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20 years ago, Marvel introduced a Jewish Black Panther
(JTA) — Like some Jewish baseball fans, many dedicated Jewish comic book readers keep a running roster of Jewish heroes that have appeared in the “major leagues” of the comic world: Marvel, DC and some independent publishers’ titles.
Many know the handful of often-discussed Jewish characters: The Thing, whose adult bar mitzvah and Jewish wedding were major storylines; the Jewish star-wearing X-Men character Kitty Pryde; one-time Batwoman Kate Kane; and the popular supervillain Harley Quinn, to name a few. Moon Knight recently became the first overtly Jewish character to appear in the so-called Marvel Cinematic Universe, with his own show on Disney+ starring Oscar Isaac.
But not many readers are aware that, for a brief period exactly 20 years ago, the most overtly Jewish of all mainstream superheroes was the Black Panther.
Marvel’s original Black Panther character debuted in the summer of 1966, coincidentally just months before the launch of Bobby Seale and Huey Newton’s political party of the same name. Like Superman, Batman, Spider-Man and Captain America, the first mainstream Black superhero was created by Jewish comic book legends, in this case the dynamic duo of Jack Kirby (born Jacob Kurtzberg) and Stan Lee (born Stanley Lieber).
The Black Panther first appeared in a “Fantastic Four” issue, and is also known as T’Challa, the king and protector of the fictional African nation of Wakanda, a technologically advanced society hidden from the world. T’Challa possessed superhuman abilities, advanced technology and unmatched combat skills, and was considered one of those most brilliant men alive. The character and his storylines explored themes of identity, heritage and the responsibilities that come with power.
At the time of its creation, a strong, positive portrayal of an African superhero that defied stereotypes was a significant milestone in representation and diversity in the comic book industry. The Black Panther’s impact has been far-reaching, inspiring generations of readers as an enduring symbol of Black empowerment and pride.
Flash forward several decades after the character’s debut, and comics creator Christopher Priest was nearing the end of a transformative 60-issue run at the helm of the Black Panther title. Priest was the first Black writer to work full time at either of the big two studios, and his trailblazing reinvention of the character served as the primary inspiration for the two blockbuster movies that have earned acclaim in recent years.
In the final dozen issues of Priest’s “Black Panther” series, the story took a surprising turn. T’challa had vanished and was presumed dead. In his stead, a new Black Panther appears mysteriously on the scene: Kevin “Kasper” Cole, a narcotics officer in the NYPD’s Organized Crime Control Bureau.
Cole’s father was born in Uganda, but Kevin lives in a tiny apartment in Harlem with his Korean girlfriend, Gwen, and his Jewish mother, Ruth. Kevin is known as “Kasper” — after the well-known Casper the Friendly Ghost cartoon — because, as he puts it:
There once was the greatest cop who ever lived. A proud and noble warrior, someone to be both feared and respected. Jonathan Payton Cole. “Jack” Cole. Called him “Black” Jack because he was so dark. Just like they called his kid “Kasper,” because I was so light.
Meanwhile, Priest modeled Ruth after the mother on “Everybody Loves Raymond,” played by Jewish comedic actress Doris Roberts.
Cole originally “borrows” the Black Panther costume from the home of his boss, Sgt. Tork, an ally of T’challa who had held on to the costume for safekeeping. Cole’s motives were hardly altruistic, as Priest wrote on his blog at the time: “Kasper’s motive is to wear the costume so he won’t be recognized by the good guys or the bad guys as he goes about cleaning up his precinct so he can get a promotion to Detective so he can make enough money to marry his pregnant girlfriend and move them all out of Harlem.”
But what starts out as a side hustle for Cole soon evolves into a hero’s journey. When Cole is discovered by T’challa’s longtime adversary and half-brother, Hunter — AKA The White Wolf — he provides Cole with training, equipment and mentorship in order to use Cole as a proxy to hurt T’challa, who has resurfaced in New York City. The story soon becomes, in Priest’s words, “a war between The Black Panther (T’Challa) and the ‘white panther’ (Hunter) over the soul of this young kid.”
