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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.”

So, my cellmate Claire was this forty-something career lobbyist who used to be my boss inside the Beltway. Claire was full of horror stories about the cruelty of the socialist regime. Because, in the old days before we got ourselves arrested, alarmist tales of this kind were Claire's day-job. Claire peddled political spin to the LameStream Media to make sure that corporations stayed in command, so that situations like our present world stayed impossible.

Claire and I hated the sharing networks, because we were paid to hate them. We hated all social networks, like Facebook, because they destroyed the media that we owned. We certainly hated free software, because it was like some ever-growing anti-commercial fungus. We hated search engines and network aggregators, people like Google -- not because Google was evil, but because they weren't. We really hated "file-sharers" -- the swarming pirates who were chewing up the wealth of our commercial sponsors.

We despised green power networks because climate change was a myth. Until the climate actually changed. Then the honchos who paid us started drinking themselves to death.

This prison game was diabolical. It was very entertaining, and compulsively playable. This game had been designed by left-wing interaction designers, the kind of creeps who built not-for-profit empires like Wikipedia. Except they'd designed it for losers like us. Everybody in rehab had to role-play. We had to build ourselves another identity, because this new pretend-identity was supposed to help us escape the stifling spiritual limits of our previous, unliberated, greedy individualist identities. In this game, I played an evil dwarf. With an axe. Which would have been okay, because that identity was pretty much me all along. Except that the game's reward system had been jiggered to reward elaborate acts of social collaboration. Of course we wanted to do raids and looting and cool fantasy fighting, but that wasn't on. We were very firmly judged on the way we played this rehab game. It was never about grabbing the gold. It was all about forming trust coalitions so as to collectively readjust our fantasy infrastructure.

Jean Paul Sartre (who was still under copyright, so I reckon they stole his work). I learned some things from him. That changed me. "Hell is other people." That is the sinister side of a social-software shared society: that people suck, that hell is other people. Sharing with people is hell. When you share, then no matter how much money you have, they just won't leave you alone. I quoted Jean-Paul Sartre to the parole board. A very serious left-wing philosopher: lots of girlfriends (even feminists), he ate speed all the time, he hung out with Maoists. Except for the Maoist part, Jean-Paul Sartre is my guru. My life today is all about my Existential authenticity. Because I'm a dissident in this society.

These Lifestyle of Health and Sustainability geeks were maybe seven percent of America's population. But the termite people had seized power. They were the Last Best Hope of a society on the skids. They owned all the hope because they had always been the ones who knew our civilization was hopeless. So, I was in their prison until I got my head around that new reality. Until I realized that this was inevitable. That it was the way forward. That I loved Little Brother. After that, I could go walkies.

I learned to sit still and read a lot. Because that looks like innocent behavior.

they were scanning us all the time. Nobody ever gets it about the tremendous power of network surveillance. That's how they ruled the world, though: by valuing every interaction, by counting every click. Every time one termite touched the feelers of another termite, they were adding that up. In a database. Everybody was broke: extremely poor, like preindustrial hard-scrabble poor, very modest, very "green." But still surviving. The one reason we weren't all chewing each other's cannibal thighbones (like the people on certain more disadvantaged continents), was because they'd stapled together this survival regime out of socialist software. It was very social. Ultra-social. No "privatization," no "private sector," and no "privacy." They pretended that it was all about happiness and kindliness and free-spirited cooperation and gay rainbow banners and all that. It was really a system that was firmly based on "social capital." Everything social was your only wealth. In a real "gift economy," you were the gift. You were living by your karma. Instead of a good old hundred-dollar bill, you just had a virtual facebooky thing with your own smiling picture on it, and that picture meant "Please Invest in the Bank of Me!"

social networks versus bandit mafias is like Ninjas Versus Pirates: it's a counterculture fight to the finish

the European Red Cross happened to show up during that episode (because they like gunfire). The Europeans are all prissy about the situation, of course. They are like: "What's with these illegal detainees in orange jumpsuits, and how come they don’'t have proper medical care?" So, I finally get paroled. I get amnestied.

in a network society, the power is ALL personal. "The personal is political." You mess with the tender feelings of a network maven, and she's not an objective bureaucrat following the rule of law. She's more like: "To the Bastille with this subhuman irritation!"

like "Heavy Weather" with a post-technology green catastrophe thrown in