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due process, El Salvador, friend of Cricket, Homeland Security, immigration, Kristi Noem, Propaganda, right wingnut, social media, sycophant, Trump administration, Trump sycophant
Yesterday in El Salvador:
Secretary Kristi Noem @Sec_Noem
I toured the CECOT, El Salvador’s Terrorism Confinement Center.
President Trump and I have a clear message to criminal illegal aliens: LEAVE NOW.
If you do not leave, we will hunt you down, arrest you, and you could end up in this El Salvadorian prison.
[….]
Last edited 6:08 PM · Mar 26, 2025
Musical score by Chet Atkins.
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This is an unfortunate statement about Leni Riefenstahl. She NEVER made such a film. I have read she was at the Polish border when the Germans attacked and was so shocked that she did any war films.
Propaganda. Olympia and Triumph des Willens were enough.
United States Holocaust Museum – Holocaust Encyclopedia
“[….] After the war Riefenstahl attempted to separate herself from the criminal nature of the Nazi regime, suggesting her duty was to her craft and not necessarily to the Nazi authorities who commissioned her films. In what she and others would later claim was an effort to eschew further propaganda efforts, Riefenstahl had begun filming Tiefland (Lowlands) in 1940. A story set in the Spanish Pyrenees, Tiefland was a project that she had earlier shelved when persuaded by a determined Hitler to undertake Triumph of the Will. Shot on location near Kitzbühl, Austria, the filming dragged out over nearly four years. In order to enhance the story’s “gypsy” flavor, Riefenstahl aides arranged to “borrow” some 51 young Roma prisoners from the nearby labor camp at Maxglan-Leopoldskron as extras. For the indoor scenes, filmed in Berlin-Babelsberg in 1942, Riefenstahl used as extras at least 66 Roma and Sinti inmates, virtually all males, from the Berlin-Marzahn camp for Gypsies. Allegations that the German Criminal Police returned the Roma, after fulfilling their “obligation,” to the Maxglan and Marzahn Gypsy camps (Zigeunerlager) and later deported them to their deaths at Auschwitz, were serious enough to involve Riefenstahl in a civil suit. That suit was dropped in 2002 only after her production company retracted a public statement Riefenstahl had made in which she claimed that all of the extras had survived the war. Tiefland premiered in 1954, eight years after French authorities occupying the Tyrol arrested Riefenstahl and confiscated her film materials, in January 1946. [….]”
“.[….] In the postwar years, Leni Riefenstahl was the subject of four denazification proceedings, which finally declared her a Nazi sympathizer (Mitläufer). [….]”
United States Holocaust Museum – Holocaust Encyclopedia
“[….]….By her own account, the advent of World War II and the rapid escalation of violence under the Nazi regime had an unfavorable effect on both Riefenstahl and her career. Early in the Polish campaign, an incident seemed to have shaken Riefenstahl’s confidence in the movement she had glorified in cinematic images. While accompanying German troops near Konskie, the filmmaker witnessed the execution of Polish civilians shot in retaliation for a partisan attack on German troops. Riefenstahl apparently left her filming that day in order to make a personal appeal to Hitler against such arbitrary violence. The incident may have planted a seed of doubt in Riefenstahl’s mind, but it did not prevent her from filming Hitler’s triumphal parade into Warsaw just weeks later…..[….]”