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With goblins, spellcasters and delis, board game makers are imagining new Jewish worlds

(JTA) — Running a not-so-Zagat-rated deli, dropping into a Chinese restaurant for Christmas Eve dinner and acting out a bat mitzvah that involves a vampire — for contemporary board game fans, those can be all in an evening’s play.

That’s because a crop of new games aims to merge Jewish ideas and experiences with the aesthetics and language of games such as Dungeons & Dragons. Dream Apart places players in a fantastical reimagining of a 19th-century shtetl, for example, while J.R. Goldberg’s God of Vengeance draws inspiration from the Yiddish play of the same name. In the games in Doikayt, a collection released in 2020, players can literally wrestle with God.

Known as tabletop role-playing games because they ask players to take on a character, these games and their creators imagine exciting new worlds, subvert classic tropes in fun and irreverent ways, and reinterpret Jewish history and identity.

Tabletop role-playing games like Dungeons & Dragons and Call of Cthulhu have exploded in popularity over the past several years, with many — including at least one group of rabbis — picking up the Zoom-friendly hobby during the height of the COVID-19 pandemic. But the new Jewish games aim to do more than just provide a diversion or even an escape.

“Depending on your family, depending on your synagogue, depending on your community, you may have gotten more or fewer options of what Jewishness could mean in your imagination,” said Lucian Kahn, who created a trilogy of humorous Jewish role-playing games. 

“What some of these games are doing is opening that up and pointing to alternate possibilities of imagining Jewishness, not as a way of converting anyone to anything else, but just as a way of showing the tradition is enormous,” he added.

Kahn is the creator of If I Were a Lich, Man, a trilogy of humorous games whose name is a mashup between a “Fiddler on the Roof” song and an undead character, the lich, that frequently appears in fantasy fiction and games. In the title game, players are Jewish liches — spellcasters whose souls, in the lore of Dungeons & Dragons, are stored in phylacteries, the Greek word for tefillin used by Jews in prayer. Representing the four children of the Passover seder, they debate how their community should address the threat of encroaching holy knights.

In some cases, the association of Jews with monsters has given rise to charges of antisemitism — the goblins of “Harry Potter” offer a prime example. But Kahn said he sees Jewish-coded monsters, and queer-coded villains, as figures of resistance.

“There’s a long tradition of looking at the monster and seeing that the reason why these are monsters is because the people who have oppressive power have decided that these are going to be the enemies of the ‘good’ oppressive powers,” Kahn explained. “But if you don’t agree with their ideology, if you’re seeing yourself as being a member of a marginalized community and being in opposition to these oppressive powers, then you can look at the qualities assigned to these monsters and some of them are qualities that are good.”

For Kahn, Jewish-coded monster characters also provide more of an inspiration than the archetypes of more traditional games.

“Maybe somebody thinks they’re insulting me or insulting Jews,” he said. “My response is: I like vampires and liches and trolls and goblins and think they’re much more interesting than bland white muscular humans running through the fields with a cross on their chest hacking at the same things with a sword over and over again.”

Kahn’s outlook has resonated in the tabletop role-playing game community. In February, he and Hit Point Press launched a Kickstarter to fund production of If I Were a Lich, Man. The campaign smashed its $5,000 goal, raising $84,590, enough to hit one of the campaign’s stretch goals of funding a grant to support independent zines about tabletop role-playing games.

The successful campaign means that Kahn’s three games will go into production. In addition to the game about liches, the trilogy includes Same Bat Time, Same Bat Mitzvah, in which players act out a bat mitzvah where one guest has been turned into a vampire, and Grandma’s Drinking Song, inspired by how Kahn’s Jewish great-great grandmother and her children survived in 1920s New York City by working as bootleggers during Prohibition. 

In Grandma’s Drinking Song, players write a drinking song together as they act out scenes. Kahn, the former singer/songwriter and guitarist for Brooklyn Jewish queercore folk-punk band Schmekel, wanted to carry over elements of music into this game.

A throughline in all three games is the power of creative resistance to authority — a narrative that Kahn said strikes him as particularly Jewish.

“There are all these stories in Jewish folklore that are really overtly about finding trickster-y or creative ways of fighting back against oppressive and unjust governmental regimes, evil kings, bad advisors,” Kahn said. “One of the first stories I ever heard in my life was the Purim story, so it’s very embedded in my mind as a part of Jewish consciousness, when evil rulers come to power and try to kill us all, we’re supposed to find these outside-the-box ways of preventing that from happening.”

