Ace in the Hole (1951) pings the dawn of the media scandal age on the radar of the American cultural landscape. A product of the raw mind of Billy Wilder, whose life story up to that time spanned two continents and two world wars, the film satirizes and weeps over the human tendency to commodify tragedy. Wilder, an ex-gigolo who returned to Europe after success as a comedic screenwriter and director at Paramount Pictures, found his old-world cynicism bolstered by the discovery of the Nazi death camps where his fellow Jews died en masse (Madsen 23, 25, 13-14). He funneled his post-war experiences producing Allied propaganda films like Death Mills (1945) into the narrative of the mad tabloid journalist Chuck Tatum, willing to do anything for a shot at career redemption. Tatum, embodied by the volcanic Kirk Douglas, and the media frenzy he constructs around a man trapped in a mine shaft fit what Hunter S. Thompson called ‘the main nerve of the American dream’ (191). This mythical ‘big carnival’ of American greed and sentimentality also echoes the genocide of its New Mexico landscape, with Wilder using the character of Leo Minosa as a morally good mirror to the complicated, self-selling Tatum. The cultural syllogisms within the film itself – Germany opposite America, Tatum opposite Minosa – reflect the biographical-psychological syllogism Wilder creates between himself and the bombastic showman Tatum. Though Wilder’s film does not explicitly deal with race, its critique of the war opens doors to a critique of America’s Indian Wars and provides a lens on genocidal spectacles to come; I briefly touch on this in a concluding discussion of Wilderian media tactics in this year’s Russia-Ukraine War.