The Normality of Evil: Reflections on the “NAZA” Documentary

Hannah Arendt’s characterization of Eichmann as representing “The Banality of Evil,” the subtitle of her book Eichmann in Jerusalem, shocked many people. It was later criticized in the wake of the discovery of her protagonist’s antisemitic pronouncements, unknown during his trial. The new film NAZA, documenting the inner mechanisms of the Gaza genocide brings the concept of the banality of evil front stage again. Except that this time we have the testimonies of two dozen perpetrators who, unlike Eichmann, do not face a tribunal but share their experience mostly in a casual and relaxed manner, some with pride in their accomplishment, others with remorse. They sound like normal middle-class men and women conscientiously doing their challenging hi-tech job. These Israelis embody something different from the Nazis who tried to hide their crimes from their own people, whom they feared would not support them. The new film is about the normality of evil in a society that has largely accepted the genocide taking place less than forty miles south of Tel Aviv.

The twenty-four perpetrators interviewed in the film belong to elite intelligence units that harness the power of AI and total surveillance to destroy Gaza. They are not “Arab haters,” remarks one of the interviewees. Yet he believes he killed more women and children than the fiercest Arab hater. However abhorrent the ongoing West Bank pogroms against Palestinians by Zionist squatter-settler vigilantes taking place under the sympathetic gaze and occasional assistance of the IDF—the magnitude of mass murder of civilians in Gaza is incomparably greater.

The perpetrators come from privileged classes of upscale, glittering Tel Aviv, the visual background of the entire film. Among the leitmotifs of the testimonies are the readiness to obey orders and the delight of overcoming difficult technical challenges (technodélice, as the late Jean-Jacques Salomon defined it). “It was fun (kef),” admitted one of the perpetrators.

NAZA is a Hebrew acronym for collateral damage. The association with “Nazi” is not fortuitous; one of the perpetrators compares his experience with that of Nazis engaged in industrialized, albeit less sophisticated, mass murder in the early 1940s. When, like many young Israelis (and Jews from elsewhere), he was taken to visit Nazi extermination camps, he wondered how these Nazis could switch to normal life after killing thousands of people a day. Now, he admits, he knows. He would meet friends after a day of killing mostly women and children and enjoy his night out.

Initially, neither the Nazis nor the Zionists intended to commit genocide. In their exclusivist nationalist fantasies, German National Socialists wanted to expel the undesirables, to make the “purified,” expanded Germany great again and, in the case of the socialist Zionists in power in 1948 and 1967, when massive expulsions took place, to turn Palestine into a “Jewish state.” Both had land lust: the Nazis wanted fertile land in Eastern Europe ‘cleansed’ of most Slavs and all the Jews—while critics and political figures alike have described Israel’s territorial strategy as a pursuit of ‘a maximum of territory with a minimum of Arabs.’

From the turn of the 20th century, Zionist pioneers laid strong emphasis on breeding the intrepid and valiant New Hebrew Man who had broken with the victimhood of the past. In his eulogy for Theodor Herzl in 1904, Vladimir Jabotinsky, who established and shaped the now dominant stream of Zionism, defined the new creature thus:

It was only later, faced with resistance kindled by the settler movement, that Israelis assumed the role of innocent victims, forced to defend themselves. Visits to the Nazi extermination camps are essential components of the didactic tools used to forge hard-nosed fighters. No wonder most of them called the attack on southern Israel in October 2023 “the largest massacre of Jews since the Holocaust.” Totally lost was the difference between powerless Jewish civilians targeted by the Nazis and the powerful Jewish state that had expelled and confined Palestinians in an open-air concentration camp in Gaza. Referring to the violence they unleash, the Israelis often use the expression ein brera (“there is no choice”), which preserves their self-image and justifies excesses. This is how the genocide has metastasized from Europe to West Asia.

The film’s protagonists explain how they use sophisticated technology to survey every telephone communication of the Palestinians. One of the phrases AI extracts from millions of conversations is “When does daddy come home?” This is how the decision is made to destroy the suspect’s home along with his wife and children. Behind their computer screens, those who determine such targets can later hear the cries of those wounded children who were waiting for their fathers a few minutes earlier.