For some Jewish creators, Jewish holidays are an explicit inspiration. Like many Jewish kids of the ‘80s and ‘90s, Max Fefer, a civil engineer by day and game designer by night, grew up loving the picture book “Herschel and the Hanukkah Goblins,” which remains a popular festive text. But as Fefer notes, goblins are often associated with antisemitic stereotypes. Fefer’s first Jewish game, Hanukkah Goblins, turns the story on its head — players interact as the jovial goblins, who are here not to destroy but to spread the spirit of Hanukkah to their goblin neighbors.

Last year, Fefer launched a successful Kickstarter for another Jewish holiday-inspired tabletop role-playing game, Esther and the Queens, where players assume the roles of Esther and her handmaidens from the Purim story, who join together to defeat Haman by infiltrating a masquerade party as queens from a far-off land.

Esther and the Queens channels Fefer’s Purim memories and includes carnival activities, including Skee-Ball; a calm, relaxing Mishloach Manot basket-making; and a fast-paced racing game. 

“All of our holidays, they’re opportunities for us to gather as a community in different ways,” Fefer said. “Watching this satirical, comedic retelling of the story of Purim and the Esther Megillah and coming together into a theater, in a synagogue, to watch these spiels and laugh together and spin the graggers when we hear Haman’s name — all of those things help us build identity and community, and I think games in particular surrounding identity, that’s a great way for a Jewish person themselves to feel seen in a game and reinforce their identity, and share their background with friends.” 

Another pair of Jewish game creators, Gabrielle Rabinowitz and her cousin, Ben Bisogno, were inspired by Passover. 

“The seder is kind of like an RPG in that it’s a structured storytelling experience where everyone takes turns reading and telling, and there’s rituals and things you do at a certain time,” Rabinowitz said. “It’s halfway to an RPG.”

The game became a pandemic project for the two of them, and alongside artist Katrin Dirim and a host of other collaborators, they created Ma Nishtana: Why Is This Night Different? — a story game modeled on their family’s seder. The game follows the main beats of the Exodus story, and in every game, there will be a call to action from God, a moment of resistance, a departure and a final barrier — but different characters and moments resonate depending on the players’ choices. 

As an educator at the Museum of Natural History, Rabinowitz said she is often thinking about how to foster participation and confidence, and she wanted to create a game-play mechanic to encourage players to be “as brazen as her family is.” The result was an in-game action called “Wait! Wait! Wait!” — if players wish to ask a question, make a suggestion, disagree with a course of action or share a new perspective, they can call out “Wait! Wait! Wait!” to do so.

The game also includes a series of scenes that are actively roleplayed or narrated, and each includes a ritual — one that can be done in-person or an alternate remote-friendly version. For example, at one point each player must come up with a plague inspired by the new story they’re telling together, and in the remote version, players go camera-off after reciting theirs. 

“The fact that it was created during the pandemic and a way for us to connect and other people to connect with each other is really the soul of the game,” Rabinowitz said. “After each person tells a plague, by the end, all the cameras are off and everyone stays silent for another minute. It’s a hugely impactful moment when you’re playing remotely. The design is interwoven in the game itself.”

Rabinowitz said by playing a story of a family undergoing these trials, the themes of family and identity deepen every time she plays the game. 

“A lot of people say, ‘Wow, I’ve never felt more connected to this story,’” she said. “Embodying these characters gave me a feeling of relevance and that makes it feel important as a Jewish precept.”  

For other creators, that deep connection comes in more lighthearted scenarios. Nora Katz, a theatremaker, game designer and public historian working at the Goldring/Woldenberg Institute of Southern Jewish Life (ISJL) by day, created the Jewish deli-centered game Lunch Rush, which was included in the Doikayt anthology.

“There’s also types of institutions that come up a lot in [tabletop role-playing games], especially sort of high fantasy,” she said. “Everyone meets in a tavern, there’s an inn, things like that. So the idea of a deli as a central gathering place in a world like that felt fun to me.”

An important element of Lunch Rush is that players must be eating while playing, so for Katz’s first round with friends, they got together with chocolate chip ice cream and dill pickle potato chips. She said the deli is a shared language, and her fellow players were all bringing in their own favorite things about delis they loved into the fictional place they were building together. 

