottomless reservoirs of white male victimhood

nowhere is there a better supply of the credulous than among the angry white men who flock to the far right. Embittered by their own life failures, the alt-right follower is eager to believe they have a genetically superior IQ and are simply the victim of a libtard conspiracy to keep them down

We're barely in the foothills of the mountains of madness that the internet and social media are unleashing into our political process. If you think petty demagogues like Jordan Peterson are good at milking cash from the crowd, you ain’t seen nothing yet. Because he was just the beginning – and his ideology of the white male victim is rapidly spiralling into something that even he can no longer control