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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.


The post Does anime have a Nazi problem? Some Jewish fans think so. appeared first on Jewish Telegraphic Agency.

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2026 Tribeca Film Festival to Screen World Premiere of Israeli Films, Including Noga Erez Documentary

A still from “What Is To Come.” Photo: Tribeca Film Festival

Organizers of the 2026 Tribeca Film Festival announced on Thursday the official lineup for this year’s event in June and it includes the world premiere of three Israeli co-productions.

What Is to Come” will be screened as part of the festival’s International Narrative Competition. The drama from Israel and the United Kingdom is about a woman named Yehudit who unexpectedly loses her husband and is forced to start over on her own. “In the process, she finds that abrupt and painful detours can lead to bright roads,” according to a synopsis of the film. The feature is directed and written by Ruthy Pribar, and stars Ronit Yudkevitch, Yaakov Zada Danielm and Tovit Adis Semay. “What Is to Come” will make its world premiere on June 8.

Pribar’s debut feature film “Asia” screened at the Tribeca Film Festival in 2020 and won three awards, including the Nora Ephron Prize for Pribar, a best actress award for Shira Haas, and best cinematography for Daniella Nowitz. The film also won nine Ophir Awards in Israel.

“Moishe Badhan (or The Tale of a Wedding Entertainer),” will also make its world premiere at the Tribeca Film Festival this year, in the Viewpoints section. Directed by Gidi Dar and written by Shuli Rand, the co-production from Israel and the US is a comedy-drama about a disgraced Hasidic wedding-comedian who is trying to gather enough funds to marry off his daughter. The cast includes Shuli Rand, Tal Friedman, and American Jewish comedian Elon Gold, who is also an executive producer on the film. The world premiere will take place on June 4.

The 2026 Tribeca Film Festival will also feature the world premiere of the documentary “Noga,” about Israeli alternative pop singer Noga Erez. The movie, which was directed and co-produced by Jono and Benji Bergmann, is a c0-production from Austria, Germany, Israel, and the US. It examines how Erez “must redefine her role as an artist on a global stage” after the Israel-Hamas war breaks out in 2023. The film’s world premiere on June 7 will be followed by an acoustic performance by Erez and her longtime partner in music and life Ori Rousso.

Erez is performing twice at the Coachella Valley Music and Arts Festival this month. She has never performed at the festival before and has made history as the first Israeli singer to take to the stage at the annual event in Indio, California.

The 2026 Tribeca Film Festival will run from June 3-14. The event will feature 118 feature films including 103 world premieres, which is the most in the history of the festival, and 86 short films. The festival this year will represent 143 filmmakers, including 55 first-time directors, spanning 44 countries.

“Tribeca began 25 years ago as an act of healing, a mission to reunite our community through the power of storytelling. Today, that purpose feels more urgent than ever,” said Jane Rosenthal, co-chair and co-founder of the Tribeca Festival. “This year’s incredible feature and short film lineup includes stories from filmmakers who make us think, feel, laugh, cry, and ask why. Tribeca remains dedicated to the artists’ voices and diverse perspectives that challenge us to see one another more clearly.”

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Over 1,000 Entertainment Industry Figures Back Israel’s Inclusion in 2026 Eurovision Song Contest

A photographer takes a picture of a TV screen in Wiener Stadthalle, the venue of next year’s Eurovision in Vienna, Austria, Nov. 18, 2025. Photo: REUTERS/Leonhard Foeger

More than 1,000 members of the entertainment industry have signed an open letter expressing support for Israel’s participation in the 2026 Eurovision Song Contest (ESC) held in May, in response to demands to have the country excluded from the competition because of its military actions in the Gaza Strip during the Israel-Hamas war.

Creative Community for Peace, a non-profit organization comprised of prominent members of the entertainment industry, penned the initial open letter in 2024 in response to efforts by anti-Israel activists to have the European Broadcasting Union, which organizes the ESC, ban Israel from the event and to pressure countries and artists to withdraw their participation from the competition. The open letter voiced support for Israel’s inclusion in Eurovision as well as solidarity with the contest’s participants, while denouncing calls for a boycott of the event.

Hundreds more entertainment industry leaders have since added their names to the open letter, including actresses Amy Schumer and Mila Kunis; singer Matisyahu; actors Jeremy Piven and Jerry O’Connell; television writer, producer, and directors Amy Sherman-Palladino and Matthew Weiner; “Wonder Woman” director Patty Jenkins; and “Nobody Wants This” co-creator Erin Foster.

“We have been shocked and disappointed to see some members of the entertainment community calling for Israel to be banished from the contest for responding to the greatest massacre of Jews since the Holocaust,” the letter stated. “We believe that unifying events such as singing competitions are crucial to help bridge our cultural divides and unite people of all backgrounds through their shared love of music.”