Tabletop role-playing games “at their core are about collaboration and relationships and storytelling and community, and for me, all of those things are also what Jewishness is about, to me they totally go hand in hand,” Katz said.

The games are not meant to be for Jewish players only. Rabinowitz said the guidebook for Ma Nishtana includes essays to encourage people to further engage with the narrative. 

“Jewish players, non-Jewish players, priests, non-religious people, all different people have played it and almost all of them have told us it’s given them a new way of thinking of how they relate to religious tradition, and I didn’t really set out to do that,” Rabinowitz said. “I feel really privileged to have helped create that space.”

Rabinowitz and Bisogno also commissioned other creators to build alternate backdrops for their game, so it can be repurposed to telling the story of another oppressed people’s fight for freedom. Players can interact as embattled yaoguai, spirits from Chinese mythology; explore a Janelle Monáe-inspired Afrofuturist world; play as Indigenous land defenders; or unionize as exploited workers at “E-Shypt.”

Fefer, who has been amplifying the work of other Jewish creators in the tabletop role-playing game space, said the harm of stereotyping and reinforcing negative tropes is still present in the industry, and not just for Jewish people. For example, fans recently criticized Dungeons & Dragons publishers Wizards of the Coast for reinforcing anti-Black stereotypes in the descriptions of a fantasy race, the Hadozee. 

“I think it’s a process of talking to people who are from these groups and bringing them onto your teams and making sure you’re incorporating their perspectives into, in the example of Dungeons & Dragons, a hundred-million-dollar industry, being intentional about that design and looking at things from lots of different angles,” Fefer said. “How could our branding, our games be reinforcing something we’re not even aware of?”

Fefer hopes people who play Hanukkah Goblins and Esther and the Queens feel seen and have moments of shared joy, and also that they learn something from these games — about the antisemitic tropes in fantasy, or about underrepresented groups within the Jewish community. With Esther and the Queens, Fefer collaborated with a writer and artist, Noraa Kaplan, to retell the Purim story from a queer and feminist lens, drawing on Jewish texts that the pair said shows the long presence of queer and trans people in Jewish tradition.

“We have a lot of richness within Judaism to share our culture and share our upbringing but also just be representation,” Fefer added. “We’re living in a time of heightened antisemitism and the world being a gross place to be at times, and we can really bring the beauty of Judaism into game design and create experiences for people that are both representative of Judaism and also just very Jewish experiences.”

But for all the important conversations and learning experiences that can come from Jewish tabletop role-playing games, Katz said the goofiness and joy is important, too.

“We live in such a horrendous society that is of our own making,” she said. “If you can, for a little while, enjoy an anticapitalist fictional deli that you and your friends live in, I think that’s great.”


The post With goblins, spellcasters and delis, board game makers are imagining new Jewish worlds appeared first on Jewish Telegraphic Agency.

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This Jewish family’s toy company challenged Trump’s tariffs. The Supreme Court agreed.

(JTA) — Stephen Woldenberg was in a meeting with his father last Friday, refreshing the Supreme Court’s website, when the news finally came through: Their company had prevailed in its legal challenge to the Trump administration’s tariffs.

“It’s all a bit surreal, I’ll be honest,” said Woldenberg. “It’s very gratifying, though, to see that our case has had an impact and that the Supreme Court ruled and agreed with our position.”

For Woldenberg, who is the fourth generation of his family’s Illinois-based educational toy company Learning Resources, the decision to challenge President Donald Trump’s sweeping tariffs was rooted in a moral obligation shaped by his family’s Jewish values.

“I think that for us, being Jewish, we felt like we wanted to stand up for what we thought was right, and, you know, not being afraid to take a stand,” said Woldenberg. “I think that that’s part of our identity, and I think that’s a core part of what this case was about. It’s a civil legal challenge, it isn’t political, but we felt like we weren’t going to stand by idly, and I think that’s part of our Jewish identity.”

Learning Resources was founded by Stephen’s grandmother Joan as a spinoff of a company run by her father-in-law Max Woldenberg, who immigrated from Poland as a child in the late 19th century. Joan’s son Rick is CEO, while Stephen and his sister both have high-level executive roles.

