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Does anime have a Nazi problem? Some Jewish fans think so.
TAIPEI (JTA) — When the Season 3 plot twist of “Attack on Titan” aired in 2019, viewers wasted no time in jumping online to discuss what they saw.
In the world of “Attack on Titan” — an extremely popular Japanese anime series now in its final season, which started in March and does not have a known end date — humanity has been trapped within a walled city on the island of Paradis, surrounded by Titans, grotesque giants who mindlessly eat any person who gets in their way.
In the third season, the Titans’ origins are revealed as a group called the Eldians, a group that made a deal with the devil to gain Titan powers with which they subjugated humanity for years. A group called the Marleyans later overthrew the Eldian empire and forced them into ghettoes, forcing them to wear armbands that identified their race with a symbol similar to the Star of David. Political prisoners were injected with a serum that turns them into the terrifying Titans.
The implications that a race meant to represent Jews had made “a deal with the devil” to achieve power were too much for some to bear. Fans debated the meaning on Twitter and Reddit as think pieces pointed to the show’s “fascist subtext” and possible antisemitism as ratings and viewership climbed. Some viewers defended the series as a condemnation of those ideas and a meditation on moral ambiguity, but others said the plot’s condemnation of fascism was too weak. The New Republic in 2020 called “Attack on Titan” “the alt-right’s favorite manga.”
Either way, in November 2021, the show’s production team announced it would cancel the sale of Eldian armbands — the ones Eldians were forced to wear in their ghettos — explaining that it was “an act without consideration to easily commercialize what was drawn as a symbol of racial discrimination and ethnic discrimination in the work.”
“Attack on Titan” is only the latest manga (a specific type of Japanese comic books or graphic novels) or anime (TV shows or movies animated in the manga style) series on the chopping block. As it continues to gain popularity outside of Japan’s borders, the Japanese animation medium as a whole has been hit with criticism for alleged glorification of antisemitism, fascism and militarism. The debate has been fueled by a stream of examples: the literal evil Jewish cabal in “Angel Cop,” (references to Jews were later removed in the English-language dubbed version), the Fuhrer villain in “Fullmetal Alchemist,” the Nazi occultism (in which Nazis channel the occult to carry out duties or crimes) in “Hellboy,” and the Nazi characters in “Hellsing” and “Jojo’s Bizarre Adventure” to name a few.
Western viewers are not the only ones taking issue. Fans of “Attack on Titan” in South Korea — which was subject to Japanese war atrocities during World War II that Japan continues to deny — have taken issue, too. Revelations from Hajime Isayama, the creator of the original “Attack on Titan” manga, that a character in the series was inspired by an Imperial Japanese army general who had committed war crimes against Koreans were met with heated discussion and later death threats from Korean fans online. Some also pointed to a private Twitter account believed to be run by Isayama that denies imperial Japan’s war atrocities.
“Ridiculous the lengths a fandom will go to downplay the blatant antisemitism in a series and protect and lie about the creator of said series,” wrote one Twitter user. “[Y]ou doing this and ignoring koreans and jewish people says a lot.”
These themes are so common in manga and anime that some independent researchers like Haru Mena (a pen name) have begun creating classifications for the many Nazi tropes that make regular appearances. Mena, a military researcher who lectures annually at the Anime Boston convention about World War II and Nazi imagery in anime and manga, says the phenomenon is a result of how Japan remembers its role in World War II — not as the aggressor, but as a victim of war.
“Japan does not want to be the bad guy. They love to have other people be the bad guy,” he said. “That’s why they’re using all these Nazi characters. We all agree Nazis are bad, war crimes are bad, no decent self-respecting nation would ever do [what they did].”
But many Jewish anime fans, like Reddit user Desiree (who did not offer her last name for privacy reasons), have taken issue with the way some anime and manga series portray Nazis while reducing the Holocaust to narrative devices.
“I think that most people who are telling these stories aren’t coming from an area where this would be as personally familiar,” she said. “There’s almost no resonance to it. Because they take away all these details they make it a big trope.”
hi
anime and manga have an antisemitism problem
good day
— Kay (he/they, she for friends only) (@Cayliana) February 19, 2022
East Asian interest in Nazi imagery has also bled over into the West in the form of news headlines in recent years — involving everything from Nazi-themed bars and parades to Nazi cosplay in Japan, Taiwan, Thailand and Korea.
But some experts say that repeated references to Nazi villains and World War II in manga and anime have more to do with Japanese history and culture than with antisemitism.