The story doesn’t end there: Cole decides to pursue official Wakandan acceptance as Black Panther by enduring rigorous initiation trials, and he soon receives support from none other than Erik Killmonger (the villain in the first “Black Panther” movie). Killmonger offers Cole a synthetic version of a heart-shaped herb, giving him T’challa-level powers. The series ends when Cole agrees to become an acolyte of the Panther god, Bast, instead of living as an imitator. He assumes a new title, The White Tiger (thereby becoming the second Jewish Marvel hero after Moon Knight to dress all in white and serve at the pleasure of an African deity).
Throughout the series, Cole’s Judaism is not a mere aside. Priest provides numerous examples of a strong Jewish identity: He dreams of his unborn son having a bar mitzvah (where they will serve “Bulgogi and ribs”). He dons a kippah and recites a Hebrew prayer at the grave of his slain friend and boss, Sgt. Tork. Even Erik Killmonger refers to Cole’s Jewish identity as a reason why Cole would identify with the underdog. Cole also proudly mentions his Jewish identity to several other characters in both Black Panther and in Priest’s short-lived follow-up series, “The Crew.”
(Priest originally envisioned the ensemble for “The Crew,” which wound up being mostly Black heroes, to be a much more diverse group, including not only Cole but also the one-time Avenger and New Warrior, Vance Astrovik, AKA Justice. That would have meant an unprecedented two Jewish superheroes on one team.)
Cole was the son of a non-Jewish African father and Jewish-American mother. (Marvel Comics)
One reason why Priest decided to make Cole Jewish could have been his personal familiarity with Jews. Priest himself went to a primary school in a Jewish neighborhood in New York City, where, he writes, “I had absolutely no sense of racism being directed at me… If I had a beef with another boy, it was about whatever it was about—race played absolutely no role… At least half of my friends were white. Right up through middle school, my girlfriend was a little Jewish girl.”
Fabrice Sapolsky, CEO and Founder of FairSquare Comics — which aims to “promote and give more exposure to immigrants, minorities and under-represented creators of the word” — hopes that Cole will not be the last comic character to represent an understanding of Jewish ethnicity beyond the “Ashke-narrative trope.”
“It is the right time for these kinds of stories to emerge,” said Sapolsky, who recently published a book starring an Asian-Jewish protagonist. He said he is also releasing a title soon that features a Black-Jewish heroine.
Cole’s journey has continued in a new series written by Ta-Nehisi Coates, over a dozen years after his first appearance (or 1-2 years in “Marvel time”). In the Coates narrative, T’challa convinces Cole to come out of superhero retirement and move to Wakanda. T’challa offers to train and outfit him not as The Black Panther or The White Tiger, but as an entirely new hero, simply known as Kevin Cole. In the most recent issues, he defends Wakanda alongside a veritable who’s-who of Black Marvel superheroes.
“One of the prime directives at Marvel has always been to create characters that resemble the world and people we know, that are around us,” Mike Marts, Priest’s editor on “Black Panther,” said about the groundbreaking representation that a Black-Jewish hero represents. “So making Kevin half-Jewish was most likely a result of collaboration between us (Marvel) and Priest… to create a character that our readers could identify with and relate to.”
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The post 20 years ago, Marvel introduced a Jewish Black Panther appeared first on Jewish Telegraphic Agency.
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Guinness World Records Starts Accepting Israeli Submissions Again Following Legal Pressure
People stand next to flags on the day the bodies of deceased Israeli hostages, Oded Lifschitz, Shiri Bibas, and her two children Kfir and Ariel Bibas, who were kidnapped during the deadly Oct. 7, 2023, attack by Hamas, are handed over under the terms of a ceasefire between Hamas and Israel, in Tel Aviv, Israel, Feb. 20, 2025. Photo: REUTERS/Ammar Awad
Guinness World Records (GWR) is once again accepting submissions from Israel and the Palestinian territories, following pressure from an association of British lawyers that claimed the policy was discriminatory and threatened the validity of Guiness’s registered trademarks.
