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Does anime have a Nazi problem? Some Jewish fans think so.
TAIPEI (JTA) — When the Season 3 plot twist of “Attack on Titan” aired in 2019, viewers wasted no time in jumping online to discuss what they saw.
In the world of “Attack on Titan” — an extremely popular Japanese anime series now in its final season, which started in March and does not have a known end date — humanity has been trapped within a walled city on the island of Paradis, surrounded by Titans, grotesque giants who mindlessly eat any person who gets in their way.
In the third season, the Titans’ origins are revealed as a group called the Eldians, a group that made a deal with the devil to gain Titan powers with which they subjugated humanity for years. A group called the Marleyans later overthrew the Eldian empire and forced them into ghettoes, forcing them to wear armbands that identified their race with a symbol similar to the Star of David. Political prisoners were injected with a serum that turns them into the terrifying Titans.
The implications that a race meant to represent Jews had made “a deal with the devil” to achieve power were too much for some to bear. Fans debated the meaning on Twitter and Reddit as think pieces pointed to the show’s “fascist subtext” and possible antisemitism as ratings and viewership climbed. Some viewers defended the series as a condemnation of those ideas and a meditation on moral ambiguity, but others said the plot’s condemnation of fascism was too weak. The New Republic in 2020 called “Attack on Titan” “the alt-right’s favorite manga.”
Either way, in November 2021, the show’s production team announced it would cancel the sale of Eldian armbands — the ones Eldians were forced to wear in their ghettos — explaining that it was “an act without consideration to easily commercialize what was drawn as a symbol of racial discrimination and ethnic discrimination in the work.”
“Attack on Titan” is only the latest manga (a specific type of Japanese comic books or graphic novels) or anime (TV shows or movies animated in the manga style) series on the chopping block. As it continues to gain popularity outside of Japan’s borders, the Japanese animation medium as a whole has been hit with criticism for alleged glorification of antisemitism, fascism and militarism. The debate has been fueled by a stream of examples: the literal evil Jewish cabal in “Angel Cop,” (references to Jews were later removed in the English-language dubbed version), the Fuhrer villain in “Fullmetal Alchemist,” the Nazi occultism (in which Nazis channel the occult to carry out duties or crimes) in “Hellboy,” and the Nazi characters in “Hellsing” and “Jojo’s Bizarre Adventure” to name a few.
Western viewers are not the only ones taking issue. Fans of “Attack on Titan” in South Korea — which was subject to Japanese war atrocities during World War II that Japan continues to deny — have taken issue, too. Revelations from Hajime Isayama, the creator of the original “Attack on Titan” manga, that a character in the series was inspired by an Imperial Japanese army general who had committed war crimes against Koreans were met with heated discussion and later death threats from Korean fans online. Some also pointed to a private Twitter account believed to be run by Isayama that denies imperial Japan’s war atrocities.
“Ridiculous the lengths a fandom will go to downplay the blatant antisemitism in a series and protect and lie about the creator of said series,” wrote one Twitter user. “[Y]ou doing this and ignoring koreans and jewish people says a lot.”
These themes are so common in manga and anime that some independent researchers like Haru Mena (a pen name) have begun creating classifications for the many Nazi tropes that make regular appearances. Mena, a military researcher who lectures annually at the Anime Boston convention about World War II and Nazi imagery in anime and manga, says the phenomenon is a result of how Japan remembers its role in World War II — not as the aggressor, but as a victim of war.
“Japan does not want to be the bad guy. They love to have other people be the bad guy,” he said. “That’s why they’re using all these Nazi characters. We all agree Nazis are bad, war crimes are bad, no decent self-respecting nation would ever do [what they did].”
But many Jewish anime fans, like Reddit user Desiree (who did not offer her last name for privacy reasons), have taken issue with the way some anime and manga series portray Nazis while reducing the Holocaust to narrative devices.