“There is a fascination with Nazism in Japan to some degree or another,” said Raz Greenberg, an Israel-based writer whose Ph.D. research examined Jewish influence on Japan’s “God of Comics,” Osamu Tezuka, an artist sometimes referred to as Japan’s equivalent to Walt Disney. In 1983, Tezuka released the first in a five-volume series called “Adolf,” a popular manga set in World War II-era Japan and Germany about three men with that name — a Japanese boy, a Jewish boy and Hitler.
“I think there’s something fascinating about Nazi aesthetic, certainly for countries that never actually participated in the war against the Nazis. But I don’t think it’s that different from, say, the way George Lucas made the Empire in the ‘Star Wars’ films very Nazi-like in its aesthetic,” Greenberg said.
As Greenberg notes, Western media is also full of Holocaust references — some more successful in its repudiation of Nazi ideology than others — like the numbered tattoos and recent use of a Lithuanian prison camp as a filming location in the Netflix hit show “Stranger Things.”
“What makes people angry is, people think when the Japanese approach it, they approach it without understanding. And it’s easier to think that they don’t understand it when you look at a show like ‘Attack on Titan,’” Greenberg said.
Liron Afriat, a Ph.D. candidate at the Hebrew University of Jerusalem’s Asian Sphere program and the founder of the Anime and Manga Association of Israel, said while shows like “Attack on Titan” reference the Holocaust and use World War II-era imagery, it’s likely that Western viewers are misinterpreting its intended parallels to Japanese politics. … particularly Japan’s past of aggressive and corrupt militarism and late former Prime Minister Shinzo Abe’s attempts to reinstate a non-defensive military.
“Western people are very eager to jump to conclusions when it comes to Asian media. This is something I see a lot in my work and it’s very frustrating,” she said. “There is a sense that because Japanese pop culture is so popular nowadays, it’s very easy to kind of dogpile on it and say it’s racist.”
In recent decades, anime series have been watched by hundreds of millions of people around the world, and the medium has gone from being seen in the West as a geeky niche genre to a mainstream phenomenon. Though show creators may be conscious about their references, some fans say the fascist and Jewish references, especially the more clear-cut ones — like the Jewish conspiracy in “Angel Cop” — have real-life consequences.
Many in the anime fan community today remember a 2010 incident at Anime Boston when a group of cosplayers dressed up as characters from “Hetalia: Axis Powers,” a series that anthropomorphized Axis and Ally countries, was photographed making Nazi salutes just around the corner from the city’s Holocaust memorial.
“It used to be like, I can go to an anime convention and they would be selling uniforms that were clearly meant to be Nazi uniforms, but sans the swastika,” Desiree said. “And then over time, I noticed conventions started banning that kind of thing.”
“JoJo’s Bizarre Adventure” features a Nazi character named Rudol von Stroheim. (Screenshot from YouTube)
Noah Oskow is the managing editor of the digital magazine Unseen Japan and a Jew who has lived in Japan for seven years. He recalled similar experiences at U.S. anime conventions.
“I think that it is problematic to portray Nazis and the Holocaust in the very frivolous way that it’s often portrayed,” he said. “Even in a place that is so far removed from Japan, that aesthetic of Nazis from manga or anime was seeping into somebody’s choices in a far-removed anime and manga event.”
Oskow says recent portrayals of Nazis and fascism in anime and manga lack the depth necessary to confront an issue like the Holocaust, but that some subtext in shows like “Attack on Titan” is likely missed by Western viewers since it is created for a Japanese audience.
Still, he says, as a Jew, there is a discomfort with these depictions, and the problems with simplifying themes like fascism and genocide should not be ignored just because the product came from Japan — particularly as stereotypes about Jews as having outsize influence remain common. In Japan, as in other East Asian nations such as South Korea, China and Taiwan, books and classes on how to become as smart and wealthy as Jews — believed to be among the most powerful people in media and finance — are not uncommon.
“In my years of discussing Jews with Japanese people…they really think of Jews as an ancient historical people or the people who were killed in the Holocaust unless they have some sort of conspiratorial idea. But most people have no conception of Jewish people,” Oskow said. “So when they’re portraying Jews in manga or anime or any sort of media, and when readers or viewers are engaging with that media, I just don’t think there’s this thought of how a Jewish person would perceive how they’re being portrayed.”
