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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.


The post Does anime have a Nazi problem? Some Jewish fans think so. appeared first on Jewish Telegraphic Agency.

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Recognizing Shabbat Is Not Establishing a Religion

Shabbat candles. Photo: Olaf.herfurth via Wikimedia Commons.

The backlash to President Trump’s “Shabbat 250” proclamation reveals something deeper than disagreement over a single president or a single ceremonial gesture. It reveals how uneasy a slice of American Jewish leadership has become with the public acknowledgment of a tradition that helped shape America’s moral vocabulary.

The timing matters. Since October 7th, antisemitism has surged on a scale unfamiliar to most American Jews living today – across college campuses, in major cities, on social media, in synagogue parking lots that now require armed guards and entrances fitted with metal detectors. Against that backdrop, a sitting president has used a White House proclamation to honor a core Jewish practice, to invoke George Washington’s 1790 letter to the Hebrew Congregation in Newport, and to name Haym Salomon – the Jewish immigrant financier who helped fund the Revolution – as a model of Jewish American patriotism. One might have expected the organized Jewish community to receive that gesture with something closer to unanimity. Instead, the response has split.

As eJewishPhilanthropy recently reported, the divide ran along predictable lines. Orthodox and politically conservative organizations – Chabad communities, Agudath Israel, the Orthodox Union, the Rabbinical Council of America, Young Jewish Conservatives – embraced the proclamation immediately. Progressive institutions and the Jewish Council for Public Affairs raised church-state concerns. The fault line itself is worth noticing. It tracks, with unsettling precision, which segments of American Jewry still feel confident about Jewish practice in public and which have grown uneasy when Jewish tradition appears outside the synagogue.

The critics’ anxieties are not frivolous. Jewish history is full of governments that used religion coercively and turned on the minorities they once flattered. American Jews were right to be cautious about religious majoritarianism in the past, and a cautious American Jewish political tradition has long taken that lesson seriously. But caution becomes distortion when even symbolic recognition of Jewish practice is treated as a constitutional threat.

The most serious version of the objection comes from Amy Spitalnick, CEO of the Jewish Council for Public Affairs, who warned in the eJP piece that when church-state lines blur, “one day you’re in and the next day you could be out.” The worry deserves a real answer, not dismissal. But Spitalnick herself drew the right distinction in the same interview. A government celebration of Jewish identity and practice, she said, “is very different than trying to utilize the government to advance a specific approach to religion.”

A proclamation honoring rest, gratitude, and the Jewish American contribution to the national story falls squarely on the first side of her line. It establishes no theology. It privileges no denomination. It requires nothing of anyone. It is ceremonial recognition: the same category as presidential Hanukkah candle-lightings, Ramadan iftars, Easter messages, and Thanksgiving statements that have rolled out of the executive branch for generations. The American constitutional order does not require a public square emptied of faith; it requires a public square open to all of them. A president who honors Shabbat one season and hosts an iftar the next is not establishing a religion. He is doing what American presidents have done since Washington: recognizing that the country contains many traditions and that none of them needs to be hidden to be American.

A different objection comes from Rabbi Amichai Lau-Lavie of Lab/Shul, who wrote that we should observe Shabbat “not because a leader commanded it, but because our humanity demands it.” That is a theological worry, not a constitutional one, and it deserves a theological answer. Trump has commanded nothing. All he has done is acknowledge that Shabbat exists, that millions of Americans keep it, that the country is better for the practice.

One can hold separate concerns about this president’s habit of telling Jews how to be Jewish. Those are concerns about a man. They are not an argument against the proclamation. The principle would be right whether the proclamation came from this president or any other, and an American Jewish community that could only accept public recognition from presidents it liked would not be defending the Constitution. It would be practicing politics.

The deeper problem with the church-state framing is that it gets American Jewish history almost exactly backward. American Jews did not flourish because the public square was scrubbed of faith. They flourished because the public square was open to faith – to all faiths -and because the founding promise of religious liberty was extended to a people who had never before been treated as full citizens anywhere in Christendom. Washington’s letter to Touro Synagogue, which the proclamation invokes, did not promise the Newport congregation that religion would be banished from American life. It promised them that the new republic would “give to bigotry no sanction, to persecution no assistance” and that the children of the stock of Abraham would sit safely under their own vine and fig tree. That is not the language of secularism. It is the language of religious confidence extended to Jews as Jews.

