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Maine Dem Senate Hopeful With Nazi Tattoo Exposes Left's Years of 'Fascist' Attacks as Performance Art

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For years, Democrats and their media allies have called conservatives “fascists” over just about anything.

Did you disagree on policy? Did you raise a valid question about an election law? Did you crack the wrong joke? Yeah, you’re a Nazi and Hitler 2.0.

That was the standard these people set, and they enforced it without apology. There was no room for context, or grace, or second chances.

Now that the standard has crashed straight into their own side, the reaction of these people should tell you everything you need to know.

Graham Platner, a Democrat running for U.S. Senate in Maine, has (or had) a tattoo that has been directly linked to Hitler’s Germany. His campaign is now defined by the controversy, which it can’t shake no matter how hard it tries.

Back in 2007, Platner got a skull-and-crossbones tattoo while serving as a Marine overseas. He has said that he was drinking in Croatia and did not realize the image resembled the Nazi “Totenkopf.”

That explanation is now the entire defense of a man who wants one out of 100 coveted Senate spots. It has to be, because the timeline is brutal.

He kept that tattoo for roughly 18 years. It was only covered in 2025, conveniently, as his Senate ambitions were looking like a possibility.

Reporters had tied the permanent mark to Nazi symbolism. The story blew up, and suddenly the man who wanted to represent Maine found himself answering questions about an emblem tied to some of history’s most shocking atrocities.

For a moment, it looked like Democrats might actually apply their own rules and cancel the dude.

They didn’t.

Related:
Dems Invent Nazi Connections in GOP, But Apologize for Dem Sen Candidate with Actual Nazi Connection: 'People Deserve Second Chances'

Maine Gov. Janet Mills dropped out of the race, clearing the way for Platner to become the presumptive nominee. The party closed ranks almost overnight around him.

Even recent coverage from NBC News could not ignore the issue. One Democratic voter admitted plainly that Platner has “a lot of baggage” due to his apparent love for Nazis.

Baggage is an understatement.

Sure, people can change and become better. That is not the problem here.

The problem is how the left has treated everyone else.

For years, Republicans have been labeled extremists over far less than a Nazi tattoo. A benign policy position has always been enough to trigger outrage, headlines, and calls for someone to be driven out of public life.

There is never any talk about growth or forgiveness when a conservative wants to enforce border laws. There is never any interest in intent when a person on the right says anything that can be construed as racist.

Now, suddenly, Democrats want nuance? They want voters to ignore what is right in front of them and focus on what Platner says he meant by having a Third Reich symbol needled into his skin?

Of course, that is where we are, and it’s because the outrage machine has powered down due to this situation being beyond politically inconvenient.

The same people who once shouted the loudest are now looking the other way, but hugging this guy with both arms:

At this point, it’s not really about Platner anymore. It’s about a political movement that has spent years setting a standard it was never prepared to face in the mirror.

These people told the country these issues were disqualifying, that President Donald Trump was a fascist Nazi, and that he should be expelled from polite society and imprisoned.

Now, they are asking for a pass for the simple trade of a Senate seat?

Democrats have spent years calling Trump and his supporters Nazis. Their rhetoric has inspired would-be assassins.

These people are almost always exactly who they purport to oppose. Now, they support a man for Senate whose skin was tattooed with a symbol that represented anti-Semitic fascism, and we are supposed to accept that?

No matter how the race in Maine plays out, we can never stop reminding them that their inflammatory rhetoric was performance art.

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