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As jury launches deliberations in Pittsburgh synagogue massacre, defense concedes shooter’s hatred of Jews
PITTSBURGH (JTA) — After 11 days of graphic and emotionally fraught testimony in the Pittsburgh synagogue shooting trial, and a 90-minute closing argument that included gruesome photos and the replay of harrowing 911 calls, it was time for the defense to speak.
A lawyer for Robert Bowers, accused of being the gunman who murdered 11 worshipers at the Tree of Life synagogue, on Thursday walked across the courtroom to a podium, faced the jury, and spoke for just 19 minutes.
Elisa Long acknowledged the immensity of the crime on Oct. 27, 2018, and offered only half a defense. Bowers did not intend to keep Jews from worshipping, she said, but he did appear to hate Jews.
“There is no question that his posts on Gab.com and his statements that day reflected animosity and hatred toward Jews,” Long said, referring to a social media site that is a virtual redoubt for extremists.
It was a critical concession that 11 of the government’s charges, that Bowers committed capital hate crimes, may be irrefutable.
A prosecutor took another 20 minutes to rebut Long’s barebones defense, and then Judge Robert Colville ordered the jury to begin deliberations. Seven women and five men filed out of the court at 2:30 p.m., and clerks followed them with wheeled carts piled with evidence. They retired Thursday without arriving at a verdict.
The defense, which barely registered as a presence during the guilt phase of the trial, appears to be reserving its arguments for the death penalty phase, which begins a week after the jury returns a verdict, if it determines that Bowers is guilty of any of the 22 capital crimes out of 63 charges in the indictment.
Defense lawyers in March said they would bring up Bowers’ mental health, including evidence that he suffers from epilepsy and schizophrenia. On the first day of the trial, Colville forbade them from doing so during the guilt phase of the trial, but said they may raise mental health during the penalty phase.
In her closing argument, Long devoted most of her time to sowing doubt about 11 of the capital charges, that Bowers “intentionally obstructed by force … the enjoyment of free exercise of religious beliefs,” resulting in 11 deaths.
“It is vitally important not to convict him of crimes he did not commit,” she said.
The free exercise of religious beliefs “does not include the engagement in good works or conduct that may or may not be part of religious belief,” she said.
Then jurors would have to determine whether Bowers was seeking to stop a religious service “or to stop people who were supporting the resettlement of refugees,” she said.
One of the three congregations housed in the Tree of Life synagogue, Dor Hadash, was partnered with HIAS, the Jewish immigration advocacy group. She quoted Bowers’ Gab posts in which he identified Jews with what he believed was a planned genocide of white Americans to be carried out by immigrants.
“HIAS is a huge enabler of refugee invasions,” Bowers posted on Oct. 25, Long pointed out, two days before the massacre. Dor Hadash, she noted, was on that Saturday planning a “Refugee Shabbat.” His responses were “shocking and irrational,” she said, but “after learning about HIAS” and its advocacy, “Mr. Bowers’ sense of urgency increased.”
Long began her closing argument by acknowledging, as lead defense attorney Judy Clarke had done in her opening argument, that Bowers had carried out the massacre.
“There is no dispute that on Oct. 27. 2018, armed with an AR-15, he shot and killed 11 people and seriously injured two others who were in their sacred space,” Long said. The defense on day one of the trial promised “we would not offer justification, and we have not done so,” she said.
Summing up, Long appeared to anticipate the mental health arguments the defense would make during the penalty phase, while being careful not to violate Colville’s order not to explicitly raise the topic.
She described a 46-year old man “living alone in an apartment” where he slept on a mattress on the floor and who was obsessed with computers, coding and guns. “How and why this man who lived a quiet and law abiding life until 2018” committed the crimes may be “inexplicable,” she said.
In the months before the massacre Bowers “spent an immense amount of time on the internet absorbing hate,” she said.
Long did not argue that the government had proved the 11 capital hate crimes. But she also did not argue that it had not, telling the jury, “These are the charges the federal government has brought and these are the decisions you as jurors must make.”
In his rebuttal, Eric Olshan, a U.S. attorney, ridiculed Long’s claim that obstructing worship was not germane to Bowers’ intentions.
Facing the jury, he spun around and pointed to Bowers.
“On Oct. 27, 2018, that man, Robert Bowers, went into Tree of Life, where three congregations, not just Dor Hadash” were getting ready for services. The other two are Tree of Life and New Light. “He didn’t focus on Dor Hadash, he focused on any Jew he could find to kill or try to kill.”