The Jews who arrived in America did not ask for invisibility. They asked for equality, and America’s founding promise made that claim possible in a way nearly no other country had. Haym Salomon – born in Poland, jailed by the British, dead in poverty at forty-four after pouring his fortune into the Continental cause – did not finance a revolution so that his descendants could ask the public square to please not mention Jews. The American Jewish bargain has always been the opposite: be visible, be present, be unembarrassed about being Jewish in public, and the country will be the better for it. The First Amendment was designed to prevent a national church. It was never designed to scrub religion from American public life. Covenant, human dignity, moral obligation, liberty under law, the sanctity of conscience; none of it appeared from nowhere. Recognizing that inheritance is not theocracy. It is historical literacy.

It is worth saying plainly what Shabbat is, because much of the anxious commentary proceeds as though the underlying practice were a minor ritual rather than one of the central institutions of Western civilization. Shabbat is the weekly insistence that human beings are not merely productive units. It is the structural refusal to let work, commerce, and noise consume the whole of life. It builds in, by law and by habit, a day for family, for study, for rest, for gratitude and for the things that markets cannot price and bureaucracies cannot manage. The Jewish tradition holds that Shabbat sustained the Jewish people through exile, dispersion, and persecution: more than the Jews kept Shabbat, Shabbat kept the Jews.

That a weekly cessation might be good for an entire country – and not merely for Jews – is not a controversial proposition. It is one of the most quietly radical contributions the Jewish people have made to human civilization. A country drowning in screens, in noise, in the demand to be always available, might reasonably want to pause and acknowledge the institution that taught the West how to stop.

The split inside the American Jewish community over “Shabbat 250” is, in the end, a split about confidence. The progressive instinct to guard the church-state line is the right instinct, applied to the wrong case; the Jews who worry about state-favored religion are reading from the correct historical script, only on the wrong stage. The Orthodox and conservative Jews who embraced the proclamation did so because they still feel ownership over Shabbat; because the practice is theirs, lived, and they are glad to see it honored. Some progressive leaders responded with discomfort because seeing Shabbat publicly honored by political authority now feels unfamiliar, uncomfortable, perhaps even weaponizable. That asymmetry says something painful about where parts of American Jewish life now stand in relation to their own tradition.

Recognizing Shabbat is not the establishment of religion. It is the recognition of a gift; a gift this country received from the Jewish people, and a gift it is finally, in its 250th year, pausing long enough to say thank you for. At a moment when Jews on American campuses are being told they do not belong, and Jews in major cities are being assaulted for being visibly Jewish, the proclamation says something the Jewish community badly needs to hear from the highest office in the land: you are not foreign here. You built this. The country is grateful.

The answer to that gesture is not worry. It is the lighting of candles.

Samuel J. Abrams is a professor of politics at Sarah Lawrence College and a senior fellow at the American Enterprise Institute. 

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Despite Rule Changes, Israel Proved the Haters Wrong at Eurovision

Noam Bettan, representing Israel, performs “Michelle” during the Grand Final of the 2026 Eurovision Song Contest in Vienna, Austria, May 16, 2026. REUTERS/Lisa Leutner

The crowd in Austria booed when it was announced that Israel was in the lead, with only several countries remaining to receive audience votes, in this year’s Eurovision competition.

Noam Bettan’s song “Michelle” — in Hebrew, French, and English — was without a doubt the best song in the competition. But The New York Times had written a disgusting hit piece about how Israel spends a lot of money on its Eurovision entry, while not mentioning anything about the efforts and spending of other countries in the competition. Spain, Slovenia, Iceland, Ireland, and the Netherlands boycotted the competition.

It also made Jew-haters nervous that traditionally, the country that wins hosts Eurovision the next year — meaning that if Israel won, the competition could have come to Jerusalem or Tel Aviv.

