Fauda is now onto its fifth season on Netflix. It concerns the adventures of an Israeli intelligence unit tasked with tracking down Palestinians, killing the lucky ones and throwing the rest into Ben Gvir’s torture chambers. In a perfect world I would have watched every episode and reflected on the moral ambiguities and ethical complexities facing the characters. In the real world I skimmed through one episode of the most recent series because that was as much as I was able to bear of this pile of racist, morally repulsive, genocide defending dogshit.

It may be that season six will deal with the deliberate and indiscriminate AI enabled slaughter of large numbers of civilians and the verified accounts of Israeli snipers shooting children. Series five takes place after the Hamas attack on Israel and is essentially a justification for everything the Israeli state did afterwards. We see only Israelis grieving; all the Israeli characters are handsome and noble – one IDF officer says, “we need to be careful; the terrorists are hiding among civilians.” The thing is rather badly dubbed so it wasn’t clear if this was intended as a joke given that the preferred Israeli method of getting rid of people they call terrorists is frequently to kill every man, woman and child in a twenty-metre radius.

The series makes much of the immense technological sophistication of the Israeli surveillance and killing machine. They have drones, unimaginably powerful computer networks, night vision equipment and give the impression that nothing can move without them knowing about it. They even confront one character with surveillance of his regular trip to a Marseille shop. They are omnipotent and omniscient, and they revel in their sadism. Not just that, they are handsome and have feelings. The Palestinians and those who support them are hate filled brutes.

Contrast this with what happened to the rapper Mackelmore. The whole weight of the American corporate music industry comes crashing down on him because he expressed solidarity with Palestinians and said “My message is for peace, love; for all human beings to be treated with dignity, respect and equality.” He then gets shafted by Ed Sheeran a man he considered a friend who turns out to be a morally bankrupt, gutless careerist. Let’s hope that the next time he returns to Galway that the girls tell him what they think of him now.

Of course, Mackelmore isn’t the first musician to be targeted for supporting the right of Palestinians not to be massacred. Kneecap and Primal Scream (of whom more later in the week) have some experience of the matter. What is striking is that it is considered normal and completely uncontroversial for five series mythologising the individuals responsible for conducting a genocide and reducing those they are killing to racist caricatures to be broadcast. While this is happening anyone with the slightest public profile who objects to it has to do so in the knowledge that they will have to pay a significant financial and personal price.

Given the highly derivative nature of many films and TV series, combined with the enduring interest in World War Two, I wonder if Netflix would be interested in a series in which a team of handsome and intelligent young officers, who believe that God has made them special, track down an amorphous group of central Europeans in 1943.