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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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Peter Beinart’s ‘Being Jewish After the Destruction of Gaza’ wins PEN America award
(JTA) — Progressive Jewish author Peter Beinart has won the 2026 PEN America Literary Award for nonfiction for his latest book, “Being Jewish After the Destruction of Gaza: A Reckoning.”
Beinart, who has long been an outspoken critic of Israel, is the editor-at-large of the leftist Jewish Currents magazine and a professor at CUNY’s Newmark School of Journalism. His book offers a harsh critique of the American Jewish community’s relationship with Israel and response to the war in Gaza.
“This book is about the stories Jews tell ourselves that blind us to Palestinian suffering,” Beinart wrote in a Substack post announcing the book’s release in September 2024. “It’s about how we came to value a state, Israel, above the lives of all the people who live under its control. And it’s about why I believe that Palestinian liberation means Jewish liberation as well.”
In a statement, the judges of the PEN America award said the book “offers a model for writing a new story when inherited narratives no longer hold.”
The award offered the latest evidence of a shift for PEN America when it comes to Israel, which has polarized the literary and cultural world in recent years.
Founded in 1922, PEN America is a writers’ and free-expression advocacy group that defends the rights of authors and opposes censorship. The group has long opposed cultural boycotts of Israel, including in a December 2023 letter calling on art institutions “not to police speech nor deprive audiences of artists’ work,” earning it increasing ire from progressives. The group’s CEO left amid tensions in 2024, and last year it published a report accusing Israel of committing a genocide in Gaza.
The group named two new leaders in February, who ran into nearly immediate challenges when the group took fire for defending an Israeli comedian, Guy Hochman, who had performances canceled in Canada. The group took the unusual step of rescinding its defense of Hochman.
Now, the award to Beinart offers a signal that the group is supportive of his brand of Israel criticism. Recipients of the PEN/Galbraith Award for Nonfiction, which includes a $10,000 prize, must have published a book in the last calendar year that possesses “notable literary merit and critical perspective that illuminates important contemporary issues,” according to the PEN America website.
Beinart has also faced some of the free-speech challenges that are PEN America’s raison d’etre. Last year, appearances to promote his book in Israel drew calls for cancellation from both voices on the right, who believe his positions cross at times into antisemitism, and from left-wing allies who said he should commit to boycotting Israel. Beinart apologized to his left-wing critics for speaking in Tel Aviv.
Beinart’s award is the latest example of a book sharply critical of the West’s response to the war in Gaza gaining major literary recognition, following a similar nonfiction winner at the National Book Awards in November.
The announcement of Beinart’s selection for the prestigious award comes as the war in Gaza has reverberated across the literary world, sparking protests against some pro-Israel writers and debate among Jewish writers and institutions over the best way to respond.
Earlier this month, dozens of anti-Zionist and non-Zionist Jewish authors lit into the Jewish Book Council for having a “bias toward centering Israeli and Zionist voices.”
In recent years, the award has been given to “In The Shadow of Liberty” by Ana Raquel Minian, which documents the history of immigrant detention in the United States, and “The Inheritors: An Intimate Portrait of South Africa’s Racial Reckoning,” by Eve Fairbanks.
This article originally appeared on JTA.org.
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Trump, in absentia, becomes first non-Israeli to receive Israel’s top civilian honor
(JTA) — Donald Trump officially became the first non-Israeli to receive the Israel’s top civilian prize on Wednesday — but he wasn’t on hand to receive his honor.
Israeli Prime Minister Benjamin Netanyahu announced that Trump would get the Israel Prize after meeting with him at his Florida estate, Mar-a-Lago, in December.
“We decided to break a convention, or create a new one, and that is to award the Israel Prize, which in almost our 80 years we’ve never awarded to a non-Israeli, and we’re going to award it this year to President Trump,” Netanyahu said at the time. He added, “It’s going to be awarded to President Donald J. Trump for his tremendous contributions to Israel and the Jewish people.”
Israel’s education minister, who oversees the prize, extended the invitation officially in early February. But even though Trump indicated at one point that he could attend the award ceremony, held annually on Independence Day, he was absent on Wednesday when it took place.
Trump has delighted in his support from Israelis, many of whom have viewed him as unusually willing to go to bat for Israeli interests. A video played at the ceremony in Jerusalem showed him meeting with Netanyahu, speaking to the Israeli parliament last year and announcing the historic normalization deals with Arab countries negotiated during his first administration.