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Pro-censorship Sacha Baron Cohen’s Movie ‘Ali G’ Loses Expected Theatrical Rollout After ‘Racism’ Uproar

Oh my, this is beyond glorious. Sacha Baron Cohen is a big, fat, fascist fan of censorship, and now his new Ali G movie has lost its theatrical rollout after woketards declared it racist.

Let’s play a game: Who said this…? Go on. Try to guess … who said this?

This is not about limiting anyone’s free speech. This is about giving people, including some of the most reprehensible people on earth, the biggest platform in history to reach a third of the planet. Freedom of speech is not freedom of reach. Sadly, there will always be racists, misogynists, anti-Semites, and child abusers. But I think we could all agree that we should not be giving bigots and pedophiles a free platform to amplify their views and target their victims.

Is the speaker…

a) The woketards looking to censor the Ali G movie?

b) The fascist Sacha Baron Cohen looking to censor the rest of us, never dreaming his fascist demands would someday be used to kill something of his?

Oh, you know it’s “b,” baby. And now the universe has bent towards justice…

I’m told that this ‘Ali G’ movie will play theatrically for only one week. That’s it. The original plan was for a more robust rollout, but things have changed since then. The film, which is Cohen’s feature directorial debut, has been mired in controversy, especially in the UK. Whether that controversy is what led to a shorter rollout has not been confirmed.

If you remember, Picturehouse Cinemas, a UK cinema chain, announced that it would not screen “Ali G: Who Iz I?” in October, mostly because of the character’s “racist stereotypes.” The campaign is being led by the media-monitoring organization NewsCord, which has urged other major UK cinema chains, including Odeon, Cineworld, Vue, Everyman and Showcase, to refuse to screen the movie.

The group claims Cohen uses satire as a “cover for enforcing racist stereotypes” and has accused the Ali G revival of bringing back a “racist caricature.” More than 27,000 emails (!) have reportedly been sent to cinema chains.

Sacha Baron Cohen doesn’t want to live in a world where “racists” have access to platforms, and now his big comeback movie has been branded racist, and now he’s lost the “robust rollout,” and we should all be happy for Sacha Barton Cohen because he’s getting exactly what he advocated for.

Of course, his Ali G character is not racist. He’s making fun of white kids who adopt black culture, not black people.

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The Social Reckoning Wants the Speech Referees Back

Aaron Sorkin’s The Social Reckoning, written and directed by the prominent screenwriter and produced by Sony, isn’t a movie about Facebook, even though it is based on the social media giant’s story and its controversial global impact.

This is actually political activism with a running time of 112 minutes.

In April 2024, on The Town podcast, Sorkin said, “I blame Facebook for January 6” – and when asked why, he said, “You’re going to need to buy a movie ticket.”

He didn’t stop there. Sorkin, who is known for his TV series The West Wing and The Newsroom, as well as films like The Social Network, said, “There’s supposed to be a constant tension at Facebook between growth and integrity. There isn’t. There’s just growth.”

On the same podcast, Sorkin referred to the 2024 election as “an election about Trump vs. not-Trump, and there is an existential choice there.”

He directed it himself to get it out before the midterms: “I didn’t want The Social Reckoning to come out a year after the midterm elections,” and “I wanted it to come out now.”

The timing of the movie’s release, and the fact it was directed by Sorkin himself to make that happen, is not the only clue that this is a piece of political persuasion.

Aaron Sorkin and Sony Pictures are trying very hard to sell The Social Reckoning as something it’s not – but in the process, they are also inadvertently revealing what it actually is.

“I’m not going to deny, of course, that the movie is political,” Sorkin told Politico, as reported by TheWrap. “I just think it shouldn’t be.”

On NBC’s Today show, he went for the “anti-truth” angle: “The film shouldn’t be political unless you are somebody who is anti-the truth, okay?”

So those who don’t accept Sorkin’s truth are anti-the-truth.

On CBS, he said that if he ever got the chance to talk to Mark Zuckerberg, he would tell him, “You want to make the world a better place? Don’t make the truth up for grabs.”

Sorkin is not interested in argument. He is interested in selling his movie. And he has a willing partner in Sony, whose CEO, Tom Rothman, said, “I’m a free speech absolutist too, but I know you can’t yell ‘fire!’ in a crowded theater. I know that there is a difference between free speech and falsehood.”

