(JTA) — The FBI accused an 18-year-old man of buying an AK-47 assault rifle with plans to commit a mass shooting in support of ISIS at the Mall of America in Bloomington, Minnesota, the largest indoor shopping mall in North America.

Sheikhdoon Abdullahi Mohamud, of Richfield, Minnesota, was charged on Wednesday with one count of knowingly receiving a firearm and ammunition in order to commit a federal crime of terrorism, according to a federal complaint filed on Wednesday.

Mohamud’s attorney did not respond to JTA’s request for comment.

Mohamud wanted to attack the Mall of America because he believed its owners to be Jewish, the FBI said in a statement. He planned to kill between 30 and 60 people, according to messages he exchanged with a confidential source, according to the complaint.

Mall of America is owned and operated by Triple Five Group, controlled by the Ghermezian family, a Canadian family of Iranian Jewish origin.

Messages sent in September 2026 included a video in which Mohamud pledged allegiance to ISIS, the complaint said. He planned his attack for Oct. 24 because he expected a crowd at the Hmong Arts Celebration scheduled for that day.

The complaint said an undercover FBI agent sold an AK-47 rendered inoperable, four 30-round magazines and 200 rounds of ammunition to Mohamud for $600 on Oct. 6. During the sale, Mohamud confirmed his plans to commit a mass shooting. Mohamud was arrested shortly after the sale.

The complaint said Mohamud wanted to commit an attack similar to the 2016 Pulse nightclub shooting in which 49 victims were killed; the Bondi Beach mass-shooting in Sydney last December, during which 15 victims were killed during a Hanukkah celebration; and a New Orleans truck-ramming attack that killed 14 victims in New Orleans on Jan. 1, 2025.

The investigation into Mohamud began around December 2024, when he messaged the confidential source on multiple social media platforms, according to the complaint, detailing his desire to travel to Somalia to join a group that the U.S. has designated a foreign terrorist organization. If travel was not possible due to financial constraints, he said would move forward with an attack in Minnesota.

This article originally appeared on JTA.org.

The post Minnesota man charged with ISIS-inspired plot on Jewish-owned Mall of America appeared first on The Forward.

(JTA) — Democratic Sen. Jon Ossoff and Republican challenger Rep. Mike Collins clashed over Israel’s conduct in Gaza, U.S. weapons sales to Israel and the war in Iran during Thursday’s debate in Georgia’s closely watched Senate race.

The race could help determine control of the Senate, with implications for U.S. policy toward Israel.

The incumbent Ossoff, who is Jewish, has long supported Israel’s security, but over the last two years he has criticized its conduct in the Gaza war and voted to block some U.S. arms sales to the country.

A day after the third anniversary of the Oct. 7 Hamas-led attack, Ossoff was asked whether Israel had committed genocide in Gaza, whether he was concerned about growing anti-Israel sentiment within the Democratic Party and whether he would support a proposed $2.8 billion U.S. weapons package for Israel.

“The question of genocide is a question of whether a government has the specific intent to destroy a national or ethnic group, and that is a question for the International Criminal Court,” Ossoff responded. “There is no doubt in my mind that Israeli forces prosecuting the war in Gaza violated the law of armed conflict and international humanitarian law, and I care deeply about the security of the Israeli people, among whom are members of my family.

“I also care about innocent Palestinian life,” Ossoff continued, “and make no apology for my votes.”

Collins accused Ossoff of having aligned himself with anti-Israel figures including Twitch streamer Hasan Piker and Michigan U.S. Senate candidate Abdul El-Sayed.

“Imagine being a U.S. senator, and out there recruiting, endorsing, and supporting these people that want to see Israel wiped off the map,” Collins said. “They would rather be for Iran than for Israel — now that’s who Jon Ossoff is supporting.”

Piker had previously called Ossoff a possible contender for the 2028 Democratic presidential nomination. He subsequently disavowed Ossoff after the senator condemned antisemitic comments, Jewish Insider reported in August.

During the hourlong debate, Ossoff repeatedly condemned the U.S. war in Iran while highlighting Collins’ support for it. At least three times Ossoff called the war in Iran a “disaster” or “disastrous,” and he blamed the war for rising gas prices in the state of Georgia.

Collins, on the other hand, said he supported the war as necessary to prevent Iran from obtaining nuclear weapons. “The president had every right to go in there and make sure that Iran does not get a nuclear weapon,” Collins said. “The IAEA [International Atomic Energy Agency], they had already sounded the bells, the alarms that Iran was close to getting a nuclear weapon. And the thing is, Iran doesn’t only want to decimate and kill Israel, they want us as well.”