“I think that most people who are telling these stories aren’t coming from an area where this would be as personally familiar,” she said. “There’s almost no resonance to it. Because they take away all these details they make it a big trope.”
hi
anime and manga have an antisemitism problem
good day
— Kay (he/they, she for friends only) (@Cayliana) February 19, 2022
East Asian interest in Nazi imagery has also bled over into the West in the form of news headlines in recent years — involving everything from Nazi-themed bars and parades to Nazi cosplay in Japan, Taiwan, Thailand and Korea.
But some experts say that repeated references to Nazi villains and World War II in manga and anime have more to do with Japanese history and culture than with antisemitism.
“There is a fascination with Nazism in Japan to some degree or another,” said Raz Greenberg, an Israel-based writer whose Ph.D. research examined Jewish influence on Japan’s “God of Comics,” Osamu Tezuka, an artist sometimes referred to as Japan’s equivalent to Walt Disney. In 1983, Tezuka released the first in a five-volume series called “Adolf,” a popular manga set in World War II-era Japan and Germany about three men with that name — a Japanese boy, a Jewish boy and Hitler.
“I think there’s something fascinating about Nazi aesthetic, certainly for countries that never actually participated in the war against the Nazis. But I don’t think it’s that different from, say, the way George Lucas made the Empire in the ‘Star Wars’ films very Nazi-like in its aesthetic,” Greenberg said.
As Greenberg notes, Western media is also full of Holocaust references — some more successful in its repudiation of Nazi ideology than others — like the numbered tattoos and recent use of a Lithuanian prison camp as a filming location in the Netflix hit show “Stranger Things.”
“What makes people angry is, people think when the Japanese approach it, they approach it without understanding. And it’s easier to think that they don’t understand it when you look at a show like ‘Attack on Titan,’” Greenberg said.
Liron Afriat, a Ph.D. candidate at the Hebrew University of Jerusalem’s Asian Sphere program and the founder of the Anime and Manga Association of Israel, said while shows like “Attack on Titan” reference the Holocaust and use World War II-era imagery, it’s likely that Western viewers are misinterpreting its intended parallels to Japanese politics. … particularly Japan’s past of aggressive and corrupt militarism and late former Prime Minister Shinzo Abe’s attempts to reinstate a non-defensive military.
“Western people are very eager to jump to conclusions when it comes to Asian media. This is something I see a lot in my work and it’s very frustrating,” she said. “There is a sense that because Japanese pop culture is so popular nowadays, it’s very easy to kind of dogpile on it and say it’s racist.”
In recent decades, anime series have been watched by hundreds of millions of people around the world, and the medium has gone from being seen in the West as a geeky niche genre to a mainstream phenomenon. Though show creators may be conscious about their references, some fans say the fascist and Jewish references, especially the more clear-cut ones — like the Jewish conspiracy in “Angel Cop” — have real-life consequences.
Many in the anime fan community today remember a 2010 incident at Anime Boston when a group of cosplayers dressed up as characters from “Hetalia: Axis Powers,” a series that anthropomorphized Axis and Ally countries, was photographed making Nazi salutes just around the corner from the city’s Holocaust memorial.
“It used to be like, I can go to an anime convention and they would be selling uniforms that were clearly meant to be Nazi uniforms, but sans the swastika,” Desiree said. “And then over time, I noticed conventions started banning that kind of thing.”
“JoJo’s Bizarre Adventure” features a Nazi character named Rudol von Stroheim. (Screenshot from YouTube)
Noah Oskow is the managing editor of the digital magazine Unseen Japan and a Jew who has lived in Japan for seven years. He recalled similar experiences at U.S. anime conventions.
“I think that it is problematic to portray Nazis and the Holocaust in the very frivolous way that it’s often portrayed,” he said. “Even in a place that is so far removed from Japan, that aesthetic of Nazis from manga or anime was seeping into somebody’s choices in a far-removed anime and manga event.”
Oskow says recent portrayals of Nazis and fascism in anime and manga lack the depth necessary to confront an issue like the Holocaust, but that some subtext in shows like “Attack on Titan” is likely missed by Western viewers since it is created for a Japanese audience.