GWR confirmed to UK Lawyers for Israel (UKLFI) via email that it ended its temporary pause on submissions from Israel and the Palestinian territories that was implemented in November 2023, shortly after the start of the war in the Gaza Strip following the Hamas-led Oct. 7 terrorist attack across southern Israel.
The exclusionary policy drew widespread condemnation in early December after Guinness World Records refused to accept a submission from the Israeli NGO Matnat Chaim, which was hoping to set a world record with an event in Jerusalem where 2,000 Israeli kidney donors will gather in one place.
GWR told Matnat Chaim at the time it was “not generally processing” record applications from Israel or the Palestinian territories “with the exception of those done in cooperation with a UN humanitarian aid relief agency.” Guinness denied claims that its policy against submissions from Israel or the Palestinian territories unlawfully excluded and discriminated against Israelis and Palestinians because the policy was based on location, not nationality or ethnicity.
In late December, UKLFI wrote to Guinness and warned that the company could face legal risks because of the policy and that it amounted to indirect discrimination. UKLFI noted that marketing publications under the title “Guinness World Records” while excluding records from in Israel or the Palestinian territories could be considered unfair commercial practice under consumer protection law. The policy could also risk the validity of Guinness’s registered trademarks, according to UKLFI.
Starting Jan. 15, GWR resumed its “routine acceptance” of applications, it told UKLFI in an email shared with The Algemeiner.
“We have continued to monitor the situation in the region carefully, reviewing the policy monthly,” GWR wrote. “The recent ceasefire and the return to a more stable environment have been key factors in these reviews. With these factors in mind … we recommenced our routine acceptance of applications for world records from Israel and the Palestinian Territories, including the application made by the Matnam Chaim charity.”
The company added that the decision to resume processing applications from the region was not an admission that its temporary pause had been unlawful or that its trademarks had been used improperly. Guinness also shared that several records set in Israel had in fact been recognized during the temporary pause. They included records for the fastest robot to solve a rotating puzzle clock, most backward somersault burpees in 30 seconds done by a male, oldest female person to perform a headstand, most sequences completed in a game of “Simon,” and tallest drag performer.
“Guinness World Records’ decision to resume accepting submissions from Israel and the Palestinian territories is welcome,” said UKLFI chief executive Jonathan Turner. “Excluding particular countries carries serious legal and commercial risks. Global organizations cannot present themselves as neutral and inclusive while applying exceptional policies to certain countries, particularly where this misleads consumers and disadvantages entire populations.”
Israeli Foreign Minister Gideon Sa’ar also commented on GWR’s change in policy, celebrating that the massive gathering of kidney donors in Jerusalem will be recognized.
“Two thousand Israeli kidney donors are making the largest donation ever, in a selfless act of solidarity and humanity,” Sa’ar posted on the social media platform X on Monday. “Good to see it finally receive the celebration it deserves by the Guinness World Records, which revoked their original distorted decision to deny Israeli kidney donors their rightful recognition.”
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California Theater Apologizes for Canceling Show by Israeli Comedian After He Refuses to Condemn Home Country
Illustrative: Bondi shooting survivor Chaya Dadon, 14, holds a pendant, in the shape of Israel, and a partial Star of David engraved on it, that she bought a few hours before the shooting in Sydney, Australia, Dec. 19, 2025. Photo: Reuters/Cordelia Hsu
The Fine Arts Theater in Beverly Hills, California apologized for canceling a show by Israeli stand-up comedian Guy Hochman after he declined the venue’s demand to issue a public statement denouncing “genocide, rape, starvation, and torture of Palestinian civilians.”
In a statement posted on Instagram and on the theater’s website over the weekend, Michael S. Hall, president of the Screening Services Group, acknowledged that canceling Hochman’s scheduled appearance on Tuesday at the Fine Arts Theater was poorly handled. He said the venue, which will host screenings as part of the 37th Israel Film Festival in February, has contacted Hochman’s representatives and is open to rescheduling his performance if “it can be done safely.”
