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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.”

The articles and videos I first found all backed up what I was seeing on Reddit—posts that asserted a skewed version of actual reality, using carefully selected, out-of-context, and dubiously sourced statistics that propped up a hateful world view. On top of that, my online results were heavily influenced by something called an algorithm. I understand algorithms to be secretive bits of code that a website like YouTube will use to prioritize content that you are more likely to click on first. Because all of the content I was reading or watching was from far-right sources, all of the links that the algorithms dangled on my screen for me to click were from far-right perspectives.

I spent months isolated in my room, hunched over my computer, removing and approving memes on Reddit and watching conservative “comedians” that YouTube served up to me.

The inflammatory language and radical viewpoints used by the alt-right worked to YouTube and Google’s favor—the more videos and links I clicked on, the more ads I saw, and in turn, the more ad revenue they generated.

the biggest step in my recovery came when I attended a pro-Trump rally in Washington, D.C., in September 2017, about a month after the “Unite the Right” rally in Charlottesville, Virginia

The difference between the online persona of someone who identifies as alt-right and the real thing is so extreme that you would think they are different people. Online, they have the power of fake and biased news to form their arguments. They sound confident and usually deliver their standard messages strongly. When I met them in person at the rally, they were awkward and struggled to back up their statements. They tripped over their own words, and when they were called out by any counter protestors in the crowd, they would immediately use a stock response such as “You’re just triggered.”

Seeing for myself that the people I was talking to online were weak, confused, and backwards was the turning point for me.

we’re too far gone to reverse the damage that the alt-right has done to the internet and to naive adolescents who don’t know any better—children like the 13-year-old boy I was. It’s convenient for a massive internet company like Google to deliberately ignore why people like me get misinformed in the first place, as their profit-oriented algorithms continue to steer ignorant, malleable people into the jaws of the far-right

Dylann Roof, the white supremacist who murdered nine people in a Charleston, South Carolina, church in 2015, was radicalized by far-right groups that spread misinformation with the aid of Google’s algorithms.

Over the past couple months, I’ve been getting anti-immigration YouTube ads that feature an incident presented as a “news” story, about two immigrants who raped an American girl. The ad offers no context or sources, and uses heated language to denounce immigration and call for our county to allow ICE to seek out illegal immigrants within our area. I wasn’t watching a video about immigration or even politics when those ads came on; I was watching the old Monty Python “Cheese Shop” sketch. How does British satire, circa 1972, relate to America’s current immigration debate? It doesn’t.

tech companies need to be held accountable for the radicalization that results from their systems and standards.

anyone can be manipulated like I was. It’s so easy to find information online that we collectively forget that so much of the content the internet offers us is biased