Still, he says, as a Jew, there is a discomfort with these depictions, and the problems with simplifying themes like fascism and genocide should not be ignored just because the product came from Japan — particularly as stereotypes about Jews as having outsize influence remain common. In Japan, as in other East Asian nations such as South Korea, China and Taiwan, books and classes on how to become as smart and wealthy as Jews — believed to be among the most powerful people in media and finance — are not uncommon.
“In my years of discussing Jews with Japanese people…they really think of Jews as an ancient historical people or the people who were killed in the Holocaust unless they have some sort of conspiratorial idea. But most people have no conception of Jewish people,” Oskow said. “So when they’re portraying Jews in manga or anime or any sort of media, and when readers or viewers are engaging with that media, I just don’t think there’s this thought of how a Jewish person would perceive how they’re being portrayed.”
Jessica, a 29-year-old Jewish and Chinese anime fan from Vancouver who also requested her last name be left out of this article, said she deliberately chooses not to watch shows such as “Attack on Titan” and “Hetalia” because she finds the discussions about them among fans to be unproductive and frustrating. Desiree echoed Jessica’s experience of being ignored when raising the topic of antisemitism within the medium or within the fan community on platforms such as Reddit.
“I saw the reactions of other Jewish fans and, more importantly, saw the reaction of the goyish fans — the way ‘Hetalia’ fans did the sieg heil in front of a Holocaust memorial, the way that [‘Attack on Titan’] fans would swarm concerned Jewish fans in droves to tell them that they should perish in an oven, and I decided I didn’t want anything to do with anime that attracted that sort of fanbase,” Desiree said.
“Attack on Titan” returned to streaming services on March 4 with the first part of its final season. In the first episode, the protagonist Eren, whom audiences have followed for a decade, begins carrying out a global genocide known as “the rumbling” with the end goal of destroying all Titans for good and bringing peace. The end result is a wipeout of 80% of humanity, an act that Eren believes was the only path to freedom. He thinks humans must all suffer as a consequence of being born into the world — a nihilistic philosophy that can be found among the manifestos of school shooters and incels.
In the original manga series, Eren’s supporters on the island militarize in order to defend Eren’s violent act, chanting a slogan: “If you can fight you win, if you cannot fight you lose! Fight, fight!” The ending was seen as morally ambiguous and was not popular with fans, who mostly refuted it due to poor writing. Many hope that the anime series will go a different route in its final episodes, which have not yet been released or given future release dates.
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Beyond the frame, thousands are being murdered in Auschwitz but here, there are blueberries
”It’s a detective story,” Moisés Kaufman said. “It focuses on an archivist at the United States Holocaust Memorial Museum who is offered a mysterious album. The person offering the album claims that it is photographs of Auschwitz.”
Kaufman is talking about Here There Are Blueberries, the play about those photographs and that archivist. Kaufman conceived and directed the play, which he co-wrote with Amanda Gronich of the Tectonic Theater Project. It was a finalist for the 2024 Pulitzer Prize. The archivist — Rebecca Erbelding — “is very skeptical because there are very few photographs of Auschwitz in existence,” Kaufman, Tectonic’s founder and artistic director, told me over Zoom. “The Nazis did not want any photographs or records of what they were doing there.”
Once Erbelding gets the album, she discovers that the photos are authentic, but there are no photos of victims, only Nazis, including Josef Mengele. “The play,” Kaufman said. “is a detective story of her trying to figure out what these photos tell us.”
The album, which consisted of more than 100 photos taken between May and December 1944 and put together by Karl-Friedrich Höcker, a Nazi SS officer, was front page news in 2007 when Erbelding and the museum revealed it. “It’s something we didn’t know,” Kaufman said. “When you think Auschwitz, what do you think? Gas chambers, crematoria, you think barracks. And this is not that. We had never seen these photos before.”

