Uncategorized
A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
—
The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
Uncategorized
When does criticizing Israel become antisemitism? Ask Mark Ruffalo
American actor Mark Ruffalo on Saturday denied that he is antisemitic, one day after Paramount accused the actor of invoking antisemitic tropes in his campaign against the studio’s $111 billion bid to acquire Warner Bros. Discovery.
The clash lands as Paramount is trying to clear the last major obstacle to closing the Warner Bros. Discovery deal: a lawsuit filed by California and 11 other state attorneys general seeking to block it on antitrust grounds.
“The accusation that I am antisemitic is appalling and fundamentally dishonest,” Ruffalo said on Saturday. “Criticizing the actions of the Israeli prime minister, a military technology contract, or the executives who supply it is not the same as criticizing Jewish people.”
Now, what started as a celebrity spat has turned into a stand-in for a much bigger fight: When does criticizing Israel’s government turn into hating Jews?
Ruffalo and his defenders say targeting a defense contractor’s technology and a media family’s wealth is ordinary corporate criticism. Paramount and its allies say invoking Israel in a business dispute imports old tropes about Jewish power and money into a fight that has nothing to do with Jews. The same argument has played out over campus protests, in Congress and across the globe since the Oct. 7, 2023, Hamas attacks on Israel.
The dispute began Friday, when Ruffalo posted a 2024 clip of former Oracle CEO Safra Catz reportedly discussing “profoundly scary technologies” the company built for the Israeli military after Oct. 7. Along with the clip, Ruffalo wrote that the war in Gaza was “a genocide, which was built on an apartheid system of oppression powered by Oracle.”
Larry Ellison, who co-founded Oracle and has an estimated net worth of around $200 billion, has personally backstopped $40.4 billion in equity financing for his son David Ellison’s Paramount to acquire Warner Bros. Discovery.
Ruffalo called the elder Ellison a “classic Oligarch” and warned that the “most destructive and inhuman forces in the world” would soon sit inside an important media company if the merger succeeds. The deal would give the family control of CNN. It already owns CBS News.
Paramount fired back. “We are, as always, troubled when antisemitic tropes are invoked in purported service of a business dispute,” a company spokesperson told The Wrap, a Hollywood trade publication. “Words like ‘genocide’ and ‘apartheid,’ applied to a corporate transaction, aren’t just wrong — they’re a bridge too far, and they cheapen the very real suffering those words are meant to describe.” The company added that the episode “exposes the true motivation of some who have advocated opposition to this transaction.”
It’s not the first time Paramount has made that argument. Axios reported in June that company executives believed antisemitism was fueling opposition to the merger more broadly, pointing to the Ellisons’ Jewish identity and Larry Ellison’s friendship with Israeli Prime Minister Benjamin Netanyahu.
Ruffalo pushed back on social media Saturday refuting the accusation that he is antisemitic and adding: “Everything I know about acting, activism, and humanism has been profoundly shaped by the Jewish friends, colleagues, and loved ones who have been integral and family throughout every point of my life.”
An advocate and activist
Ruffalo, 58, is best known for playing the Hulk in the Marvel cinematic universe and has been nominated for four Academy Awards, for his performances in The Kids Are All Right, Foxcatcher, Spotlight and Poor Things.
He has also built a reputation as one of Hollywood’s most consistent activists, campaigning for environmental causes and protesting against the Trump administration. This fight is the latest flashpoint in the actor’s history of pro-Palestinian activism.
Since the Hamas attack on Israel, he has frequently called out Israel’s military action in Gaza, notably wearing an Artists4Ceasefire pin to the 2024 Oscars. In September 2024, he was among more than 700 SAG-AFTRA members who signed a letter demanding the actors’ union publicly call for a Gaza ceasefire and protect pro-Palestinian members from what they described as industry blacklisting.
In September 2025, he said he supported efforts to “boycott, divest, sanction, and prosecute” Israel. And just 10 days before the Oracle post, he joined Javier Bardem, Susan Sarandon and other artists in a statement arguing that despite the U.S.-brokered truce in place since October 2025, “there is no ceasefire in Gaza.”
That history is why three prominent voices in the fight against antisemitism sided with Paramount over the weekend.
“Words matter, and so does the willingness to draw a line when legitimate debate gives way to antisemitic tropes,” wrote Jim Berk, CEO of the Simon Wiesenthal Center, praising the studio for “refusing to allow prejudice to masquerade as political or corporate criticism.”
He went on: “Invoking Israel in an issue where it is completely irrelevant is a textbook case of obsession and demonization.”
Creative Community for Peace, a Hollywood group that pushes back on boycotts of Israel, went further, with executive director Ari Ingel accusing Ruffalo of fusing “hostility toward Israel and Zionism with Jewish-associated wealth, media ownership, oligarchic power and ominous warnings about concentrated control into a single narrative.”