The family, longtime members of a Conservative synagogue in the suburbs of Chicago, has a record of Jewish philanthropy. Rick and his wife have donated to local Jewish organizations as well as to the Center for Jewish Life at Princeton University, his alma mater. Elana, who also graduated from Princeton, founded a Jewish philanthropy fellowship there. And Max Woldenberg’s brother Malcolm was a prominent New Orleans philanthropist for whom the Institute of Southern Jewish Life is named.

It was not philanthropy but Learning Resources’ bottom line that got the family fired up by Trump’s tariffs, which raised import costs for businesses that rely on overseas manufacturing. Trump authorized the tariffs using the International Emergency Economic Powers Act, rather than by seeking approval from Congress.

Like many American companies, Learning Resources relies on Chinese factories and workers to make its products, of which perhaps the most widely recognizable are plastic bears used for counting practice that are staples of many preschool classrooms.

Stephen Woldenberg said that in 2025, after the tariffs were imposed, Learning Resources paid over $10 million in tariff-related taxes, compared to $2 million the year before.

“After ‘liberation day,’ tariff rates spiked up to 145%, which effectively was like an embargo on Chinese goods,” said Woldenberg. “We decided to take action. We aren’t really a company that likes to stand by idly. We weren’t willing to let a single politician sink the ship.”

Learning Resources’ legal battle culminated in a decisive Supreme Court victory, and a notable loss for Trump, who heavily criticized the decision during his State of the Union speech Tuesday night.

In his decision, Chief Justice John Roberts wrote that the “IEEPA does not authorize the President to impose tariffs.” The Supreme Court agreed 6-3 that the tariffs exceeded the law.

“The president asserts the extraordinary power to unilaterally impose tariffs of unlimited amount, duration, and scope,” Roberts wrote in his opinion. “In light of the breadth, history, and constitutional context of that asserted authority, he must identify clear congressional authorization to exercise it.”

Among the estimated 1,000 lawsuits filed against the tariffs, which ultimately collected over $130 billion for the United States, were others filed by Jewish-owned companies.

Rebecca Melsky, a former a Jewish day school teacher, was among the first to legally challenge the emergency tariffs last April through her children’s apparel brand Princess Awesome, which she co-founded to defy “gender stereotypes” in kids clothing.

In 2025, Melsky said Princess Awesome had paid over $30,000 in additional tariffs, a cost she said had hit her small business hard.

“We’re a very small company — that money came out of our paychecks,” said Melsky. “We pulled back on our production. We did not make as much stuff last year as we normally do, which we are feeling this year, as we start the year with less inventory.”

After Melsky and her co-founder, Eva St. Clair, took to Facebook to explain the costs of Trump’s tariffs to their customers last April, the pair were approached by the Pacific Legal Foundation, which represented them in federal court. (Princess Awesome’s lawsuit was put on hold pending the Learning Resources decision.)

For Melsky, the choice to take on Trump’s tariffs in court was also inspired in part by her own Jewish values.

“Even if something feels scary, even if you don’t necessarily know if it’s going to do something, standing up for what is right, is, like, we have a moral and ethical obligation to do that, even if that means taking a risk,” said Melsky. “And thankfully, my business partner, her Catholic faith brought her to the same place, too.”

Following the Supreme Court’s ruling last Friday, Melsky and St. Clair took to Facebook again, posting a video shouting “we won!”

But the battle is not over for Melsky, Woldenberg or any of the other businesses that have sued the government over Trump’s tariffs. Following the ruling, Trump swiftly vowed to impose more tariffs, including a temporary 10% global import duty.

While the Trump administration said during the Supreme Court battle that suing parties would “assuredly receive payment” if they lost, the court did not stipulate in its decision what would happen to the tariffs that had already been collected.

As companies seek refunds following the decision, they are likely to be met by a lengthy legal process, with Trump already dismissing calls for refunds as a process that would take “years.”

“The government, the administration, did not have a hard time taking the money, they found that to be quite easy, and so they should be able to turn around and send it right back to us,” said Woldenberg. “They know what everybody paid, and they know how to get the money.”

Melsky said that she felt her company was now in “limbo,” awaiting the Trump administration’s next move.

“It feels a little bit less chaotic, but we don’t know exactly what’s going to happen, and certainly we have no idea what will happen with refunds and if they are approved, when that money would come,” said Melsky.

Despite the uncertainty, Woldenberg said he hoped his family’s victory would “inspire” others that they too can make a difference.

“It doesn’t matter the size of the company or the notoriety of the individual,” said Woldenberg. “The American system is set up in a way where anyone can make a difference, anybody can have an impact.”