He accused Long of cherrypicking Bowers’ Gab posts, and reminded jurors of evidence that in the months prior to the attack, Towers had “liked” just two posts mentioning HIAS, while “liking” some 400 mentions of “Kike,” an antisemitic epithet, and some 2,300 mentions of “Jew.”
“Did he go to a refugee resettlement meeting? Did he go to the border to stop Jews” from facilitating the entry of immigrants? Olshan asked. “Did he go to the HIAS office in Maryland? He drove about 30 minutes from where he lived to Squirrel Hill, the center of Jewish life in Pittsburgh.”
Again Olshan pointed at Bowers. “That person intended to obstruct them from free exercise of religion,” he said. “This is not rocket science.”
In any case, Olshan, who is Jewish, said HIAS’s work is inextricable from Jewish faith. “Welcoming the stranger” appears 36 times in the Torah, he said, including in the passage the congregations would be reading that morning. “That just proves his guilt,” he said.
Throughout the day, Bowers never looked toward the jury. Clad in a gray sweater with a collared blue shirt, he stared at a computer screen where he monitored evidence and scribbled notes, occasionally whispering to his lawyers.
Bowers’ aunt and a cousin were present in the courtroom, as were survivors of the attack and families of the victims. There was an expectation that a verdict would be quick; the overflow room for families was packed. Maggie Feinstein, who counsels the victims, was in the court room. So was Rabbi Jeffrey Myers, who testified on the first day that he expected to die where he was hiding, and recited the Shema prayer. He wore a white kippah emblazoned with the synagogue’s symbol, a blue tree.
The day began with Colville warning the jury that his instructions to them would be exceptionally long; he took 80 minutes. Then Soo Song, an assistant U.S. attorney, spoke for 90 minutes, reconstructing the day of the massacre, Oct. 27, 2018, detail by gory detail. Of the 11 people killed, she said, six were shot in the head.
She anticipated the argument Long would advance, repeatedly emphasizing the rituals Bowers interrupted with deadly results. Using bloody photos of victims in their place, she focused especially on religious implements.”The defendant committed mass murder in a synagogue,” she said. “He turned that sacred space into a place littered with prayer shawls and prayer books and 11 deceased worshippers.”
She concluded naming the 11 victims: Joyce Fienberg, Richard Gottfried, Rose Mallinger, Jerry Rabinowitz, Cecil Rosenthal, David Rosenthal, Bernice Simon, Sylvan Simon, Daniel Stein, Melvin Wax and Irving Younger.
Olshan ended the day holding two evidence bags, each with half of a bloodstained kippah. “No longer a reminder of God’s presence,” he said. “This is what he did to Irving Younger, leaving this tattered reminder found amid the shocks of Irving younger’s white hair.”
The obstruction of worship was “the natural and probable consequence of his actions,” Olshan said.”The only justice is a verdict of guilty in every charge in this case.”
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Jake Lang led a protest against Mamdani and Muslims. Then the Nazis showed up to protest him.
Far-right activist Jake Lang led a march last week protesting Mayor Zohran Mamdani’s presence at the 9/11 25th anniversary memorial ceremony. The protest attracted swastika-sporting men describing themselves as Nazis; they were there to counterprotest Lang, whose mother is Jewish.
Around 100 demonstrators attended Lang’s march, which happened blocks away from the ceremony held at Ground Zero. Lang described the march on X as a “Great CRUSADE on Muslim SCUM Zohran Mamdani.”
The “crusade” was laden with anti-Muslim messaging, including a poster reading “Deport All Muslims.” About 40 counter-protesters arrived to oppose Lang. While most were antiracist protesters, seven were neo-Nazis. One counter-protester got into a physical altercation with someone from Lang’s march.
Lang is best known for his role in the Jan. 6 insurrection. He spent four years in prison, facing assault charges for attacking a police officer with a baseball bat, before being pardoned by President Donald Trump. In August, Lang lost a campaign to secure a Republican congressional nomination in Florida.
Though Lang’s mother is Jewish, he identifies as Christian, and has brandished wooden crosses at his marches, some of which he called “Christian Crusades.” Lang has publicly renounced his Judaism and the state of Israel, burning a copy of the Talmud and performing a Heil Hitler salute outside the AIPAC headquarters in D.C.
Nevertheless, seven men wearing swastika armbands — and one clad in an Elmo suit draped with a Palestinian flag as a cape — stood near Lang’s march holding a sign reading, “Jake Lang is a Jew.”
