As seemingly improbable as Schindler‘s List with an added laugh track or Wes Anderson’s Moonrise Kingdom subbing in Hitler Youth for Boy Scouts, Taika Waititi’s Jojo Rabbit’s very premise is a bold thought experiment: how do you make modern audiences (notoriously sensitive modern audiences, that is) comfortable laughing at WWII-era Nazism? How do you get them to sympathize with literal Nazi characters? And, maybe most importantly, how do you do all this without getting the endorsement of literal modern-day Nazis?  Read More