Höcker “was a very high-up guy,” Kaufman continued. “That’s one of the reasons why the album is so important. Because he was very close to the center of operations. We’re looking at how the people who were running the camp behaved, and how they lived their daily lives.”
Kaufman decided he needed to turn those photos and that story into a play.
“I come from a Holocaust survivor family,” he said. “My father was a Holocaust survivor, and I knew that … I would at one point in my life have to write about this. But I kept postponing it because, as you probably know, the Holocaust is the one historical event that has been most written about. Many movies have been made about it. It’s like the historical event that has been most chronicled in art. So I thought, ‘What else is there to say?’ And yet, when I saw these photographs, I thought, this is something we didn’t know. I want to write a play about that.”
The play uses the photos, projected on the stage as the story is told.
“The Tectonic Theater Project is an experimental theater company,” Kaufman said. “And the kind of formal question for us was, ‘Can you write a play from an album of photographs? Can the photographs carry part of that narrative?’ Every play we do has a new form. We try to never repeat ourselves.”

Kaufman, 62, grew up in Caracas, Venezuela, and immigrated to New York City in 1987. He was nominated for a Tony Award for directing I Am My Own Wife and for writing 33 Variations. Blueberries previously played at the La Jolla Playhouse in California, the Shakespeare Theatre Company in Washington DC and Off Broadway at New York Theater Workshop.
The play’s title is taken from a picture in the album. “There’s a photograph in the album where they are eating blueberries,” Kaufman said — the title is a caption that the album’s owner had written. “I don’t want to give too much away,” Kaufman said, “but the location where this photograph is taken was something that few people knew about — that this location existed. And to me, it kind of encapsulates the spirit of the photos, which is a spirit of, a quotidian, a casual, the how do we live life in a moment like this?”
“What is happening outside the frame is that they’re killing 1.1 million people. Right outside the frame,” Kaufman continued. “And it poses questions about who we are as human beings.”
“We talk a lot about, what is the distance between culpability, complicity, and complacency?” said Kaufman. “And where do each one of us fall in that continuum?”
Why would someone knowing what’s happening in the camp take these photos and make an album of them?
“I think he thought the Reich was going to last a thousand years,” Kaufman said. “I thought that, in part, he wanted to chronicle his contribution to it.”
Kaufman said that although the play deals with what happened more than 80 years ago, it has a key relevance to today. “I think at a moment in time where so many governments around the world are turning towards authoritarianism, this play holds a mirror up to us. Who do we want to be?” he said.
What does he want audiences to get from this play after seeing it? What does he hope they are thinking as they leave the theater or afterwards?
“Number one, they’re going to see photographs that they’ve never seen before, and they’re going to see images that they’ve never seen before. Hopefully, the images will elicit new ideas, and hopefully, the conversation that they’re having when they exit the theater is different from the conversation they were having when they entered.”
The photo album, Kaufman said, “chronicles the life of everyone who runs the camp — people who worked in the kitchen, secretaries, high command, the people who drove the buses, the people who run the offices, the people who run the gas chamber. Everybody is portrayed. And I think that it invites the audience to think about not only how are humans capable of such a thing, but how are we all capable of such a thing? And what do we have to do in order to prevent ourselves from doing such a thing?”
‘Here There Are Blueberries’ begins performances Nov. 2 at Broadway’s Barrymore Theater and runs through Jan. 10.
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‘Halloween meets Israeli chutzpah,’ as holiday grows beyond American expats in the Jewish state
Israeli cellphones have been pretty busy lately, given Tuesday’s monumental national election. There were the constant robocalls and daily text surveys leading up to Election Day. And with the scramble to form a coalition now underway, Israelis are glued to their phones, waiting for news alerts and debating every possible scenario in various group chats. But around Tel Aviv, hundreds of parents have an extra WhatsApp group to manage: the one dedicated to their neighborhood’s trick-or-treat event, set to take place this Saturday night.
“Can we change the date for Sabbath observers?” one mother asks.
“Halloween is always October 31st,” someone responds.