The post This Jewish family’s toy company challenged Trump’s tariffs. The Supreme Court agreed. appeared first on The Forward.

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A compelling horror series from Israel — even if you don’t like horror movies

In general, I steer clear of genre entertainment. For me, films awash in horror and the paranormal are gory, frightening and in the end relentlessly dull — a lethal combination.

But to my surprise, The Malevolent Bride, an Israeli horror series now streaming on Chaiflicks, is so compelling and has such page-turning momentum that I had to know what happened next.

Set in Jerusalem’s ultra-Orthodox community, the series — which is the brainchild of Noah Stollman, and director Oded Davidoff, creators of, respectively, Fauda and The Beauty Queen of Jerusalem — recounts a wave of inexplicable, blood–curdling crimes. But beyond its mystery and thriller elements, the picture embodies an amalgam of Kabbalah, feminism, humanism, and, yes, even quantum field theory.

Hisham Sliman and Leeoz Levy in a scene from ‘The Malevolent Bride.’ Courtesy of ChaiFlicks

Here, the line between the scientific world and Jewish mysticism, each requiring its own brand of blind faith, is blurred. Interwoven throughout are themes related to the crippling power of religion and the cost of repressed sexuality that comes in its wake. Like many horror flicks, it has its share of high camp comedy too.

The characters (well, at least the secular ones) are relatable and appealing. The lead, Tom Avni playing Be’er Dov, a physicist, is sympathetic and appealing (easy to look at too). An ex-Hasid who has shed all religion, he lives openly with his equally non-religious doctor girlfriend. Be-er also advocates for the daughter of a Hasid. He’s a feminist too.

The performances are uniformly superb. Even the grotesque moments, and there are some, work entertainingly, if not credibly, within the parameters of the genre’s over-the-top sensibility, which can at times recall The Exorcist.

The series begins with the wedding night of a Hasidic couple — the terrified virgin bride, swathed in white, is soon to be deflowered by a man she’s met perhaps twice. Moments later, we see her clutching shards of glass, her hand bloodied, her gown covered in blood as she charges towards the groom; his corpse is on the floor.

Later in jail, eyes wild, and demonically possessed, she utters a sing-songy phrase, “oxyn, oxyn” that becomes the first part of a satanic refrain that more and more Hasidic women spew forth as they too are overtaken by a curse. Dybbuk imagery is evoked. Violent atrocities ensue.

Giovanni, a police officer (convincingly played by Hisham Suliman), uncovers evidence that connects Be’er to each of these women who owns a book, presumably given to them by Be’er. His name, in each case, appears on its pages as its original owner. The book in question is about Raizel, an archangel out of the Kabbalah who has magical knowledge and powers. Sketches of diabolical figures and illegible writings are scribbled across its pages and in its margins.

Be’er insists he knows none of these women. Nonetheless, with his career at risk, he realizes he must uncover the truth to save his reputation. Through flashbacks, we learn that as a young Yeshiva student he was drawn to the Kabbalah and had a clandestine and shockingly forbidden affair with a Hasidic girl named Yedidia to whom he did indeed gift the book.

At the same time, Dr. Malki Price (Leeox Levy), an Orthodox clinical psychologist who heads a mental health facility for deeply troubled girls, is also grappling with the growing menace. Some of her own patients have channeled the free-floating demon, leading to murder, suicide and terrifying occult acts.

Be’er and Malki join forces in order to track down Yedidia who, for reasons that are not entirely clear, seems to be the origin of this epidemic of violence and mysticism. Levy brings an understated compassion to her role that is riveting to watch.

Malki, we later learn, is a transgender woman as is Levy in her first major film role, which reinforces the series’ themes of tolerance and mutual respect. The Jewish mysticism with its scary folkloric and mythic warnings and taboos underscores the series’ embrace of sexuality and the fluidity of gender identity. After all, in the Kabbalah tradition, the Messiah will be both male and female.

Along their journey, Be’er and Malki meet an array of great characters and despite their differences grow increasingly attached to one another. The final romantic scene between Be’er and Malki is simultaneously unnerving, comic, and unexpected, though it shouldn’t be. Yet another hallmark of an original fun series.

 

The post A compelling horror series from Israel — even if you don’t like horror movies appeared first on The Forward.