But conditions changed sharply since Netanyahu announced the prize. In February, Trump joined Netanyahu in launching a war on Iran that has been unpopular in the United States. Reports that Netanyahu persuaded him to enter the war, which Trump has ceased despite not achieving the varied goals he offered, have deepened anti-Israel sentiment among Americans, including Trump’s base.
Trump reportedly planned at one point to accept the prize with a videotaped address, but he did not offer one during the ceremony.
The award for Trump came amid Independence Day festivities that featured an unusual honor for a different non-Israeli head of state. Argentina’s president, Javier Milei, who has been a vocal defender of Israel, became the first foreign leader to light a torch as part of the celebrations.
The only other non-Israeli citizen to be honored with an Israel Prize did not receive the standard one, but instead got a designation for non-citizens. In 1992, Zubin Mehta, the non-Jewish longtime music director of the Israel Philharmonic Orchestra, won a special prize for his contributions to the state. This year, Mehta announced that he was canceling his upcoming appearances in Israel, citing “of my objection to Mr. Netanyahu’s way of treating the whole Palestinian issue.”
This article originally appeared on JTA.org.
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Maestro Michael Tilson Thomas, celebrated conductor and Yiddish Theater royalty, dies at 81
Michael Tilson Thomas, composer, conductor and longtime music director of the San Francisco Symphony, died Wednesday April 22. The cause was brain cancer. He was 81.
Thomas, the recipient of 12 Grammy Awards, a Peabody and Kennedy Center Honor, was born Dec. 24, 1944, the son of Ted Thomas, a stage manager and producer for Orson Welles’ Mercury Theatre and Roberta Thomas (née Meritzer), a middle school history teacher and a founding staff writer for Newsweek. On his father’s side, his grandparents were the legendary Yiddish Theater actors Boris and Bessie Thomashefsky.
“They were like Taylor and Burton, basically, of Yiddish theater,” Tilson recalled in a 2025 interview on CBS Sunday Morning. Their sex appeal, he told Lesley Stahl, sometimes got the pair in trouble.
Thomas was a musical prodigy, working with Igor Stravinsky and Jascha Heifitz as a young pianist. In his telling, no one wanted him to pursue the arts as a career.
“Nobody, absolutely nobody, wanted me to go into show business or into anything remotely connected with performing arts,” Thomas said. “They didn’t want me to be exposed to such vagaries of the uncertainty of being a show biz person.”
But Thomas made his mark in the world of classical music as a conductor, pianist and composer. In 1969, before he graduated from the University of Southern California where he studied piano, composition and conducting, he won the Koussevitzky Prize for outstanding student conducting at Tanglewood. Soon after, he became a pianist and assistant conductor for the Boston Symphony Orchestra.
Much like Leonard Bernstein, to whom he was often compared, Thomas’ reputation grew when, at 24, he stepped in to replace a more established maestro, taking the baton mid-performance from the Symphony’s music director William Steinberg in a 1969 performance in New York. (Steinberg took ill after conducting Brahms’ Second Symphony.) In 1971, not yet 30, he became music director of the Buffalo Philharmonic.
Thomas’ theater pedigree was in evidence in his conducting philosophy. He told The New York Times in 2014 that he tended “ to think of an orchestra more like a repertory theater company.”
Thomas was known for pushing boundaries within a sometimes stuffy orchestral world. He was openly gay when virtually no one else in classical music was. He strived to make the music accessible for everyone as a co-founder of the New World Symphony in Miami and, in the internet age, through his work with the YouTube Symphony Orchestra, whose members auditioned via video. Leading the San Francisco Symphony from 1995 to 2020, he highlighted the work of American composers through the American Mavericks Festival concert series.
Accomplished as an educator and conductor, Thomas was a prolific composer, often on Jewish themes. He wrote the 1990 cantata From the Diary of Anne Frank (he won a 2021 Grammy for a recording of the work) and 1995’s Shówa/Shoáh, which lamented both the tragedy of the Hiroshima bombing and the Holocaust.
In 2005, Thomas paid tribute to his theatrical forebears in Thomashefskys: Music and Memories of a Life in the Yiddish Theater, which debuted at Carnegie Hall, and later aired on PBS. He was a regular on public access television, hosting the series Keeping Score, which explored the work of composers and geared toward school-age audiences.
Thomas, who was diagnosed with brain cancer in 2021, gave his final performance on April 26, 2025 at the San Francisco Symphony in honor of his 80th birthday. He was aware the performance would be his last, describing it as a “generous and rich” coda.
“At that point, we all get to say the old show business expression,” Thomas wrote on his website. “‘It’s a wrap.’”
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