“I don’t think anyone here cares about the actual date,” another chimes in.
There are dozens of questions about where to buy candy in bulk, along with frantic costume emergencies. “Our order won’t make it! Does anyone have a witch costume for an 8-year-old?”
“We are so excited,” one parent writes. “This is our first time. Can someone explain how it works?”
Over the last decade, Halloween in Israel has grown from a small gathering of American immigrants into neighborhood-wide celebrations across Tel Aviv and other big cities. Bars and clubs now host annual spooky soirées, and costume shops that once depended almost entirely on Purim sales have added a second busy season in late October. And on Saturday night, thousands of children are expected to take to the streets for some classic trick-or-treating — with an Israeli twist.
The birthplace of Halloween b’Aretz remains its epicenter: Tel Aviv’s Old North neighborhood. The area has long been an enclave of both young families and English-speaking immigrants, a combination that helped transform the unfamiliar Halloween ritual into an annual local tradition.
The first trick-or-treat event was organized in 2015 by expat mothers Smadar Barak and Eliza Duenow, whose children were missing an American Halloween. It began with just 10 families spread out across the Old North. Within four years, that number had jumped to more than 100. And it was no longer just English speakers. Israeli friends and classmates had begun asking if they could join “American Purim.” Participation exploded as other neighborhoods began hosting their own Halloween-themed events.
But over time, many of the original families, including both organizers, returned to the States. The whole thing might have fizzled out completely had it not been for Noa Rudik, a young mother on extended maternity leave, who often ran Jewish holiday events for neighborhood families.
“A community candle-lighting for Chanukah. A kibbutz-style Shavuot celebration in the park. I saw that families, like mine, were hungry for opportunities to be together,” Rudik says.
Somehow, she ended up on an email list from Duenow, who was organizing a group pumpkin order and carving activity. Born and raised in Israel, Rudik had very little exposure to Halloween, but she was immediately enchanted. After taking her kids to the pumpkin carving, they eventually joined the trick-or-treaters. “In those early years, we didn’t have access to all of the Halloween supplies, so everything was very homemade — the costumes, the decorations, which I love. Plus, what kid doesn’t want to run around all night collecting candy?”
Beyond her own family’s enjoyment, Rudik understood the holiday’s potential for community building. “It doesn’t get any more communal than Halloween,” she points out. “Rosh Hashanah. Passover. You can celebrate those holidays just within your own family. Many people do. But for trick-or-treating, you literally cannot do it without your neighbors.”
Rudik and a few others eventually took over for Barak and Duenow and opened it up to the entire community. Today, the original WhatsApp group has close to 1,000 members, and nearly every Tel Aviv neighborhood hosts its own event. While the early trick-or-treaters sometimes had to endure strange looks as they traipsed from house to house in their costumes, these days you can feel the spirit of Halloween across the city, as the sidewalks fill with pint-sized ghosts and goblins.
Not everyone is on board with the Pagan-rooted holiday, though. Last year, Israeli pop star Miri Mesika sparked a public debate over Halloween and Jewish identity when she pointedly told an interviewer that her daughters would be waiting until Purim to dress in costume. Rudik has also sensed some reluctance on the part of the Tel Aviv municipality to support trick-or-treating, even though it typically helps fund her other events. Efforts to promote the activity through local schools were also met with objections from some parent representatives, leading to a compromise: each could decide whether to pass the invitation along to their class.
Occasionally, Rudik hears from more traditional families who are hesitant or have decided not to participate. “But otherwise, the response has been overwhelmingly positive,” she reports. “Most people do not even think about the religious aspect or the fact that it’s not ‘our holiday.’ They just see it as an opportunity to be creative, to spend time with friends, and to come together as a community.”