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Why was Tucker Carlson pushing for DNA testing for Jews? What to know about the ‘Khazar’ theory that antisemites can’t shake.

(JTA) — During Tucker Carlson’s interview last week with Mike Huckabee, the U.S. ambassador to Israel, both men made considerable waves with their takes on history and theology.

Huckabee sparked a diplomatic row by citing the Bible to argue that Israel had a divine right to claim all of the Middle East — even though he didn’t back doing so politically.

But Carlson’s own interpretation of Israeli sovereignty was also notable, as the far-right pundit insisted that Israelis should undergo genetic testing to determine if they have a rightful claim to the land.

“Why don’t we do genetic testing on everybody in the land and find out who Abram’s descendants are?” Carlson asked Huckabee at one point, using the name Abraham used before he made a covenant with God to become the first Jew. “It’s really simple. We’ve cracked the human genome. We can do that. Why don’t we do that?”

At another point, Carlson singled out Prime Minister Benjamin Netanyahu specifically as an illegitimate Israeli.

“What you’re saying is that certain people have a title to a highly contested region. They own it, in some deep sense,” he told Huckabee. “So I think it’s fair to ask, who are they, and how do we know? So the current prime minister’s ancestors weren’t from here within recorded history. He has no deed. Bibi Netanyahu, on one side, his family’s from Poland, they’re from Eastern Europe. So how do we know he has a connection to the people who God promised the land to?”

The line of questioning made little sense to many Jewish listeners, who understand Judaism as a blend of religion, ethnicity and community in which converts have always been accepted. For Jewish listeners, too, the idea of tracing bloodlines is often associated with the Nazis, who chose their victims based on how many Jewish ancestors they had.

But both Carlson’s critics, and supporters across the ideological spectrum who have agreed with his views on Israel, understood what he was getting at. They identified his line of questioning as a variation on the “Khazar theory”: the belief that Ashkenazi Jews, like Netanyahu, are genetically descended from a Turkic minority that converted to Judaism in the Middle Ages rather than from the 12 tribes of Israel. 

“The people currently occupying Israel are Khazarian Turks,” far-right pundit Candace Owens, a promoter of many antisemitic conspiracy theories, wrote on X.

“He has ZERO ancestral connection to the land. He’s Polish,” the far-left influencer Shaun King wrote on X about Netanyahu in praise of Carlson’s interview. “His real last name is Mileikowsky.”

The theories as to why the Khazars, who were a real people, would have converted en masse to Judaism have varied according to the teller; one tale holds that a Khazar royal held a debate between representatives of Judaism, Islam and Christianity to hold the best religion, and Judaism won out. But no matter how it happened, the theory goes, Jews who trace their genetics to Eastern Europe should not be considered rightful heirs of Israel, and should instead claim the Caucasus as their ancestral home.

The Khazar theory has a long history but was largely discredited with the advent of DNA analysis. Yet it has grown in prominence among antisemitic circles since the Oct. 7, 2023, Hamas attacks in Israel and ensuing Gaza war, according to research by the Anti-Defamation League

“Antisemites suggest that if Jews are descended from people not native to Israel (i.e., Khazars), then they have no legitimate claim to the land,” the ADL’s own description of the theory’s popularity notes. “In addition, because Nazis sought to expel Jews and others from their homes in Europe in order to obtain lebensraum (‘living space’) for ‘Aryan’ people, antisemites have argued that Jews are doing the same thing because they have no historic claim to the land of Israel.”

The ADL also notes that, setting aside the validity of the theory, most Israeli Jews are not Ashkenazi but rather trace their roots to North Africa and elsewhere in the Middle East.

The origins of the Khazar theory date back centuries and have always had some promulgation from Jews; Hungarian Jews in the 19th century latched onto the theory, according to researchers. The Khazar theory has also been promoted by some Jewish and Israeli scholars in more recent years, including Arthur Koestler in his 1976 book “The Thirteenth Tribe”; Shlomo Sand, a historian at Tel Aviv University who identifies as “post-Zionist,” in his controversial 2008 book “The Invention of the Jewish People”; and Israeli geneticist Eran Elhaik

This has further boosted the theory’s seeming validity among proponents: Owens, for example, has cited Sand’s book on X as evidence for the theory.

But such studies are largely refuted by established historical scholarship. “This claim, pardon my chutzpah, is nonsense,” Shaul Stampfer, an emeritus history professor at Hebrew University of Jerusalem, has said about the Khazar theory in college lectures.