Jonathan Greenblatt, the CEO of the Anti-Defamation League, called Ruffalo’s posts “cynical and sickening.”
Antisemitism vs. anti-Zionism
The fight lands amid the worst stretch of global antisemitism in decades. Researchers at Tel Aviv University found that 20 Jews were murdered in antisemitic attacks worldwide last year, the highest toll in more than 30 years — a count that includes a gunmen who killed more than a dozen people at a Hanukkah celebration on Sydney’s Bondi Beach in December.
As incidents rise, and amidst Israel’s ongoing campaign in Gaza and its war with Iran, the country’s standing in the world has cratered.
A Pew Research Center survey of 36 countries this spring found a median of 67% hold unfavorable views of Israel, with opinion growing more negative since 2025 in most countries where Pew has trend data. Even in the U.S., Israel’s staunchest ally, Americans no longer clearly side with Israelis over Palestinians for the first time since Gallup began asking in 2001 — a reversal driven largely by independents and voters under 35.
Where the merger stands
Representatives for Paramount and California are expected to meet Monday for preliminary talks, at Paramount’s request, though people briefed on the discussions cautioned there’s no guarantee they will lead anywhere. The Writers Guild has also sued to block the deal.
The stakes of delay are real: if the deal doesn’t close by October, Paramount would owe Warner Bros. Discovery shareholders hundreds of millions of dollars in fees. If there is no resolution, a trial is set for March.
The post When does criticizing Israel become antisemitism? Ask Mark Ruffalo appeared first on The Forward.
Uncategorized
AIPAC wants to defeat Abdul El-Sayed in Michigan Senate race. Mike Rogers would rather it stay out.
In the race for Michigan’s open U.S. Senate seat, both candidates are trying to turn a narrow margin into victory.
Republican Mike Rogers is trying to win as the more moderate alternative to Democratic nominee Dr. Abdul El-Sayed, a progressive and an outspoken critic of Israel. El-Sayed, who narrowly defeated Rep. Haley Stevens in the Democratic primary, hopes to repeat a strategy that worked for him: campaigning against AIPAC and its political influence.
The pro-Israel lobbying group’s super PAC, United Democracy Project, spent more than $30 million trying to defeat El-Sayed in the primary. Now, with $60 million in cash on hand, according to the latest FEC filings, it is eager to keep a fierce Israel critic out of the Senate. There is just one problem: Rogers would rather AIPAC stay out of the race.
Allies of the Republican nominee have reportedly asked AIPAC not to run ads to boost him, fearing that the group’s involvement would backfire and give El-Sayed the same political foil that helped him overcome its massive spending in the primary. Axios reported that AIPAC officials didn’t take that rejection easily. However, after Rogers spoke with AIPAC chair Michael Tuchin, the group shelved an ad it had already produced attacking El-Sayed.
AIPAC spokesperson Deryn Sousa told Axios that its members “are highly motivated to be involved in this race and we will be looking at every option to make the case that El-Sayed’s policies are bad for Michigan and bad for America.”
Rogers did not outright reject support from pro-Israel donors. His campaign reportedly suggested ways AIPAC could help without putting its own name front and center. The disagreement is over whether having the group attached to the campaign would help him win or make his job harder.
Michigan’s narrow margins
Recent Michigan elections leave little room for error. Trump carried the swing state in 2024 by about 80,000 votes. In the Senate race that same year, Democrat Elissa Slotkin defeated Rogers by fewer than 20,000 votes. Four years earlier, Joe Biden carried Michigan by about 2.8 points.
A recent AARP poll found El-Sayed at 48% and Rogers at 47% among 877 likely voters, well within the poll’s 3.3-point margin of error. El-Sayed leads among independents by six points. To close the gap, Rogers would need more independents and some dissatisfied Democratic primary voters.
For Rogers, that creates an important distinction: He wants to run against El-Sayed’s positions on Israel and his associations with controversial Israel critics without allowing El-Sayed to turn the election into another fight over AIPAC.
AIPAC has already become increasingly controversial among mainstream Democrats for backing pro-Israel Republicans who joined President Donald Trump’s crusade to question the 2020 election results. The wars in Gaza and Iran have only intensified that backlash, as Democratic voters have increasingly rejected U.S. policy supporting Israel.
Michigan has one of the largest Arab American populations in the nation, and it is the birthplace of the “uncommitted” movement to protest the Biden administration’s handling of the Gaza war in the 2024 presidential primary — making the politics of Israel and Gaza particularly complicated. A recent Fox News poll showed that 55% of Michigan voters opposed continuing U.S. aid to Israel.