(Yes, you can yell “fire” in a crowded theater.)

As for falsehood – who gets to decide what that is? Sorkin and Rothman? Meta’s “fact-checkers”? The government?

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Report: Social Media Platforms Block Paid Advertising for Elon Musk Documentary

Major social media companies including Meta, YouTube, X, and TikTok are reportedly refusing to accept paid advertisements for Alex Gibney’s upcoming documentary about Elon Musk, raising concerns that the Masters of the Universe are closing ranks to protect one of their own.

The Hollywood Reporter reports that Bleecker Street, the distributor of Alex Gibney’s four-hour documentary Musk, is facing an unprecedented challenge in promoting the film’s October 9 theatrical release. YouTube, TikTok, Meta’s platforms Instagram and Facebook, and Elon Musk’s own X platform have all declined to run paid advertisements featuring the documentary’s trailer, according to sources familiar with the situation.

The rejections have caught Bleecker Street by surprise, prompting the distributor to scramble internally to understand the reasoning behind the decisions. A person familiar with the company’s processes, who is not authorized to speak publicly, confirmed that the studio is working to address the situation through appeals.

Perhaps most notably, X, the social media platform owned by Musk himself since 2022, has refused to engage with Bleecker Street representatives about the film or even accept advertising for any other films on the distributor’s upcoming slate. Musk has described himself as a “free speech absolutist” since buying Twitter and renaming the platform.

All three companies that provided explanations cited concerns related to “political content” as their reason for rejection. TikTok and Meta maintain policies prohibiting campaign or other political advertisements. Meta’s policy stems largely from fallout following the Cambridge Analytica scandal during the 2016 election cycle. However, the Musk trailer, which was released on Thursday, does not appear to constitute the type of campaign advertising these policies were designed to prevent. The trailer contains only a shot of a political rally from 2024 and a reference to the 2024 election at its conclusion, elements commonly found in documentaries without constituting political advocacy.

YouTube’s rejection presents an even more puzzling case, as the platform does permit campaign advertisements, requiring only “paid for” disclosures from verified candidates.

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Entertainment unions intensify campaign for corporate tax handouts as film subsidy race to the bottom accelerates

The Entertainment Union Coalition (EUC), including the California IATSE Council, Directors Guild of America, LiUNA! Local 724, Teamsters Local 399, Writers Guild of America West, American Federation of Musicians Local 47, IBEW Local 40 and SAG-AFTRA, has mounted an aggressive campaign to pressure California lawmakers to expand and protect the state’s Film and Television Jobs Program 4.0.

After successfully lobbying for the program to more than double, from $330 million to $750 million annually, the coalition is now demanding that the subsidy be made uncapped and further “modernized.” Gov. Gavin Newsom has been a leading champion of the expansion, presenting the tax credits as a means of keeping production and jobs in California.

The immediate target of the unions’ campaign is SB 122, a sweeping budget measure backed by the Democratic establishment, including Newsom. The legislation extends California’s existing $5 million annual limitation on business tax credits through 2029. Beginning in 2030, it establishes a permanent limit of $5 million or 70 percent of a corporation’s tax liability, whichever is greater. Credits blocked by the limitation can be carried forward or, under specified conditions, made refundable.

The measure was driven by the state’s fiscal crisis and is aimed broadly at corporate tax credits, particularly credits that have allowed large corporations to accumulate enormous write-offs. Newsom and legislative Democrats have presented the limits as a way to protect state revenues and fund essential programs. Film and television production was not the principal target. Its tax credits were caught in the net of a broad fiscal measure.

This is precisely what makes the dispute politically revealing. The same Democratic establishment that expanded the film subsidy to $750 million is now imposing limits on corporate tax credits because the state cannot indefinitely finance the concessions demanded by competing industries. The contradiction is not an accident. It exposes the logic of a system in which governments compete to hand public resources to corporations while simultaneously confronting the fiscal consequences of that competition.

The EUC responds by demanding that film and television credits be exempted. Because the film program itself has a separate annual allocation, the coalition denounces the business-credit limitation as a “double cap” that will supposedly make California uncompetitive.

But this argument accepts the premise that has produced the crisis: that workers must compete against one another to persuade corporations where to invest.