All of which involves some pretty complicated logistics. Even with the holiday’s growth in popularity, most residents don’t hand out treats, so America’s door-to-door model won’t work. In the early years, participants shared addresses, apartment numbers and even door codes with each other. But as the group grew, the prospect of giving hundreds of strangers access to their buildings became less appealing. Some families moved their candy stations downstairs; others divided up, with one parent taking the children around while the other stayed home to distribute candy, as they often do in the States. For years, families navigated with a Google map of participating homes. Last year, a tech-savvy neighborhood parent designed a custom trick-or-treating app that will now be available across the city.
“Start-up Nation does Halloween,” Rudik jokes.
The guiding principle is that anyone collecting candy should also help provide it. Some families put up elaborate decorations and stick around to distribute treats; others leave a simple help-yourself bowl by the door. Those who can’t host typically arrange to buy candy for someone else’s house, which gets coordinated through the Whatsapp group the week before.
“We go by the honor system,” Rudik says. “We trust people to figure out a way to contribute. And there is always plenty of candy for everyone.”
But just in case, Rudik spends much of the night manning a centrally located emergency candy station, dispatching reinforcements to households that are running low.
After more than a decade, the festivities usually run pretty smoothly, though the growing number of Israelis has brought with it a learning curve.
“I really love that this started with Americans,” Rudik says. “I think it lends a legitimacy that would not necessarily be there if a bunch of Israelis just decided to start trick-or-treating. But it has definitely changed shape over the years.”
“Halloween meets Israeli chutzpah,” she calls it. Like any cultural tradition, trick-or-treating comes with its own etiquette that isn’t necessarily obvious to newcomers.
“Usually parents would be responsible for making sure their kids follow the rules. But we realized parents themselves didn’t necessarily know the ins and outs. Most of us didn’t grow up on this,” she points out.
One year, after families complained that older children had emptied their unattended candy bowls, Rudik and her fellow organizers visited neighborhood schools to talk to the kids and sent parents reminders on WhatsApp.
“In the days before Halloween, we really urge everyone to review the rules with their children: just take one candy, leave enough for others. Be good neighbors.”

This year’s turnout is expected to be their biggest yet, Rudik says, with several hundred families registered in the Old North alone. It follows a string of quieter celebrations, beginning in 2020, when the pandemic kept everyone inside.
“I think we did something over Zoom,” Rudik says, rolling her eyes.
Then came the quietest year of all: 2023. Less than three weeks before Halloween, on Oct. 7, Hamas terrorists infiltrated Israel’s southern border, killing more than 1,200 people and taking another 251 hostage.
“It wasn’t even a question,” Rudik recalls. “It was just obvious to everyone it would be cancelled. Nor was it specific to Halloween. No one was in the mood to celebrate anything. We were just engulfed in grief.”
The following year, the organizers went ahead with a toned-down version.
“The war wasn’t over, there were still hostages in Gaza,” she says, “but we also felt like we wanted to give the children some sense of normalcy. We asked people not to do anything too gory or scary — no blood or body parts or skeletons — and everyone really respected that. It was a pretty muted night.”
Last year, Israeli Halloween was back in full force, with one new addition: an adults only party, which Rudik also co-organized and will be bringing back this year as well. “Most of us didn’t get to celebrate Halloween as kids,” she says, with a smile. “So we are just making up for lost time.”
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Jewish Democrats head to the polls frustrated with their party. Will they still help flip control of Congress?
For decades, Jewish voters have been among the Democratic Party’s most loyal supporters, though Republicans have made some inroads in recent elections. Now, with early voting underway and the midterms just days away, Jewish voters could help decide control of Congress in what may signal a broader change.
After a heated primary season, Republicans see an opportunity and signs of a potential shift their way. They hope growing Jewish frustration with Democrats over antisemitism and support for Israel will translate into votes in closely contested races.
Democrats need a net gain of four House seats and four Senate seats to take control of both chambers. But the Democratic Party’s advantage among Jewish voters on the generic congressional ballot has fallen from 49 points to 13.
CNN chief data analyst Harry Enten recently highlighted a sharp decline, for example, in Democratic support among Jewish voters in New York. Gov. Kathy Hochul’s lead among Jewish voters has narrowed from 51 percentage points in 2022 to just 13 points this year.