In addition to the Michigan primary, AIPAC had some setbacks in other midterm races across the country. Last week, progressive candidate Aisha Wahab defeated AIPAC-backed Melissa Hernandez in the closely watched California special election to replace former Rep. Eric Swalwell, who resigned after allegations of sexual assault. Earlier this year, Analilia Mejia prevailed in a New Jersey special election for a House seat, after an AIPAC-associated super PAC spent more than $2 million targeting another Democratic candidate. Many congressional candidates, including some Jewish Democrats, have promised not to take contributions from AIPAC.
AIPAC has also become increasingly controversial on the right. Prominent America First voices, including Tucker Carlson and former Rep. Marjorie Taylor Greene, have attacked AIPAC’s influence over American foreign policy.
Winning over Jewish Democrats
Last week, Rogers launched a “Democrats for Rogers” effort to target voters who are uncomfortable with El-Sayed, in particular Jewish Democrats who remain uneasy with his rhetoric on Israel — including his calling Israel “bloodthirsty.” Jewish voters make up 1.4% of the electorate in Michigan.
Rabbi Asher Lopatin, a Modern Orthodox rabbi in suburban Detroit who backed Stevens in the primary and usually votes Democratic, endorsed Rogers at that event and urged others to do the same. Lopatin focused his criticism not only on El-Sayed’s positions on Israel but on his relationship with Hasan Piker, the popular left-wing pundit who has been accused of antisemitic rhetoric and who appeared with El-Sayed on the campaign trail.
El-Sayed “has shown contempt for the Jewish community and, frankly, for American values by making Hasan Piker, a vicious antisemite and racist, his campaign surrogate and someone he buddies up with,” Lopatin said.
The Democratic nominee understands that vulnerability. Since winning the primary, El-Sayed has sought to reassure Jewish voters that his opposition to Israel is not hostility toward Jews. “I love and revere Judaism and the Jewish people,” he said in a recent TV appearance. “They are not the same as AIPAC and Israel.” In that interview, El-Sayed also disavowed some remarks by Piker, though he did not commit to ending campaign appearances with him.
That helps explain why Rogers prefers AIPAC to remain out of the spotlight. The Republican nominee would rather spend the fall forcing El-Sayed to defend his positions on Israel, his relationship with Piker and distrust among Jewish voters than spend it answering attacks over millions of dollars in AIPAC money pouring into his campaign.
The post AIPAC wants to defeat Abdul El-Sayed in Michigan Senate race. Mike Rogers would rather it stay out. appeared first on The Forward.
Uncategorized
The note Netanyahu would never write
George H.W. Bush left the Oval Office on January 20, 1993, after losing his bid for reelection to Bill Clinton. On the desk, he left his successor a handwritten note wishing him well with obvious sincerity and ending with an expression of democratic grace: “Your success now is our country’s success.”
It is hard to imagine a sentence further removed from Benjamin Netanyahu’s conception of political power. When Naftali Bennett replaced him as prime minister in 2021, Bennett arrived at the traditional handover expecting a serious transfer of responsibility for a country facing Iran, Hezbollah, Hamas and other threats.
In an interview this weekend with Israel’s Channel 12, Bennett said he cleared his day, and was shocked when Netanyahu gave him about 30 minutes, volunteered little, asked to keep living in the prime minister’s residence and for state funding for his wife’s car, and otherwise was eager to end the encounter.
The contrast goes far beyond manners. Netanyahu treats political defeat as something closer to dispossession, and those who threaten his hold on power as enemies whose legitimacy must be destroyed. Bennett said Netanyahu had warned him before the new government was sworn in that if he went ahead with it, he would deploy “all the heavy artillery” to brand him a traitor. Bennett says Netanyahu, whom he called an “anarchist,” kept his word, via a “poison machine” – a sophisticated social media influence operation featuring mass Whatsapp groups and bot accounts amplifying talking points – such as the theory, now popular on the right, that the Shin Bet helped Hamas attack Israel on Oct. 7, 2023, in order to harm Netanyahu.
Five years later, the target has changed: It is former military chief Gadi Eisenkot. The method has not.
Eisenkot is now Netanyahu’s most dangerous electoral challenger, an extraordinary target for such a campaign. Eisenkot spent four decades in the IDF and rose to its chief of staff. After the Hamas attacks, he joined Netanyahu’s war cabinet for a few months, despite their political disagreements. His son Gal was killed fighting in Gaza in December 2023, and two nephews were killed during military operations in Gaza. Yet even Israel’s increasingly brutal politics seem unable to leave room for a measure of respect.
Instead, Eisenkot is portrayed as dangerous, weak and somehow beyond the bounds of acceptable government. His military record itself becomes evidence against him. His willingness to construct a governing majority that might depend on an Arab party – something that is essential for the societal health of Israel, whose population is 20 percent Arab – is presented as something inherently disqualifying. The objective is larger than defeating his arguments. It is to make his accession to power appear intolerable.