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China Quietly WEAPONIZING Our Own Heritage While Hollywood Bows and Apologizes

Christopher Nolan sat down in Beijing recently to promote “The Odyssey.” But this wasn’t your typical press junket with softball questions and movie clips. A Chinese political philosophy student named Zhong Shu grilled him for nearly 20 minutes about Homer, hubris, the fall of Athens, and whether Hollywood has turned greatness into something that requires an apology.

The interview went viral for good reason. It was a masterclass — but not the kind Americans are used to seeing.

Zhong didn’t just ask about special effects or casting choices. She came prepared with Thucydides and challenged Nolan on whether he had “Christianized” Homer. She asked if the gods in his film were just projections of the human psyche. And then she cut to the heart of it all.

“We turn greatness into privileges and we demand apologies for it. That’s a fact of Hollywood,” Zhong stated before asking Nolan if he agreed.

Nolan didn’t dodge. He didn’t spin. He described it the way an engineer describes a load-bearing wall: This is simply how the mechanism works in our culture today. In a democratic age committed to equality, storytellers have to manage the audience’s built-in resistance to greatness. Do we have to apologize for that greatness?

“And the answer is yes, we do,” he said.

Think about that. The West’s most prominent living filmmaker just calmly conceded that his civilization can no longer receive a story about greatness unless greatness acknowledges wrongdoing first. And he delivered this admission in Beijing to an educated Chinese classicist who came prepared with provocations from our own civilization’s foundational myths.

This wasn’t a random interview. It was a snapshot of a much bigger conflict — a narrative cold war where each civilization is grappling with its relationship to the guiding stories of the past in an effort to determine which culture will lead the world in the future.

For years — with very little media attention — China has been quietly engaged in a narrative arms race with an American culture it believes is in decline. There’s a belief within the Chinese government that the modern West abandoned its own inheritance by deconstructing its foundational myths and values, and that now is the time to build where we have faltered. So for years, the Chinese have been mining the “classics” of Western Civilization for the insights that once gave us a civilizational advantage.

In November 2024, Beijing hosted the first World Conference of Classics: 600 participants and scholars, a congratulatory letter from Xi Jinping read aloud by the CCP’s propaganda chief, and a new Chinese School of Classical Studies established in Athens. Over the past decade, Peking University and Renmin have built classical studies programs too.

A key figure in China’s modern fascination with Western classical education is political philosopher Liu Xiaofeng, who spent the 2000s importing “Great Books education” into Chinese universities at precisely the moment Western universities were more focused on critiquing, subverting, and deconstructing these stories. Three of his students now run a classics division inside the Chinese Academy of Social Sciences.

Here in the U.S., we’re finally starting to wake up. Even if Nolan’s interpretation of Homer’s epic myth is a matter of debate, the fact that he believed it was the right time to return to a 2,800-year-old story means something. Hollywood has been in a confused state of nostalgia for quite some time — prequels, sequels, reboots, sometimes deconstructing classic fairy tales and modern mythic heroes, other times celebrating them.

What’s undeniable is that the relationship to these stories of our past matters.

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Nord Stream bombing suspect arrested while working on film about attack

A Ukrainian man arrested in the Nord Stream bombing was detained while working on a Hollywood movie about the gas pipeline attack starring Adrien Brody and Sean Penn, a report said Thursday.

Police in Pula, Croatia on Wednesday arrested Volodymyr Zhuravlyov under a European arrest warrant put out by Germany, which is seeking his extradition.

German prosecutors say Zhuravlyov is a trained diver and accuse him of helping plant explosives on the Baltic Sea energy link between Russia and Germany that destroyed three of the four pipelines in 2022.

Germany’s Legal Tribune Online reported he was arrested while working on the set for the movie “Snake Island” by US director Doug Liman (“Bourne Identity”), with Brody and three-time Oscar winner Penn.

Zhuravlyov worked as an advisor for the film, according to media reports AFP was unable to immediately verify with German or Croatian authorities.

The Ukrainian suspect had previously been held in Poland for his alleged role in destroying the pipelines.

But authorities there refused to extradite him and let him go, judging that any such Ukrainian attack would have been a legitimate act of war rather than a crime.