The men performed Sieg Heil salutes and, in an unusual move for self-identifying Nazis, chanted “Free, free Palestine,” alongside the declaration, “We are the real racists.” They passed out flyers reading “no more wars for Jews” and ranted about American soldiers lost in battles they said were directed by Israel.
“I want them out of our government,” said one of the men, Gregory Conte, a former schoolteacher who was fired for his white-nationalist ties. “And not just Zionists — Jews.”
The swastika-clad men drew a bevy of critics, including one man who told them, “I agree Israel did 9/11, but you guys are Nazis, man, you guys brought them to Palestine.”
One person filming the protest asked Conte, “Do you hate Jewish people?” He replied: “I’ve never had one do a good thing for me.” Conte then asked whether the man behind the camera was Jewish and he said he was; Conte refused to speak to him further, stating that he does not talk to Jews.
Footage showed Conte on the subway, this time without his armband, talking about how “Jake Lang is trying to start a war.” Independent journalist Talia Jane asked him, “Want to show them your armband?” Conte declined to take it out.
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Why antisemites are shopping in the kosher aisle
“I had sex with a Jewish billionaire and made him tell me why nobody in their family is fat.”
This is the opening line of an eight-minute viral AI video hawking an oregano oil supplement, claiming it is the closely guarded Jewish secret to svelte physiques.
The animated video, which is entirely in song, features a Black woman — the narrator who has sex with the Jewish billionaire — who works for a wealthy Jewish family that includes both black-hatted Orthodox men and women wearing kippot, a practice unheard of in Orthodox circles.
The woman sings about her confusion over the family’s slim physiques despite the fact that they never exercise and eat big meals of brisket and “challah bread” (incorrectly pronounced with a hard “ch”). But when she begins a romance with the son, they reveal that they all take an oregano oil supplement that gets rid of the “parasites” that regular Americans get “from food, water — everywhere.” The woman begins to take the oil and gives it to her mother; both become magically healthy.
The ads seem like an outgrowth of the popularity of the term goyslop, the false conspiracy that Jews are feeding the masses heavily processed, nutritionally bankrupt foods in order to weaken non-Jews so they are easier to control. (Jews in this conspiratorial universe run the world, of course.) The implied flipside, it seems, is that Jews eat secret, incredibly healthy, strengthening sustenance, which remains hidden from everyone else.
Goyslop isn’t a new idea; in fact, the idea that Jews had a secret food that kept them healthier than everyone else is part of old Russian folklore. But the term found mass visibility thanks to the mainstreaming of scientifically dubious alternative health ideology popularized by Robert F. Kennedy Jr., and is particularly popular among naturopathic health influencers who are skeptical of pasteurization and Western medicine. (RFK has not himself used the term.)
Perhaps it shouldn’t be surprising, then, that some conspiratorial influencers are advising their followers to look for a few supposedly secret symbols in the grocery store that they believe prove the food is safer and higher quality: hechshers.
“If you look on the labels, you’ll see a ‘U’ in the corner, or sometimes it’ll say kosher,” said one influencer in a viral video of this ilk. “If the 🧃 are eating and drinking it, it’s a lot safer than the food that they’re giving us.” She also warns against eating pork and encourages her followers to shop in the kosher aisle. (The influencer bleeps out the word “Jews” in her video, and replaces it in the closed captions with a juicebox emoji, referencing a common code — “juice” — that antisemites often use to talk about Jews while avoiding censorship.)
“Goyslop is the poison that they feed us, goyim, we’re the cattle, we’re subhuman to these people,” said antisemitic influencer Ryan Matta, in another guide to the grocery store pointing out hechshers. “So if you’re not getting the bottles that are labeled with the K or the special label, then it’s not kosher. And if it’s not kosher, it’s poison.”
(Matta, who does not seem to understand any actual rules of kosher, spends much of the video trying to find a kosher version of his preferred pasta sauce flavor: Italian sausage.)
Resilia, the company hawking its supplements in the ad, has made numerous AI singing ads; many have received multiple millions of views. The ads aren’t always about Jews; one — confusingly for a product supposed to make you healthier — features a decrepit singing skeleton. Others namedrop different ethnic groups like Norwegians. Almost all of them involve cheating or illicit affairs, as is common in AI-generated videos posted across the internet, many of which feature soap operas starring families of fruit or sodas.