From smear campaign to security risk
I was reminded of this Sunday while appearing on television with Jonathan Pollard, the former U.S. Navy intelligence analyst who spied for Israel, spent some 30 years in an American prison, and now hopes to enter Israeli politics. Pollard, who over the weekend endorsed a splinter right-wing party and seemingly hopes to parlay that into a Knesset seat or other position, comes at Netanyahu from the ultra-nationalist far-right, but essentially supports him. He explained that he could never support a government headed by Eisenkot because Eisenkot had weakened the IDF as chief of staff.
There is an obvious problem with that argument. Eisenkot served as the IDF chief of staff from 2015 to 2019. Netanyahu was prime minister throughout his tenure. If Eisenkot presided over the degradation of the Israeli military, Netanyahu presided over Eisenkot. It is utter nonsense, but that is how the poison machine works. Responsibility flows away from Netanyahu while culpability attaches itself to whoever threatens him. Institutions that Netanyahu himself headed somehow become the failures of his opponents.
Now this has collided with a matter of security for candidates.
Eisenkot’s campaign says threats against him – from the rabble whipped up by Netanyahu – are increasing as the election approaches, and he has requested state protection. The Shin Bet in recent days declined to provide an armed security detail, although it will provide intelligence assistance.
That decision is astonishing in a country whose domestic security service once failed catastrophically in preventing the 1995 assassination of Prime Minister Yitzhak Rabin – after months in which he was called a traitor, a murderer and a Nazi by a campaign of agitation presided over by the young Netanyahu.
The lesson Israel drew was supposed to be permanent: when serious political incitement converges with a credible physical threat, the state errs on the side of protecting its leaders.
The contrast becomes almost grotesque when one considers whom the state does protect. Netanyahu’s son Yair who has lived in Miami for years, receives Shin Bet protection there. Yair, who is 35, avoided military service and has made himself a regular participant in the same poisonous political media ecosystem that serves his father, especially by attacking his opponents on X. The Netanyahu family successfully pressed to have responsibility for his security transferred to the Shin Bet, over the agency’s objections.
And the entitlement extends into the future. Netanyahu, like other former prime ministers, is set to receive lifelong Shin Bet protection. But a ministerial committee has approved extraordinary post-premiership protection for the Netanyahu family: Sara Netanyahu for as long as her husband is alive, and their sons for at least five years. The state can therefore find the resources and justification to protect a prime minister’s adult son living in Miami during a devastating war, and to plan years of protection for the family after Netanyahu leaves office, while the man currently leading many polls to replace Netanyahu is told to make do without an armed state security detail.
Bennett has issued an even more chilling warning. He says the relentless campaign against Eisenkot and other opposition figures could persuade someone that these politicians are monsters who must be stopped by violence. Bennett himself receives protection as a former prime minister.
The man making the decision at the Shin Bet is David Zini, perhaps the most politically controversial director in the agency’s history. He was a senior officer whose reputation as a far-right firebrand stopped his advancement in the military, and his appointment generated fears that Netanyahu was seeking a loyalist to lead an institution that must serve the state rather than the prime minister. That distinction goes to the heart of Israel’s present crisis.
The lesson Netanyahu still hasn’t learned
A democracy depends on people in power understanding that the state and the government are different things. The Shin Bet serves Israel. The IDF serves Israel. The civil service serves Israel. The prime minister serves Israel. Political opponents remain Israelis, and an opposition leader who may soon become prime minister deserves protection based on the threat against him rather than his usefulness to the incumbent.
Of course, Netanyahu’s entire “judicial reform” effort, which tore Israeli society apart in 2023 before the Hamas attack, was animated by the illiberal and fundamentally anti-democratic proposition that the elected government should be largely unchecked.
The Bush note seems almost quaint from Israel today, but its message is anything but sentimental. Bush understood that Clinton’s safety, legitimacy and success had become matters of national interest because America was more important than George Bush. The 30-minute handover to Bennett and the security controversy surrounding Eisenkot belong to the same story because both reveal what happens when a leader has difficulty separating the interests of the country from his own political survival.
There is an irony here that Israelis should appreciate. Netanyahu has always seemed, in some ways, Israel’s most American politician. He spent his formative years in the United States, lived in the Philadelphia area, studied at MIT and speaks beautiful American English. Yet in his behavior, Netanyahu has almost become anti-American; there is nothing in him that the Founding Fathers could admire.
There is, of course, a final irony. It would be misleading in 2026 to pretend that George H.W. Bush’s conception of political succession describes the current occupant of the White House. President Donald Trump and Netanyahu have far more in common with each other on this score than either has with Bush.
Israel, like the United States, desperately needs a return to the standards and ethics of the past, when the leader’s success actually was the country’s success.
The post The note Netanyahu would never write appeared first on The Forward.
