Time for the Sanctimonious Judenbube to saddle up his high Höss and gallop down to Gaza to get a taste of what Israel faces, a Holocaust movie that Hamas and its supporters are salivating to remake

by Roov Koret

In a twist of fate that could only be conceived in the depths of Hollywood’s most twisted screenplays, Jonathan Glazer has cast himself in a role that begs belief: the modern echo of his protagonist Rudolf Höss, not through deeds of morally obtuse infamy but through a symphony of rank hypocrisy. In an industry that prides itself on storytelling, Glazer seems to have stumbled upon a narrative too rich in irony to pass up—implicitly likening Israel to the architects of the Holocaust, all while basking in the Hollywood limelight of moral sanctimony.

With the finesse of a red bull in a china shop, Glazer has attempted to draw parallels between the Jewish state’s self-defense and the calculated, monstrous genocide executed by Höss at Auschwitz. This comparison is not just a leap of logic; it’s a freefall into the abyss of absurdity. One can almost hear the ghost of Höss, whispering from beyond, “Welcome, Jonathan, to the annals of historical distortion. We’ve been expecting you. Jump in the pool. The water’s warm from all the celebs full of their own piss and happy to share it.”

Glazer, riding high on his Hollywood steed, seems oblivious to the terrain into which he’s ventured. Has he been to Israel lately? Ever? The ground of Auschwitz is soaked with the blood of millions who perished because of the ideology espoused by men like Höss and the Good Germans and Jewish Kapos who allowed it to happen. To draw any equivalence between their executioners and those fighting to ensure such a history is never repeated is not just intellectually bankrupt—it’s a slap in the face to every victim of the Holocaust. The blood in southern Israel is fresh and clear: without that terrible event, no blood would have been spilt in Gaza.

The suggestion that Glazer go to Gaza is a challenge to confront the reality of those he condemns. Perhaps amid the rockets and terror tunnels, if he survives, he might stumble on a sex-abused hostage or a movie sequel. Perhaps title “From Hollywood to Han Yunis: A Tale of Young Awakening,” it would chronicle the journey of a self-assured young man who traded the comfort of his director’s chair for a front-row seat to the complexities of Middle Eastern geopolitics. Let hundreds of Israelis, Jews and non-Jews, who have paid the ultimate price for their convictions. Unlike this Yonatan, sitting pretty in the Hollywood Hills or Golder’s Green.

Yet, let’s be candid: the likelihood of Glazer accepting our challenge is not high. He adheres to the age-old Hollywood tradition of selective storytelling—where narratives are molded not by the harsh light of truth, but by the soft glow of the spotlight. Do as I say and not as I do. Talk the talk, show the scenes, but never walk the walk. Pulling the trigger can be dangerous. Ask de Niro.

In a world starved for genuine heroes, Glazer’s chose to align himself with the legacy of his anti-hero Höss. His moral equivocation is a stark reminder that in Hollywood, everyone can hear you scream, but only if it’s in the script. Come, Jew-Boy Johnny, to the scene of the rave festival in Re’im, or the left-wing kibbutzim of Be’eri and Kfar Aza, and see if you can hear their screams there.

Better yet, come to Rafah and help the IDF find the hostages that Israeli seeks, at terrible cost. As Glazer continues his quixotic quest against Israel, one can’t help but marvel at the irony of it all. In pursuit of villainy, he has unwittingly auditioned for, and then filled, the role of the self-righteous hypocrite, playing it with Oscar-worthy conviction. The real heroes are fighting to defend the one and only Jewish State, not pissing on it.

Glazer to Gaza. It has a nice ring to it. Let’s see if this brave beacon of moral equivalence has the cahones to visit Khan Yunis without an escort.

As for his German-only film, let supporters of Israel declare it a zone of no interest in the moral flailings of a self-hating Jew, caught red-handed, with his middle finger up his own nose, picking and choosing who are the good guys without knowledge and experience of real war, or real Jews who are defending the world’s only nation that saves Jewish lives.

And the only defense from future Auschwitzes and “Good Jews” like him.