In Michigan, Jewish Democrats remain divided over their party’s Senate nominee, Abdul El-Sayed, who has intensified his criticism of Israel in recent weeks. Last weekend, a PAC supporting the El-Sayed campaign faced online backlash for a TV ad that showed a couple blaming Israel aid for the high price of groceries.
But whether that frustration will lead Jewish voters to stop supporting Democratic candidates is another question.
Two national surveys conducted this year show Jewish voters remain firmly in the Democratic camp despite the declines. A September poll by the Jewish Electorate Institute found that 71% of Jewish voters planned to support Democrats for Congress, compared with 23% who planned to support Republicans. Another survey, conducted by GBAO Strategies, found Democrats with a 67%-26% lead among Jewish voters.
The Jewish Electorate Institute poll also found that Jewish voters were nearly equally concerned about rising antisemitism within both parties.
Still, with control of the House and Senate at stake and several close races, even a small shift among Jewish voters could make a difference.
Republicans see an opening in Michigan
Michigan offers perhaps the clearest test of the battle over the Jewish vote.
The Republican Jewish Coalition is spending $2 million to target approximately 50,000 Jewish voters, primarily in Oakland County, home to some of Michigan’s largest Jewish communities.
Sam Markstein, RJC’s spokesperson, said in an interview with the Forward that the campaign includes digital advertising, direct mail, text messages, phone calls and door-to-door canvassing in communities such as Bloomfield Hills, West Bloomfield and Southfield, where former Rep. Haley Stevens performed strongly in the Democratic Senate primary.
It’s the group’s largest general-election investment, after its super PAC, the RJC Victory Fund, spent $3.9 million against Kentucky Republican Rep. Thomas Massie, an Israel critic, in the GOP primary earlier this year. Massie lost by nine points.
El-Sayed’s nomination has divided Jewish Democrats because of his criticism of Israel and his response to the March attack on Temple Israel in West Bloomfield that some Jewish voters interpreted as justifying the attack. He later apologized for the remarks. Some Jewish Democrats are publicly supporting former Rep. Mike Rogers, saying El-Sayed has to assuage concerns in his outreach and in public comments.
Jewish voters make up just 1.4% of the electorate in Michigan. But the stakes are high, with polls showing a dead heat between El-Sayed and Rogers. In 2024, Democratic Sen. Elissa Slotkin defeated Rogers by fewer than 20,000 votes. A relatively small shift among Jewish voters could prove crucial.
In his closing statement during the last Michigan Senate debate, Rogers appealed directly to Jewish Democrats “who are afraid for their children, when their daughters can’t wear their Star of David walking across Michigan’s campus” to support him. “You’ll have a home with us,” Rogers said. At a rally last Sunday, Trump once again accused Democrats of disloyalty, saying that Jewish voters backing El-Sayed “should be ashamed of themselves.”
Markstein predicted that “you could see a Republican carry the Jewish community in Michigan for the first time in decades.” He suggested there’s an “acceleration of Jewish voters” out of the Democratic Party after the Oct. 7, 2023 Hamas attack and the subsequent rise in antisemitism. But Markstein also acknowledged that the change may be gradual.
“I don’t think that’s going to happen overnight,” he said. “I do think they’re going to be much more open-minded and be a lot more ticket-splitting in the future.”
The RJC plans to examine precinct-level election results rather than relying solely on exit polls, Markstein said, to measure whether Jewish voters are moving toward Republicans.
Jewish Democrats fight to hold their voters
The Jewish Democratic Council of America is also mounting its largest midterm voter outreach effort, hoping to prevent Jewish dissatisfaction with Democrats from turning into Republican votes.
While its advertising budget is significantly smaller than the RJC’s, JDCA is relying heavily on direct voter outreach.
JDCA said it is spending more than $300,000 on digital advertising specifically targeting Jewish voters, aiming for more than 4 million ad impressions by Election Day.
