"I didn't equate a POW camp with a concentration camp"
About this Quote
A sentence like this lands with the thud of a damage-control press conference: clipped, defensive, built to stop a comparison from metastasizing. Larry Hovis wasn’t a politician or a polemicist; he was a working entertainer best known for playing a POW on Hogan's Heroes, a sitcom that mined World War II captivity for jokes. That history sits behind every word here. He’s not arguing about archival definitions so much as trying to cordon off a moral firestorm: the fear that laughing at POW life could be read as laughing at genocide.
The intent is surgical. “Didn’t equate” is an attempt to deny equivalence, not discussion. It’s a rhetorical backpedal from the most radioactive analogy in modern culture, where “concentration camp” functions as a moral absolute. By invoking it, even to reject it, the speaker acknowledges the accusation: someone, somewhere, thought the show or Hovis’s comments blurred lines between militarized imprisonment and industrial extermination.
The subtext is reputational survival. Entertainers trade on likability; once you’re perceived as minimizing atrocity, the currency collapses. So Hovis stakes out a boundary: POW camps were brutal, but not Auschwitz; comedy about one is not comedy about the other. The statement also reveals how postwar pop culture kept renegotiating what could be made “safe” for TV. Hogan’s Heroes was always a tightrope act, and this quote is Hovis admitting, in public, exactly where the rope could snap.
The intent is surgical. “Didn’t equate” is an attempt to deny equivalence, not discussion. It’s a rhetorical backpedal from the most radioactive analogy in modern culture, where “concentration camp” functions as a moral absolute. By invoking it, even to reject it, the speaker acknowledges the accusation: someone, somewhere, thought the show or Hovis’s comments blurred lines between militarized imprisonment and industrial extermination.
The subtext is reputational survival. Entertainers trade on likability; once you’re perceived as minimizing atrocity, the currency collapses. So Hovis stakes out a boundary: POW camps were brutal, but not Auschwitz; comedy about one is not comedy about the other. The statement also reveals how postwar pop culture kept renegotiating what could be made “safe” for TV. Hogan’s Heroes was always a tightrope act, and this quote is Hovis admitting, in public, exactly where the rope could snap.
Quote Details
| Topic | War |
|---|---|
| Source | Help us find the source |
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