But more than one of the Resilia ads features Jews hiding health secrets. Another one, with 4.3 million views on YouTube, has nearly the same plot as the first, just gender-swapped — a male gardener has an affair with the wife of a Jewish billionaire who, after making him promise to keep it secret, tells him that Resilia’s garlic supplements are the key to the family’s heart health and lack of diabetes.
Goyslop has become a casual and ubiquitous meme — teenagers throw it around to refer to low-quality food like chips or hot dogs, but also bad movies and TV. They are often blaming corporations, not Jews, for feeding the masses swill. They’re also, almost always at least, joking.
Still, the underlying idea — that unhealthy food is somehow, nefariously, connected to Jews — persists through the language, even if the majority of jokesters don’t understand the reference.
Perhaps that’s how we got the Resilia ad about secret Jewish oregano oil supplements. It’s not clear if the company purposefully inserted Jewish content into some of their ads; the AI customer service bot on the company website denied any relationship to Judaism. Resilia is purported to have thousands of these AI singing ads, so the Jewish narrative may purely be a result of the algorithmic machine resurfacing the antisemitism it consumed in its training data.
In any case, however healthy the supplements Resilia sells might claim to be, the ad is its own form of slop — AI slop.
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Israel’s culture minister called this documentary about IDF tactics ‘vile.’ It deserves to be seen.
VENICE — At its premiere here last week, towards the end of the 83th Venice International Film Festival, Naza, Yuval Abraham and Rachel Szor’s documentary about Israel’s killing of Palestinian civilians in Gaza, received a 25-minute-long standing ovation, a record at the festival. Two nights later, the film won the festival’s Special Jury Prize. By Sunday, Israel’s culture minister, Miki Zohar, was calling the film “vile,” describing it as treason and threatening to revoke its directors’ citizenship. Zohar invoked his reform of cinema funding, saying Israelis should no longer have to pay for work that harms the army and the state.
I left the press screening of Naza angry, depressed and utterly convinced of its importance. Its account of the procedures that govern the deaths of civilians is devastating precisely because so much of the testimony sounds like people describing an ordinary working day. The film will have its North American premiere at the New York Film Festival on Sept. 26. It deserves to be seen, and debated with considerably more patience than some of its detractors have displayed.
Venice has traditionally worn its politics more lightly than Berlin, where a filmmaker’s acceptance speech can cause an international incident. This year, however, festival director Alberto Barbera programmed a competition that invited controversy. Alongside Naza was Ilya Khrzhanovsky’s DAU, which drew Ukrainian objections over the production’s Russian connections (including to Sergei Adoniev, a businessman who has been sanctioned by Ukraine and the U.S.) In the run-up to the festival, Barbera defended DAU as a denunciation of totalitarianism. Both films are international productions by directors whose countries have become objects of international opprobrium. Both venture into their societies’ heart of darkness. Barbera deserves enormous credit for programming them both in the main section of the world’s oldest film festival despite the objections of many.
Berlin supplies a cautionary precedent. No Other Land, the Oscar-winning documentary Abraham and Szor made with Palestinians Basel Adra and Hamdan Ballal, premiered there in 2024, where it won the festival’s documentary prize. After Abraham and Adra gave speeches condemning Israel’s policy of apartheid in the West Bank, the German culture minister Claudia Roth, caught on camera applauding at the ceremony, clarified that her applause had been intended for the Israeli director. I shudder to imagine the official response Naza might have elicited there. Venice at least offered an opportunity to discuss what was on screen.
The film, which presents testimonies from 24 serving and former military personnel, grew out of years of investigative reporting. Produced by the British newspaper the Guardian and JW Films, in collaboration with the Israeli-Palestinian magazine +972 and its news website Local Call, it builds on Abraham’s investigations into Israeli intelligence and his work with Guardian journalist Harry Davies. Revelations about targeting systems had appeared in print while filming was underway and were subsequently reported on by both The New York Times and Washington Post. All this means that the disclosures made in Naza are not brand new. However, the stark, focused and lean approach that Abraham and Szor take in the documentary ensure that the information hits home with chilling force.
The film’s unusual title is the Hebrew term for collateral damage — specifically, the anticipated civilian toll of a military strike in Gaza. Speaking to Abraham from a series of Tel Aviv rooftops at night, the interviewees, whose appearances and voices are digitally disguised, explain with patient detachment how targets in Gaza are identified and eliminated. One of the tools used to identify suspected militants is an AI system called Lavender. The frightening efficiency of such technology is discussed alongside the human decisions that determine what constitutes an acceptable loss.