The Baltic Sea sabotage attack came months after Moscow’s February 2022 full-scale invasion of Ukraine.

German investigators believe the attack was ordered by a Ukrainian state agency with the aim of depriving Russia of future energy revenues to finance its war in Ukraine.

Prosecutors charge Zhuravlyov worked closely with Sergiy Kuznetsov, another Ukrainian man who was arrested in Italy last year before being extradited to Germany.

The case is politically awkward for Germany and Ukraine, as Berlin has strongly backed Kyiv in its fight against Russia.

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California Dem Calls Out ‘Collapse’ of Hollywood on Newsom’s Watch: ‘Industry Beaten Down Watching the Exit of Productions to Other States and Overseas’

As the costs of making movies and TV shows continue to soar, California has found itself last on the list of locations for productions looking to cut costs. But despite this pressure, California’s Attorney General, Rob Bonta, is making it harder for film and TV productions to stay and now he’s even on the verge of chasing Paramount out of the Golden State entirely.

Workers, tens of thousands of them blue-collar, are hardest hit by these political battles. As the industry deteriorates in the state, congresswoman Laura Friedman (D-CA), a former film producer, says employees feel “beaten down,” according to Politico.

Los Angeles County has already lost more than 42,000 film and TV jobs since 2022. Studios, production companies, and filmmakers continue to escape to other states and even other countries to create their entertainment, Politico noted.

Productions have fled the extremely high costs of filming in California and have ended up in Illinois, Louisiana, Georgia, New Mexico, and New York, among a growing list of other U.S. states. Foreign locations are an even greater draw as countries offer huge tax incentives and lower wages, and even fewer union rules in some cases. Countries such as Canada, the UK, Romania, and the Canary Islands have all jumped into the TV and film production game drawing more productions to their shores and away from California.

To combat this massive loss of revenue and jobs, California’s legislature has more than doubled the state’s Film & Television Tax Credit Program to $750 million. But Democrat Gov. Newsom is even working to undermine this credit offer by proposing limitations on the state’s corporate tax credits.

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Netflix Sparks Anger After Social Media Users Notice the Company’s Disgusting Summary of All-Time Classic Film “Gone with the Wind”

Netflix has sparked a national uproar after using its website to trash “Gone With The Wind,” which is universally regarded as one of the greatest movies ever made.

As TGP readers know, “Gone with the Wind” is a 1939 epic historical romantic film set during the 1800s. The movie showcases the ups and downs of Scarlett O’Hara’s life, played by Vivien Leigh, in the years leading up to, during, and after the American Civil War.

“Gone with the Wind” won eight Academy Awards, including Best Picture. It is also the highest-grossing film of all time when adjusted for inflation.

But instead of highlighting the impeccable acting, vision, and writing that have made “Gone With The Wind” an enduring masterpiece, Netflix whipped out the race card in its summary of the film.

“A 1939 Civil War epic known for its racism,” the description reads. “To read more about Black lives in America, search ‘Black Lives Matter.”

While “Gone With The Wind” is currently unavailable to stream on Netflix in the United States, the above summary is very much real.

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The Secret Race To Produce the First AI-Generated Blockbuster Movie

Movie-making is an artifice, so will creators embrace AI?

While many actors and filmmakers go out of their way to bash AI image-generating technology as hard as they can, there’s a secret undercurrent in which Hollywood is all-in on Artificial Intelligence, and the race is on to generate the first AI blockbuster.

Some sectors of the film industry are slow to accept change, with some still refusing to change 35mm film for digital.

The fact is: when creators shun utilizing new tech developments, they are just marrying themselves to an earlier-age’s technological solutions – after all, there’s nothing natural about film-making.

The New York Post reported:

“AI has officially been met with extreme skepticism by more entrenched filmmakers. However — as is always the way in two-faced, back-biting, cutthroat Hollywood — that also means behind the scenes, every studio, filmmaker, and screenwriter worth their salt are desperately trying to harness its power to push the boundaries and create something new to wow audiences with.

‘The space race was about being first, but it was also about inspiring the world that we should keep competing and keep investing [in the technology]. Bigger than being first, which is fleeting, is inspiring the world’, Bryn Mooser, who has two Academy Award nominations for documentary shorts, told The Post.”

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