References to “Weimar” have played an increasingly important role in trying to make sense of the present, and also to mobilize various constituencies. Related to the diagnosis of contemporary political movements as fascist or neo-fascist, there is the question of whether some of the lessons drawn in the postwar period from the failures of Weimar – especially the ones that inspired the creation of the legal toolkit generally known as “militant democracy” – should be central to attempts to defend democracy today. This chapter engages both issues and argues that the toolkit of militant democracy remains valuable in many ways – but that its instruments are often not well suited to dealing with today’s challenges to democracy.

Smith’s chapter focuses on the continued influence of the idea of Weimar Berlin in contemporary popular culture. The chapter takes as its starting point recent cultural expressions, such as the television series Babylon Berlin, focusing on previously unexplored aspects of how Weimar is depicted as a modern Babylon. Smith identifies two particularly salient aspects in these depictions: first, that the portrait of right-wing political cultures within Weimar are given more depth and nuance than are afforded center-left and left-wing ones; and, second, how the depiction of sex and violence leads us back to Alfred Döblin’s Berlin Alexanderplatz and its apocalyptic vision of Weimar, along with Anglo-American visions of Weimar that have particularly long staying power, in particular Christopher Isherwood’s depiction of 1930s Berlin and its iterations and adaptations on stage and screen. The chapter demonstrates the ways in which Weimar retains its grip on aspects of our contemporary popular culture and how the particular forms these cultural expressions take may tell us about the lessons drawn from Weimar.