One of the most disturbing claims has prompted a specific military rebuttal. An interviewee says a strike was once approved with 500 civilian deaths anticipated; he does not know how many were actually killed. The IDF claims it has never planned, approved or conducted a strike expecting anything near that toll, and challenges the filmmakers’ ability to verify the account. It also maintains that humans authorize strikes and questions the witnesses’ competence to discuss broader strategy.
The film’s restraint gives incendiary testimony such as this time to register. For the majority of the film, we only glimpse the interviewees’ faces in silhouette and watch as they crudely draw diagrams to explain the logistics of a military strike, say, on a crowded building. Every so often the camera wanders off the roof, peering into the illuminated homes and high-rise office buildings of Tel Aviv at night. The point is precisely to convey an unsettling sense of normalcy.
I was particularly struck by the absence of the racist invective I had half expected. Some interviewees describe themselves as educated, liberal people. Their accounts nevertheless reveal a callous disregard for civilian causalities. One recalls the pleasure of a job well done. “It’s so much fun,” he says of reaching his targets and we hear in his voice how the remote killings he takes part in gives him an indescribable rush. After a pause, he tells Abraham that as someone raised in the Israeli context, someone who had got to visit the death camps in Poland, he always considered and asked himself how they could do what they did. “For me the Nazis are evil,” he says. “So what does that make me?” It is perhaps the film’s most damning exchange.
One of Naza’s strength as a documentary is that it does not demand agreement that Israel is committing war crimes, including genocide, before its investigation begins. That gives it a chance to reach people who have defended Israel and remain capable of reconsidering their position.
Some of the most vociferous criticism of Naza has not come from IDF spokesmen or other Israeli officials. Almost immediately after the premiere, footage from the film’s lengthy ovation (where Abraham and Szor stand looking intensely uncomfortable and withdrawn) went viral, with numerous commentators on X and other platforms making ugly accusations against the filmmakers, including for granting anonymity to the whistleblowers who feature in the film.
“A viscerally nauseating spectacle. Imagine SS officers, shielded and protected by anonymity, getting a 25-minute standing ovation for recounting their tortures and murders. Criminal perpetrators should only be heard at their trials not at gala celebrations,” read one tweet that has been viewed close to 150,000 times. Though the language of that post is particularly incendiary, the sentiment it expresses is surprisingly widespread on social media.
Confidentiality was a condition of obtaining these accounts, a standard journalistic arrangement that confers no clemency. At the press conference, Abraham described that his sources were motivated variously by remorse and professional pride. He affirmed that his goal was to keep the victims of Gaza at the film’s center — and not to congratulate its witnesses.
The tenor of this debate recalls Nadav Lapid’s withdrawal from the Marseille film festival in June after boycott calls. His Yes, an infernal satire of post-Oct. 7 society, is a ferocious attack on Israeli complacency. It would take considerable ingenuity or imagination to claim that either it or Naza is an apology for Israel.
Accepting his award in Venice, Abraham said that he made Naza because “the denial of a crime is what helps it persist.” He later pledged to distribute the film as widely as possible in Israel. The interviewees, he explained, “spoke in Hebrew because they wanted to reach out to the Israeli public.” Not surprisingly, the film, sight unseen, has already been widely condemned within Israel. Former defense minister and opposition politician Avigdor Lieberman called the directors “haters of Israel” and accused them of turning Oct. 7 into a blood libel. Such accusations should make the necessity to reach Israeli viewers even more urgent.
Days after the film’s victory in Venice, Haaretz ran an editorial with the blunt headline, “Israelis Must Finally Confront What Israel Has Done in Gaza.” After years of trying to “air dirty laundry at home” with limited success, Abraham and Szor now had found in the Venice Film Festival a major platform where the conclusions of their investigations were impossible to ignore. The editorial’s key sentence is also its shortest: “Israel’s problem is not public relations, but reality.”
Naza only leaves the rooftops of Tel Aviv for two brief occasions. In the first of these, we see archival footage of a young Benjamin Netanyahu promoting his 1995 book Fighting Terrorism: How Democracies Can Defeat Domestic and International Terrorism, In the clip, a much-younger Netanyahu defines terrorism as a policy of deliberately killing and maiming civilians to advance political goals. Bibi’s words hang uncomfortably over the rest of the film, inviting and daring viewers to draw their own conclusions.
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