Jessica, a 29-year-old Jewish and Chinese anime fan from Vancouver who also requested her last name be left out of this article, said she deliberately chooses not to watch shows such as “Attack on Titan” and “Hetalia” because she finds the discussions about them among fans to be unproductive and frustrating. Desiree echoed Jessica’s experience of being ignored when raising the topic of antisemitism within the medium or within the fan community on platforms such as Reddit.
“I saw the reactions of other Jewish fans and, more importantly, saw the reaction of the goyish fans — the way ‘Hetalia’ fans did the sieg heil in front of a Holocaust memorial, the way that [‘Attack on Titan’] fans would swarm concerned Jewish fans in droves to tell them that they should perish in an oven, and I decided I didn’t want anything to do with anime that attracted that sort of fanbase,” Desiree said.
“Attack on Titan” returned to streaming services on March 4 with the first part of its final season. In the first episode, the protagonist Eren, whom audiences have followed for a decade, begins carrying out a global genocide known as “the rumbling” with the end goal of destroying all Titans for good and bringing peace. The end result is a wipeout of 80% of humanity, an act that Eren believes was the only path to freedom. He thinks humans must all suffer as a consequence of being born into the world — a nihilistic philosophy that can be found among the manifestos of school shooters and incels.
In the original manga series, Eren’s supporters on the island militarize in order to defend Eren’s violent act, chanting a slogan: “If you can fight you win, if you cannot fight you lose! Fight, fight!” The ending was seen as morally ambiguous and was not popular with fans, who mostly refuted it due to poor writing. Many hope that the anime series will go a different route in its final episodes, which have not yet been released or given future release dates.
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Dismantling the Iranian Zombie State: Washington’s Strategic Imperative
Smoke rises as protesters gather amid evolving anti-government unrest in Mashhad, Razavi Khorasan province, Iran, released on Jan. 10, 2026, in this screen grab obtained from a social media video. Photo: SOCIAL MEDIA/via REUTERS
The statement delivered by President Donald Trump this week, was more than just another warning to a rogue state. By declaring that the Iranian regime had finally begun to cross “very strong” red lines, and noting that “people are being killed who aren’t supposed to be killed,” the administration signaled the end of a long, failed experiment in managed containment.
We are no longer witnessing a typical cycle of civil unrest in the Middle East. Instead, we are watching the mechanical, violent twitching of what can only be described as a “zombie state” — a clerical establishment that died economically and morally years ago, but continues to walk, fueled only by the survival instincts of its security apparatus and the blood of its own citizens.
To understand why Washington must now move from rhetoric to reality, one must look past the regime’s propaganda and into the overwhelmed wards of Tehran’s hospitals.
On the night of January 8, 2026, as the regime pulled the “kill-switch” on the nation’s Internet, reducing connectivity to a mere one percent, a concentrated slaughter was unleashed in the capital. Reports from medical professionals, risking their lives to smuggle out data, confirm a horrific tally: 217 deaths across just six hospitals in a single night. At Milad and Imam Hossein hospitals, doctors counted 70 bodies each, many arriving with gunshot wounds to the head and eyes — the unmistakable signature of a deliberate shoot-to-kill policy. These victims were not collateral damage in a riot; they were targets of a state that has forgotten how to lead and only knows how to execute.
This “zombie” nature of the Iranian government is not just a metaphor. It is a structural reality. In political analysis, a zombie institution is one that persists long after its social utility has vanished, now driven solely by the primary motivation to survive regardless of the cost to the world. Since the brief but intense “12-Day War” in June 2025, which saw the US and Israel puncture Iran’s aura of deterrence by striking nuclear and military sites, the regime has been in a terminal tailspin. The economy is in a “survival phase,” marked by a currency collapse and a banking system so hollowed by corruption that Bank Melli, the nation’s largest lender, recently faced a massive bank run and suspended cash withdrawals.
Rather than addressing these failures, the clerical elite has retreated into a bunker mentality, labeling every protester a “terrorist” and an “enemy of God” — a charge that carries the mandatory death penalty in their warped legal system. Sensing that the local Law Enforcement Command was “balking” at the order to massacre their own neighbors, the regime has now unleashed the IRGC Ground Forces. Even more telling is the regime’s reliance on foreign muscle; approximately 800 fighters from Iraqi Shiite militias, including Kataib Hezbollah, have been flown in to do the work that even some Iranian soldiers are refusing to do. A regime that must hire foreign mercenaries to kill its own people is a regime that has already lost its soul.