The relationship between the theater and the Screening Services Group was not immediately clear.
Hall also admitted that the decision to cancel the show was made after he and the theater received several messages from the public, including threats of violence, related to Hochman’s performance.
“I want to apologize, especially to the Jewish community, for my statement and for how this situation was handled,” Hall wrote. “I understand that my decision caused harm and distress to many people in the community, and I take responsibility for that … I made the decision to cancel the show without giving the matter the careful thought and judgement it required. That was my mistake.”
He also acknowledged it was wrong to ask a performer “to make political or ideological statements as a condition of appearing” and that “imposing a litmus test of any kind was a mistake and should never have happened.”
“The Fine Arts Theater has supported and will continue to support Jewish and Israeli projects, artists, and community events,” Hall added. “I am committed to ensuring the theater remains a place for culture and expression without discrimination. I am already engaging with members of the local Jewish community and will continue to listen, learn, and work with community leaders moving forward.”
Hall’s apology follows a public statement from the venue that said Hochman was banned from the theater after he declined to issue a public statement denouncing “genocide, rape, starvation, and torture of Palestinian civilians.”
The statement also acknowledged that the venue could not corroborate accusations made against the comedian but still asked him to issue a public statement against Israel. Hochman talked about the venue’s demands in an Instagram video and said he will never condemn his home country.
The former Israel Defense Forces (IDF) soldier further told The Hollywood Reporter he does not accept Hall’s apology and refuses to return to the venue.
“Do I think he’s sincere? No. He’s doing it because he was pressured,” Hochman said of Hall. “He doesn’t care. He tested me, like a loyalty test. For me, my people come before my career. I don’t care about money. I will never say lies about my people. I will never say things like rape, starvation, or genocide. That is not the story, and I don’t believe it … Jewish pride comes before everything.”
Actress and comedian Amy Schumer came to Hochman’s defense on Sunday. In an Instagram story, she wrote that the venue’s demand for Hochman to publicly condemn his country was “straight up wrong.”
“They canceled his show, admitted there’s zero evidence, and only backpedaled after the backlash. No artist should sign a forced apology note just to perform,” Schumer wrote. “Last I checked, we don’t run like those dictatorship-run spots, demanding stars trash America before letting them on stage.” Hochman shared Schumer’s statement on his Instagram story.
Photo: Screenshot
Hochman’s stand-up comedy tour has faced protests in several cities, and his scheduled show in New York City last week was canceled over safety concerns. He was also detained for several hours by Canadian border officials earlier this month after the pro-Palestinian advocacy group Hind Rajab Foundation filed a legal complaint against him, accusing the comedian of war crimes and “incitement to genocide.” The comedian was released and not charged, but his Canadian visa was revoked. His scheduled performance in Dallas, Texas, this week was canceled because of a winter storm in the region.
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As with Cain and Abel, the blood of our brother Alex Pretti is crying out from the ground
We don’t have to quote Pastor Niemoller anymore.
Because Alex Pretti could have been any of us. He could’ve been me, you, your neighbor, or your rabbi. In fact, many of my rabbinic colleagues and friends are on the streets of Minneapolis at this very moment. They are brave, patriotic and principled, and having known some of them for many years, I know that they, like Pretti, would protect the most vulnerable, even at unfathomable cost.
And what was Pretti doing? He was protesting peacefully, recording ICE agents with his iPhone. He tried to protect a woman the agents were attacking. He never drew the gun that he legally carried in its holster. He was beaten, and once on the ground, he was shot 10 times. His last words were “Are you OK?”
No longer are “they” coming only for ‘illegal’ immigrants, legal immigrants arriving at their court dates, permanent residents, Latinos, Asians, Somalians, veterans, and Black off-duty police officers.
“They” are now coming for us.
And they hate us. They lie about us, calling us assassins and terrorists. Their rage is palpable, and egged on by right-wing podcasts and right-wing media. We hate America, we are rioters, we are terrorists, we are Antifa. “Have you not learned? This is why we killed that lesbian bitch,” an ICE agent said to a protester two weeks ago, referring to Renee Good.