In Stampfer’s own research into the Khazars, he said that while there were a few Jews among the Khazars, he has found no genetic links between the ancient Central Asian tribe and modern Ashkenazi Jews (whose own genetics have been thoroughly studied owing to a preponderance of genetic diseases in the population). There are, however, genetic links between Ashkenazi Jews and ancient Palestine, as well as to North Africa, he says. 

In addition, there are very few Turkic origins to be found in Yiddish, while there are extensive Latin origins in Yiddish, further boosting evidence of broader Jewish migration to Europe and decreasing the likelihood of mass migration from Turkey.

There are other practical considerations, too, Stampfer told the Jewish Telegraphic Agency this week.

“Take a look at a map,” he wrote in an email. “Even if the Khazars had converted, they would not have dragged themselves to Poland. It is far away and cold in the winter.”

The National Institutes of Health, too, published an extensive genetic study in 2013 that found “no evidence from genome-wide data of a Khazar origin for the Ashkenazi Jews.” 

The researchers assembled what they called “the largest data set available to date for assessment of Ashkenazi Jewish genetic origins,” as well as available genome sets from the Caucasus. Their conclusion, the abstract notes, “corroborates the earlier results that Ashkenazi Jews derive their ancestry primarily from populations of the Middle East and Europe, that they possess considerable shared ancestry with other Jewish populations.”

None of the evidence has stopped the Khazar theory from emerging as a lodestar of modern antisemitism, thanks in part to influential right-wing personalities such as Carlson. This is not the first time he has toyed with the idea of genetics testing for Jews, though he previously seemed to be aware that such an ask would carry undesirable connotations. 

“In order to determine who’s actually inherited the land, we would have to conduct global genetic testing to award property on the basis of the results,” he texted right-wing filmmaker Dinesh D’Souza months ago, according to D’Souza, who shared the text on a recent podcast. Carlson continued, “Sounds like a Nazi project to me. As a Christian, I reject that.”

“I don’t think that’s necessary any more than it’s necessary to genetically test Indians to make sure their ancestors are from India,” D’Souza, who is Indian-American, responded. “Remember Jews maintained their tribal identity. Very little intermarriage. They didn’t try to convert people, as Christians did.”

D’Souza continued, “Shakespeare’s ‘Merchant of Venice’ conveys the picture very vividly. The Jews don’t mix. So their continuity as a group is generally more secure than virtually any other group.” (“The Merchant of Venice,” which features the Jewish villain Shylock, is generally seen as promoting antisemitic stereotypes.)

Carlson responded by returning to the genetics question — and this time seeming more open to it than when he first called it a Nazi project. “I agree with all that and I admire it. I’m hardly against Jews,” he texted D’Souza. “But if the claim is that Jews have a genetic right to certain pieces of land, it’s going to be necessary to do genetic testing.”

The broader lurch into conspiratorial thinking on the right, exemplified by the views on the Jews and Israel espoused by Carlson, increasingly has some other conservatives worried about losing control of the narrative.

“The most popular digital content on the Right is now ‘Erika Kirk killed Charlie,’ ‘Epstein was leading a pedophile blackmail ring for the CIA’ and ‘Jews are a diabolical power destroying the world,’” Christopher Rufo, an influential right-wing thought leader who helped orchestrate the larger push against diversity initiatives, warned on X. “In these instances, we need to correct public opinion, rather than cave to it.”

For his part after the Carlson interview, Huckabee accused his interrogator of drawing on a “dangerous conspiracy theory” from “some of the darkest realms of the Internet” for his genetic testing line of questioning.

“I do know that the discredited idea that most Ashkenazi or European Jews descended from the ancient Turkic kingdom of Khazaria is bunk,” Huckabee wrote on X. “It’s also been weaponized by people trying to deligitimize [sic] Jews, to strip them of their history, and to call them ‘imposters’ or ‘fake Jews.’”

Stampfer was hesitant to diagnose why the Khazar theory may be growing in popularity today. 

“People who don’t like Jews might be attracted to the idea that this is one more Jewish lie,” he offered. Yet, he added, “Explaining why people believe what they believe is a tough business.”

The post Why was Tucker Carlson pushing for DNA testing for Jews? What to know about the ‘Khazar’ theory that antisemites can’t shake. appeared first on The Forward.

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