For Washington, the strategic interest is clear: a nuclear-armed zombie is a threat to the world. President Trump’s “very strong options” must address the current “deterrence gap” in the Persian Gulf, where the absence of a US carrier strike group has encouraged Tehran to test American resolve. But the true solution lies in empowering the living movement that is already challenging the dead regime. The Iranian people are no longer asking for reform; they are flying the pre-1979 flag and calling for the return of the Pahlavi dynasty to restore their national identity.
Washington should immediately move to provide the material tools of resistance. This means bypassing the regime’s digital iron curtain with “direct-to-cell” technologies and thousands of additional Starlink terminals, ensuring the next Internet blackout fails to hide the regime’s crimes. It means facilitating financial channels that allow the global diaspora to fund nationwide strikes, effectively starving the zombie state of the resources it uses to fuel its machines of war. If military force is used, it must be surgical, targeting the specific IRGC units responsible for the hospital massacres, thereby providing the Iranian people the breathing room they need to reclaim their sovereignty.
The 217 martyrs of Tehran’s hospitals — and the many others that have since joined them — have already paid the entry fee for a new Iran. They have proven that the clerical establishment rules only through violence, an observation President Trump echoed on his return from Mar-a-Lago. The time for bargaining with a corpse is over. The “Greatest Peace” the Middle East has ever seen will not come through negotiations with a criminal regime; it will come when the Iranian people are given the support to finally bury the zombie state and build a free, stable, and democratic future.
Amine Ayoub, a fellow at the Middle East Forum, is a policy analyst and writer based in Morocco. Follow him on X: @amineayoubx
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Israel to Compete in First Semifinal of 2026 Eurovision Song Contest, Organizers Announce
Israel’s representative to the Eurovision Song Contest, Yuval Raphael, a survivor of the deadly Oct. 7 2023, attack by Hamas on the Nova festival in Israel’s south, holds an Israeli flag in this handout photo obtained by Reuters on Jan. 23, 2025. Photo: “The Rising Star,” Channel Keshet 12/Handout via REUTERS
Israel will participate in the first semifinal of the 2026 Eurovision Song Contest in Vienna, Austria, in May and will perform during the second half of the competition, the European Broadcasting Union announced on Monday.
The first semifinal will be held on May 12, followed by the second semifinal on May 14. Based on the results of the audience and jury vote, the top 10 countries from each semifinal will move on to compete in the grand final on May 16. All portions of the 2026 Eurovision will take place at the Wien Stadthalle in Vienna. The lineup for the semifinals was decided by a draw, conducted during a live broadcast by the Austrian broadcaster ORF and on the official Eurovision Song Contest YouTube channel.
The countries competing in the first half of the semifinal on May 12 are Georgia, Portugal, Croatia, Sweden, Finland, Moldova, and Greece. Israel is competing in the second half along with Montenegro, Estonia, San Marino, Poland, Belgium, Lithuania, and Serbia. The order of performances for the two semifinals will be announced by the end of March, according to the EBU.
A total of 35 countries will participate in the 70th Eurovision Song Contest, but only 30 will compete in the semifinals because five countries are pre-qualified for the grand final on May 16. France, Germany, Italy, the United Kingdom, and last year’s winner Austria automatically qualify for the grand final, but are still required to broadcast and vote in one of the semifinals. Germany and Italy will perform and vote in the first semifinal.
“The Eurovision Village at Rathausplatz – in the heart of our city – will send a visible message of unity to the world – something very important in these turbulent times,” said Vienna Mayor Michael Ludwig in a released statement. “Vienna will become the world stage of entertainment once more and do everything possible to ensure that all visitors can celebrate a wonderful and safe festival together. Vienna will once again show that it is a great host for people from all over the world, where everyone can feel welcome and safe.”
“Together with ORF, Vienna is ready to welcome Europe and the world for the 70th Contest to celebrate music, creativity and connection,” said Martin Green CBE, director of the Eurovision Song Contest. “With broadcasters from across Europe and beyond taking part, and a global audience that continues to grow, the Eurovision Song Contest remains a truly unique live event. We can’t wait to see the stage come alive in May and to share an extraordinary celebration of 70 years of international music and creativity with hundreds of millions of viewers worldwide.”