Even after Pretti’s murder, the Fox News headline was “Minnesota ICE official warns of unrest ‘like nothing I’ve ever seen before.’”
Other than the murder itself, the lies have been the most disturbing part of this spectacle; the immediate rush to lie about and vilify Alex Pretti, a VA nurse described by everyone who knew him as kind, caring, altruistic, and just the sort of person who would put himself in harm’s way to protect a stranger.
Stephen Miller called him a “would-be assassin” and a “terrorist.”
Commander Gregory Bovino (who parades around in a military ‘greatcoat’ that is popular among neo-Nazis online) said that Pretti planned to “massacre law enforcement” and had “violently resisted” before his men killed him, despite the video evidence flatly contradicting the latter claim.
DHS Secretary Kristi Noem said “this looks like a situation where an individual arrived at the scene to inflict maximum damage on individuals and to kill law enforcement.” Yet Pretti had his iPhone out to record what the ICE officers were doing.
There are two reasons these lies are the second-worst part of this episode.
First, it is morally repellent to drag Pretti and his family through the mud — and, if Renee Good’s family is any example, expose them to doxxing, death threats and defamation. Just imagine what they will say about me if they kill me at a protest. Or you. Or your rabbi.
Second, this isn’t one ICE agent. This is an entire apparatus of dehumanization and deceit. And though polling says only 20% of Americans believe that Pretti deserved to be shot, large swaths of America believe this extremist propaganda. We all have targets on our backs, painted by the government and their media apparatus.
There is a teaching in the Torah about this. It is, in fact, the first teaching in the Torah about the violence people do to one another: the story of Cain and Abel.
You know the myth, in all its brevity and primal truth. Cain and Abel are brothers. Both have offered sacrifices to God, though the text suggests Abel gives of his best while Cain does not. And so, Abel’s sacrifice is accepted and Cain’s is not. Vayichar l’kayin me’od; Cain is infuriated, filled with rage. God speaks reprovingly to Cain, telling him in essence that he has gotten what he deserved, that he must curb his desires more. But Cain does not accept this lesson and kills his brother in jealousy and rage.
As we all know, God asks Cain where Abel is — though of course, God already knows. Cain replies “I don’t know. Am I my brother’s keeper?”
But God responds, “What have you done? The voice of your brother’s blood cries out to me from the ground.”
Read closely and see. Cain is lying, of course; he knows exactly what he has done. He also denies responsibility; it’s not his job, he says, to take care of Abel. Ha-shomer achi anochi, he asks. Literally, am I my brother’s guard? His protector? Am I supposed to keep him safe?
Cain’s lies are like those of Miller, Bovino, Noem, and the rest. They are transparently preposterous. We are not God, but we can all watch the videotape; we can all inspect the freeze-frames of Pretti lying on the ground being beaten and then being shot.
And we can all easily learn that Pretti, like Abel, was innocent. He was not violently resisting, he posed no threat to these officers. He was no more a “terrorist” than I am — indeed, the word ‘terrorist’ has now become just a slur, drained of actual meaning, as if a non-violent activist is no different from the Bondi Beach terrorist or the Tree of Life terrorist. What a disgusting side-note, that the government has rendered this word meaningless.
Pretti’s blood cries out from the ground. And it is louder than the lies of the murderers.
One final epilogue. There is a midrash (Genesis Rabba 22:9) that blames God for Abel’s murder, because God could have prevented it but chose not to do so. When God says that Abel’s blood is crying out, the midrash says, it is crying out at God.
This is a bold midrash, accusing the Almighty of complicity in murder. But it is aimed at us, not God. None of us individually has the power to stop the next murder in Minneapolis, or Iran, or Gaza, or anywhere else, but collectively, we have the power to rise up against this injustice. We are made in the image of God, and with that similitude comes responsibility. We cannot turn away anymore. The blood cries out from the ground – to each and every one of us.
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