Its advertisements include campaigns against Rep. Mike Lawler in New York, Republican Senate candidate Ken Paxton in Texas and Republican Sen. Jon Husted in Ohio. Other ads target younger Jewish voters in six states and 20 competitive House districts.
The organization has also mobilized more than 715 volunteers, who have made over 640,000 direct Jewish voter contacts through phone banks and canvassing; they’ve also recruited 32 campus fellows to help organize voters.
Halie Soifer, JDCA’s CEO, accused Republicans of exploiting Jewish fears about antisemitism.
“In the closing weeks of this election, Republicans are invoking fear as a political tactic, tapping into Donald Trump’s culture war,” Soifer wrote in an email to supporters. She accused Republicans of using antisemitism and Islamophobia to divide voters rather than addressing economic concerns. “It’s going to backfire,” she said.
“Democrats aren’t perfect, but Republicans under Trump aren’t the answer,” Soifer added.
The battle beyond Michigan
Beyond Michigan, Republicans are also trying to persuade Jewish voters to reject mainstream, pro-Israel Democrats, arguing that the party has moved too far to the left in an effort to satisfy the progressive wing.
One major test is New York’s 17th Congressional District, where Jewish voters make up an estimated 20% of the population. Although the RJC is not making a major investment there, other groups are spending heavily in one of the country’s most competitive House races.
The incumbent Republican congressman, Mike Lawler, has maintained close relationships with the growing Hasidic and Orthodox communities in Rockland County and parts of Westchester County and made Israel and antisemitism central issues in his campaign. The Democratic candidate, Cait Conley, an Army veteran and former national security official, is also a strong supporter of Israel. She has condemned antisemitism and publicly criticized New York City Mayor Zohran Mamdani’s statement marking the third anniversary of the Oct. 7 attack.
In Georgia, Democratic Sen. Jon Ossoff, who is Jewish, faces Republican Rep. Mike Collins in another competitive race.
Ossoff has faced criticism from some Jewish supporters over his votes to block certain weapons sales to Israel. In a recent debate, Collins criticized Ossoff for supporting El-Sayed, describing the Michigan Senate candidate as “the guy that hates Israel.” Ossoff has accused his opponent of ties to white nationalism, a charge Collins rejected.
But that dissatisfaction with Ossoff has not necessarily translated into support for his Republican opponent. Georgia state Rep. Esther Panitch, a Jewish Democrat who has criticized Ossoff’s Israel positions, is supporting his reelection.
J Street, the liberal pro-Israel organization, is spending nearly $500,000 to support Ossoff as part of a $3 million digital advertising campaign across five competitive races. Unlike JDCA and the RJC’s Michigan campaign, J Street’s advertisements target the general electorate, not specifically Jewish voters.
Tali deGroot, J Street’s vice president of political and digital strategy, said J Street is working to elect a “pro-Israel, pro-peace, and pro-democracy majority.”
Florida offers another test of the Jewish vote.
In the newly drawn 25th Congressional District, Jewish Democratic Rep. Jared Moskowitz, an outspoken supporter of Israel, is facing Republican Scott Singer, the former mayor of Boca Raton who is also Jewish. The district’s new boundaries favor Republicans, with Trump carrying the area by nine percentage points in 2024.
Moskowitz has frequently criticized antisemitism within his party and clashed with progressives over Israel. The outcome of this close race could show whether a Jewish Democrat with strong pro-Israel bona fides can win a Republican-leaning district. The GOP’s leading House super PAC recently canceled a planned $6 million advertising campaign in the district after major political forecasters shifted the race to “Lean Democratic.”
Florida’s Senate race between Republican incumbent Ashley Moody and progressive Democrat Angie Nixon offers a broader, though less competitive, test of the Jewish vote in a state where Jews make up an estimated 3% to 5% of the population.
Together, these races could show whether Jewish voters are judging Democratic candidates by their own positions on Israel and antisemitism or by the direction of the party as a whole.
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