Spain, Ireland, Iceland, the Netherlands, and Slovenia announced they will not compete in the 2026 Eurovision after it was ruled in early December that Israel is allowed to participate. The countries are protesting Israel’s military actions in the Gaza Strip during the Israel-Hamas war. Other countries, like Belgium and Italy, have been facing pressure to withdraw from the song contest because of Israel’s involvement. Two previous Eurovision winners also returned their trophies to the EBU in protest of Israel’s participation in the 2026 Eurovision: 2024 Swiss winner Nemo and Charlie McGettigan, who won the 1994 Eurovision with fellow Irish singer Paul Harrington.
Austria’s broadcaster ORF said last month it will not ban Palestinian flags from the audience or drown out booing during Israel’s performance in the Eurovision this year.
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Trump’s Iran Tariff Threat Risks Reopening China Rift
US President Donald Trump and Chinese President Xi Jinping react as they hold a bilateral meeting at Gimhae International Airport, on the sidelines of the Asia-Pacific Economic Cooperation (APEC) summit, in Busan, South Korea, Oct. 30, 2025. Photo: REUTERS/Evelyn Hockstein
US President Donald Trump’s threat to slap a 25% tariff on countries that trade with Iran risks reopening old wounds with Beijing, Tehran’s biggest trading partner.
Iran became a flashpoint in US-China ties during Trump’s 2017-21 first term as president as Washington tightened sanctions on Tehran and put China‘s Huawei, accused of selling technology to the Islamic Republic, in its crosshairs.
The arrest of Meng Wenzhou, the daughter of Huawei’s founder, in Canada at Washington’s request sparked retaliation and a hostage crisis, with bitter recriminations lingering for the remainder of Trump’s first administration.
With Iran in his sights once again, the duty would see Chinese shipments to the US incurring levies exceeding 70%, higher than the effective 57.5% tariffs in place before Trump and Chinese President Xi Jinping struck a deal in October to de-escalate their trade war.
It remains unclear which countries with Iranian business links Trump might target, and he has not named China. The US president has also made offhand remarks that threatened to upend US foreign policy without acting on them before.
“China will call [Trump’s] bluff. I can assure you that Trump has no guts to impose the extra 25% tariffs on China, and if he does, China will retaliate and he will be punished,” said Wu Xinbo, dean of the Institute of International Studies at Fudan University, “just like in Meng Wenzhou’s case.”
BACK TO THE FUTURE
Some Chinese experts questioned why Trump seemed intent on revisiting one of the most contentious foreign policy issues from his first term, despite having already made Beijing think twice about providing economic support to Tehran.
“China and Iran are not as close as in the public imagination,” said a Beijing-based Chinese academic who advises the foreign ministry on Iran policy, and requested anonymity as they were not authorized to speak to media.
China has sharply reduced Iranian imports in recent years, according to Chinese customs data, with Chinese companies wary of being sanctioned by the US government. China bought just $2.9 billion of Iranian goods in the first 11 months of last year, the latest customs figures show, compared with a peak of $21 billion in 2018 during Trump’s first presidency.
That said, Beijing moves around 80% of Iran‘s shipped oil through small independent refiners trading off the books to skirt US sanctions over the country’s nuclear ambitions.
China‘s state-backed oil majors have not done any business with Iran since 2022. Some analysts say the independents’ shipments means the total value of China‘s purchases remains in the tens of billions of dollars.
“China is just an excuse, a kind of disguise for the Trump administration, to impose new pressure [on] Iran,” said Wang Jin at the Beijing Club for International Dialogue think tank.
When asked at Tuesday’s regular press conference on Trump’s tariff threat, China‘s foreign ministry said that Beijing would “resolutely safeguard its legitimate rights and interests.”
HIGH STAKES
Still, Iran remains substantially bigger business for China than Venezuela, where Trump acted to curb Beijing’s stake with a commando raid to capture President Nicolas Maduro to face drug charges in the United States.
Analysts said Trump’s renewed push to cut off Iran from global trade flows is likely to deepen scrutiny of Xi’s flagship Belt and Road Initiative, where Iran is a strategic hub for the passage of Chinese goods to the Middle East.
It also raises uncertainty over whether Trump will visit Beijing in April as expected, with analysts anticipating the announcement of a sweeping trade agreement with Xi.
“Whether Trump’s tariffs are enforceable remains a question,” said Xu Tianchen, a Beijing-based analyst at the Economist Intelligence Unit.
“Last year he announced tariffs related to ‘illicit’ Russian oil trade, but their implementation was patchy.”
“Trump is also the kind of person who likes bullying the weak,” Xu said. “He should manage his actions to avoid these tariffs escalating into direct confrontation with China.”
