I missed the point that Jews are still pretending Hitler was found dead in his bunker, rather than being spirited away by his Jew comrades. Silly me.

For my taste the two best actors were Oliver Masucci, playing Hitler; and Franzeska Wulf, the satanist office receptionist—though Masucci is facially prosthetically changed—see the 'Extras'—and it occurs to me that 'Goth' might be a reference to the now-lost Gothic language. (The extras include a 'double' sequence ', but I'm uncertain how accurately the silicone mask was shown). Most of the rest of the cast participated in office and studio politics, in a low class—in the technical sense—TV station, represented by a partly computer-generated tower block model. Maybe the film company used their own studios; why not?

The whole script was cliché-filled—they seem to have worked through a Jewish rule-book for German TV. Here are a few:-

• Blue-eyed whites, especially blondes, are sinister and gullible and easily influenced by non-Jewish oratory;
• Whites are concerned more about pets than Jews or immigrant invaders;
• Jews (undefined) are bracketed with all other minorities, all unfortunate, all deserving of handouts—just like Jews, in fact, though of course not part of that 'master race';
• The mass media look for 'scoops' and are audience-driven;
• You can't carry a pistol if you're white; it's of course a long-term aim of Jews to disarm whites;
• The Jewish-promoted hate police are generous-minded and urbane. Of courser they are—ask Ursula Haverbeck!;
• The Second World War was entirely about unreasonable whites being swayed by hateful oratory—nothing to do with Versailles, or Jews feeding weapons to Stalin, or Jew worship of Stalin, for example. I've explored this more in Was Hitler a Jew Agent? (audio)
• The gas chamber myth runs in full force—I have a private theory that Jewish mentality runs entirely on perpetual repetition, so that most non-Jews end up in something like a trance caused by hearing the same note all the time. It worked with Christianity and Islam; so why not? I have another private theory that the growth in scientific evidence is in a battle against the older worldview, and may win—though who knows;
• Thugs are described not very variously as right wing, neo-Nazis, extreme right etc, rather than Jew-funded thugs;
• 'Racism' is horrific, not of course in any reasoned sense; and,
• the most important rule of all. No true statements may be made about any aspect of Jewish activity in real life.

The storyline has the usual format of a smallish group of people, who largely coincidentally get to know each other. The technical quality seems high, to me at least, and indeed the 'extras' show how some of it is done, and there's a green screen scene reinforcing the message. The extras allow English 'Untertiteln', and show some of the techniques. The studio stuff includes a team of joke-writing poker-faced word niggers: "What did the Jew paedophile say?"—"Come and buy a sweetie from me." "Jewish tourists went on holiday to Auschwitz. They all gave it one star." There's a scene where an aged mother screams at Hitler with surprising force. Perhaps she'd been raped by Jew forces? Perhaps her family had been wiped out? Maybe she was a Ukrainian driven mad by Jew-enforced starvation? Perhaps she was a Slav burnt alive inside a church?—Ha, just joking. Of course not. Probably she worried that fraudulent money from the Holohoax might be turned off at last. Or, even worse, that reparations would be due. Hitler's script's potential retorts proved non-existent.

The scenes of Hitler learning about computers and Internet are well-done, at least technically. Youtube (slight suggestion of Pewdiepie, I thought) and Wikipedia and Facebook are worked in. The bunker resurrection scenes are well done, though of course incredible. The outdoor scenes aren't completely successful, no doubt because the conditions aren't very well controlled. Hitler is shown as artistically incompetent; I'm not sure why.

The parts which (I expect) are most famous don't get started until midway—after Hitler is met and driven around and visits German towns—the scenes of studio audiences being sucked in, while the support cast are shown smiling—a tedious US device to signal that, look, it's funny. They did their best to make it credible, even mentioning a Jewish pressure group at one point. I thought of some insects, where huge numbers of alien males are bred and released to damage the gene pool.

'Democracy' doesn't come out of this film very well—"if you think I'm a monster—blame the voters!" says Masucci—and of course democracy is a problem for Jews, since of course if you're chosen by 'G-d', and believe you're a race, and the master race, your undemocratic bias is likely to show. Anyway, Jews declared war in (say) 1923; before that it seems to the west it was more concealed; and they are still at it. Four issues are mentioned: child poverty, old age poverty, unemployment, and low birthrates. Birthrates amongst whites, that is: there's no indication that German children are being flooded by aliens and burdened with long-term debt which is impossible to meet, and no indication that invaders get more money than Germans, and for nothing. Jew control of money, and worldwide US bases, and other aspects post-1945 of course are unmentioned; presumably the revived Hitler's new manuscript was to be one a small scale. Incidentally I was surprised that the TV company boardroom was shown as all-more-or-less white or Jew, without a token Somali, say; perhaps it was a touch of Jew realism.

Part of the end padding is a song about Hitler by Lead Belly (Huddie Ledbetter) remixed. It reminded me of Woodie Guthrie; and of the American inability to throw off Jewish memic saturation. Just more disgusting trash. But gives hints as to Jewish purposes now. Though information on collaborators is nil.