The evening was not without its personal attacks. Collins described Ossoff as “a radical” and a “trust-fund kid who has never had a job in his life,” while Ossoff repeatedly spotlighted the alleged ties between Collins and white nationalists. A recent report alleged that Collins’ former aides were involved with antisemitic and white nationalist rhetoric.

Ossoff leads Collins by about nine percentage points in FiftyPlusOne’s polling average as of Oct. 9.

The candidates are scheduled for a second debate hosted by the Atlanta Press Club on Oct. 13.

This article originally appeared on JTA.org.

The post Ossoff says IDF violated law of armed conflict in Gaza, but genocide is an issue for international courts   appeared first on The Forward.

In The Social Reckoning, Aaron Sorkin’s misbegotten follow-up to the generational classic The Social Network, there is, amid a cascade of exposition on algorithms, a decent Yiddish joke.

“Jeff, you would know this, settle a bet,” a coworker asks Jeremy Allen White’s Jeff Horwitz, a real journalist known for his 2021 Wall Street Journal series “The Facebook Files.” “Is spatula a Yiddish word?”

The question, a variation of which is found in Portnoy’s Complaint, is a nod, surely, to the protagonist’s heritage, one thing Aaron Sorkin has in common with his latest stand-in. The other features, which may well be true but I suspect are authorial projection: a love of old-school musical theater, a confounding Luddite disposition for a technology reporter and, in a kind of pre-Meta metafiction, a past career covering politics in D.C. (Sorkin admits to only joining Facebook to write his two films — when a source asks Horwitz “aren’t you a tech reporter?” he replies, “ish.”)

The actual Horwitz, a 2026 Pulitzer recipient, is an investigative reporter who also covered finance (no sports as far as I can tell) before arriving at the tech desk of the Wall Street Journal. His habit of appearing with a headband on Meet the Press goes unanswered for, but suggests a missed opportunity in casting (Matt Johnson, anyone?).

Sorkin, it seems, can’t help but write some version of himself: either the boy scout neoliberal or the edgier man of his youth, who was too busy writing in a coke frenzy to be told “no.”

That brings us to Zuckerberg, here an antagonist played by Jeremy Strong, who is at a considerable handicap for a couple of reasons. Jesse Eisenberg was such a perfect union of character and actor as to make an indelible performance he’s still trying to break away from (hence his refusal of a big payday to reprise the role here). The other factor is Zuckerberg the real man, who since The Social Network, has cut a public persona at odds with the first film’s characterization of him as a bitter loner with incel potential. Rather, he’s a dorky guy who wore a Benson Boone jumpsuit and cut a cover of “Get Low” for his wife. He slathers on too much sunscreen and Sweet Baby Ray’s. He’s a meme, if a wealthy one with a crazy amount of power.

Throughout this film, there are glimmers of a plausible engine that drives him beyond profit and his calling as a “free speech absolutist.” Facebook juices positive comments on videos featuring him and buries anything negative. His insecurity, which in the first film left off on him refreshing a friend request to his ex, lingers. At one point, he says of upcoming testimony before Congress, that it’s his opportunity to be liked.

But it is within that context, squaring off against AOC, that the real man revealed himself as a mumbling mess unequal to Sorkin’s dialogue. What remains of the figure in The Social Network? Take away the iconic score, the original actors and the conventions that made that film so effective and all that’s left is a quippy, moralizing husk. Without another director to take the helm (David Fincher’s taking on a Tarantino script), Sorkin’s tics have nowhere to hide.

“Something happened,” Horwitz says when he takes the job covering Facebook — after failing to find the Journal’s office on his car’s GPS.

We learn what that something is, as Mikey Madison’s Frances Haugen, an employee for Facebook’s civic integrity team slowly works her way up to blowing the whistle. The social network fed us outrage for clicks, funelled users toward extremist groups and ravaged the self-esteem of middle school girls on Instagram. Naturally, in the film, the platform’s penchant for sending amygdalae into overdrive and peddling disinformation culminates in Jan. 6.

Haugen insists, at one point, that she is not a Frank Capra character. It’s true — she’s a Sorkin invention, but unlike Mr. Smith, she is based on a real person. Her conviction is that Facebook could be a source for good. Sorkin may not believe this, though he was right to think there was a good movie in the revelations surrounding it since the first film. This just isn’t it.

“Spatula,” by the way, is not a Yiddish word (it’s Latin), though Meta, the new name Facebook took on shortly after Haugen’s damaging testimony, is both a Hebrew and a Greek one. In the language of the Bible, it is the feminine form of “is dead.”

Sorkin may have done well to take this as an omen: When it comes to a film property that needed no resurrection, it’s best to let the dead bury the dead — with or without a spatula.

The post Aaron Sorkin’s follow-up to ‘The Social Network’ has a pretty good Yiddish joke — too bad about the rest of the movie appeared first on The Forward.