ἄνδρα μοι ἔννεπε, μοῦσα...

Didn't think that I'd have to post this exact comparison again, didn't even think I'd have to post it once, and yet I stand disappointed again.

On the left: a sign in German on a street in Bavaria, reading: "Jews are unwanted here." Photo taken by an American in 1937.

On the right: a message from a hotel in Bavaria, Zum Hirschen, sent to Israelis who tried to book a stay, reading: "Sorry, there are no Jews allowed in our hotel." June 2026.

Again, the incident has been "handled": Booking.com took the hotel off its platform and the hotel itself was contacted by the Israeli consulate in Munich. The hotel at first denied sending the message, but later stated that it was indeed one of its employees that sent it. It is yet unclear if the case will lead to formal proceedings.

Let me point out that one small detail. They didn't said Israelis weren't allowed, they didn't say Zionists weren't allowed. They said Jews. Now Bavarians aren't new at the scene of antisemitism, in fact they are very experienced, but nowadays, we don't say Jews when we're being discriminatory, no, we say something else. You're not supposed to say the quiet part out loud! (For those in my comments who don't understand sarcasm, that was it.)

This joins many concerning cases across Europe and the UK (not to mention the US!) that reenact the nostalgic scenes of the 1930s and 1940s. (Again, sarcasm). I haven't yet made a post about the spa in Spain that refused a Jewish woman on entry on account of her Magen David necklace. And here Europe strikes again, in the very place the Nazi party rose to power. All those woke westerners that are so proud to chant about punching Nazis, and where are you now? Aren't you ashamed? Wouldn't even recognize one if it was saluting in your face.

1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.

2) the people who run Disney would be the first to fall in line with a fascist regime.

3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.

And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?

That one is from his autobiography, Becoming Superman. See also:

When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.

The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.

The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.

There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.

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