“Music should bring us together,” said O’Connell. “No artist should be silenced for where they are from. These boycott efforts destroy the very connections the arts are meant to build.”

Those who signed the initial open letter back in 2024 include Helen Mirren, Boy George, Liev Schrieber, Sharon Osbourne, Gene Simmons, Debra Messing, David Draiman, Mayim Bialik, Julianna Margulies, and Ginnifer Goodwin.

“Artists and culture are being dragged into the angry, misinformed politics of the moment,” said Osbourne in a released statement. “Attempts to exclude Israelis from the international stage twist art into a tool of division and erode the shared humanity that the arts are meant to preserve. I’ve watched this play out for over three years, and it just breaks my heart.”

The 2026 Eurovision semi-finals will take place on May 12 and 14, and the final live show will be on May 16. The competition is being held in Vienna, Austria. 

After the European Broadcasting Union confirmed late last year that it will allow Israel to participate in the 2026 ESC, Spain, the Netherlands, Ireland, Slovenia, and Iceland announced they will not participate in this year’s event.

Spain’s national broadcaster RTVE said it will not broadcast or participate in the event, which marks the first time the country has completely boycotted the ESC since it began participating in the competition in 1961. Spain’s Culture Minister Ernest Urtasun called the move “brave.”

Meanwhile, the EBU confirmed this week that for the first time ever the live shows of the 2026 Eurovision Song Contest will be available to watch for free in the United States. It will air on YouTube but also be available for viewing in the US on the Peacock streaming service.

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Yale University Admits Role in Crumbling Public Trust in Higher Education

Graduates enter Old Campus at Yale University for Commencement Day exercises, in New Haven, Connecticut, US May 19, 2025. Photo: REUTERS/Bryan Woolston

Yale University in New Haven, Connecticut blamed itself and other elite colleges for having played a role in crumbling public trust in higher education in a new committee report published on Wednesday.

Racial preferences in admissions, prohibitive sticker prices, declining academic standards, and advocacy of divisive progressive causes which polarized the American public to the point that “national divorce” became a byword on social media in recent years all contribute to a sense that elite higher education considers itself a class apart and above regular people, the report said.

Citing polling showing that just over a third of Americans, 36 percent, have “confidence” in higher education as opposed to 57 percent who did in 2016, it noted that “trust in higher education has declined faster than in other institutions and sectors.”

The statistics reveal uncertainty regarding the purpose of higher education and its relevance to a democracy that is contemptuous of gatekeepers and hollow indicators of status.

Yale University’s own opaque system of “preferences” in undergraduate admissions — which it said privileges the wealthy, athletes, and some minorities — is one source of discontent that needs to be addressed, the report said.

Yale University infamously adopted racial preferences under the leadership of president Kingman Brewster in the 1960s, despite growing evidence that the practice created an environment of academic maladjustment and racial division. This led to the creation of segregated programming and academic programs for African Americans, as well as a summer remedial program for minority students — PROP (Pre-Orientation Program) — that was eventually rebranded in the late 1990s when its apparent subtext proved unpalatable to a new generation of students.

“We recommend that Yale reduce preferences for special classes of applicants. We also believe that the admissions system can be made more effective and less onerous for applicants by establishing and making a public minimum standard of academic achievement necessary for consideration,” the report continued. “Under the current system, Yale informs potential students that everything matters, leaving applicants scrambling to second-guess what the university wants.”

The report authors, drawn from across Yale’s faculty, went on to recommend adopting a “minimum SAT score” or “Yale specific entrance exam” to “ensure that no student is admitted without the requisite academic preparation ability.”

Elite undergraduate admissions is a matter of growing importance to the Jewish community, as it has seen its representation in some Ivy League institutions plunge. According to a report issued by the Harvard Jewish Alumni Alliance in March, Jewish undergraduate enrollment at Harvard has plummeted to lows not seen since the eve of World War II and the Holocaust, falling to just 7 percent.

The same report also found that Jews are the only minority group at Yale University whose admittance rates have declined since the university expanded the size of its undergraduate class in 2018. The revelation has revived memories of elite education’s 20th century practice of “restriction,” by which admissions officers relied on a “holistic assessment” of applicants to deny admission to Jews.

Yale’s new report also touched on the charged issue of viewpoint diversity, a point of vulnerability for most universities.

“The campus has not been immune from pressures toward conformity, intimidation, and social shaming that have affected the rest of higher education and, indeed, the rest of American society,” it said, referencing a 2015 viral incident in which a Yale undergraduate shrieked at professor Nicholas Christakis because he had implored progressive students not to be hypersensitive over Halloween costumes portraying people of color. “Echo chambers do not produce the best teaching, research, or scholarship.”

Follow Dion J. Pierre @DionJPierre.

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