Lindsay Ellis’ video “Mel Brooks, The Producers and the Ethics of Satire About Nazis” argues convincingly that a seemingly lightweight approach can be more subversive than treating Nazis as demonic villains with a coherent ideology that need to be fought on its own ground. She makes a case that the apparent bad taste of depicting neo-Nazis as laughable buffoons in The Producers has proven resistant to co-option by fascists, while the way Edward Norton’s neo-Nazi character is framed by director Tony Kaye and the articulate nature of his racist arguments in American History X upend its intended message, leading it to find a cult following among contemporary fascists. Raiders is shallow by design, with no reflection on how Indiana might share elements of the ideology he’s fighting, but it cedes no ground to the aesthetic of “fascinating fascism.” Named by Susan Sontag in a 1974 essay, the concept suggests, in films like The Night Porter and The Damned, that Nazism was a playground of kinky sex.