Ultimately, Bulgaria was the surprise winner with the nonsense song “Bangaranga!” performed in English by Dara. It’s fun in a campy way, but seems more like a sketch song from a comedy show than a song that should win Eurovision.

Bettan’s “Michelle” showed off his powerful voice, and the song got bigger and better as it went on.

I thought that Finland had the second best song after Israel, with “Liekinheitin” performed by Pete Parkkonen with Linda Lampenius on violin. The country finished sixth. Australia’s Delta Goodrem impressed with “Eclipse,” in what was the third best song of the competition, though the country was awarded fourth place.

Countries in the grand finale were awarded a jury vote (by a panel of professionals) and the televote-countries got 12 votes if they were the top vote getter from another country, with other points if they were in a country’s top 10.

Those voting on their phone or online could not vote for someone from their own country. The rules changed from last year so that each person could vote 10 times, as opposed to last year’s 20. Some critics of Israel online hoped this rule change might limit Israel’s ability to have a strong finish. There was also a “Rest of The World Vote” factored in.

Israel was in the lead with a total of 343 points, 220 from the public and 123 from the jury. With Bulgaria getting 204 jury points, the announcer noted that Bulgaria would need 140 points from the public to be the winner. It received an inexplicable 312 public votes. The jury gave France 144 points, Poland 133 points, Denmark 165 points, and Italy 134 points — which some saw as possible bias against Israel, though Australia’s 165 points and Finland’s 141 points, may have been due to the actual merit of the songs.

With rumors flying that Bulgaria can’t afford to have the Eurovision show in their country, there was speculation online asking if Israel would host it next year — but that sadly will never happen.

Even though Bettan finished second, it was a clear victory, as the song was great, and Israel thrived despite the new rule changes that were put in place because the public complained about last year’s pro-Israel results.

Will Bettan’s strong finish change anyone’s mind about Israel? One never knows exactly, but it doesn’t hurt to have a handsome amazing singer shine on the global stage.

This marks the third consecutive year that Israel has had a great song and performer, and finished in the top 5. Last year, Israel came in second with Yuval Raphael’s “New Day Will Rise.” She received 297 public votes, the most of any competitor, but only 60 jury points, the fewest of any in the top seven. In 2024, Israel finished fifth with Eden Golan’s “Hurricane.” She received 323 points from public votes, the second most in the competition, but only 50 from the jury, the lowest number of any in the top 10.

Israel finishing second for the second consecutive year once again shows a country that beats the odds and shows greatness.

The author is a writer based in New York.

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Even After a Terrorist Attack and Royal Commission, Australia Doesn’t Take Antisemitism Seriously

Demonstrators gather outside Flinders Street Station during a protest against Israeli President Isaac Herzog’s state visit to Australia, following a deadly mass shooting at a Hanukkah celebration at Bondi Beach on Dec. 14, 2025, in Melbourne, Australia, Feb.12, 2026. Photo: REUTERS/Tracey Nearmy

This is not only an Australian story. Jewish communities across the diaspora are living through the same reality. People have been murdered. Jews have been attacked in the streets. Jewish institutions have been threatened and forced to operate under continuously heightened security. Students have been targeted on campus. Families have been made to think twice before being visibly Jewish in public.

The details differ, but the pattern is painfully familiar. Australia is part of a broader failure across the world to confront antisemitism with the seriousness it demands.

For more than two years, Jewish Australians have been told that antisemitism has no place here. We have heard statements of concern and promises that hatred will not be tolerated. But it is being tolerated.

This is no longer theoretical. Jewish children are continuing to hide who they are. Students continue to be intimidated. Synagogues, schools, and community institutions are operating under continuously heightened security. Families are asking whether Australia is still a place where Jews can live openly and safely.

Antisemitism has moved into ordinary life. It appears on campuses, in workplaces, online, in public spaces, and in the constant expectation that Jews explain themselves, apologize for themselves or remain silent.

Australia’s Royal Commission into Antisemitism and Social Cohesion was established to examine the rise of antisemitism and its impact on Jewish Australians. A Royal Commission is one of Australia’s most serious public inquiries, with the power to hear evidence and make recommendations that should shape national policy.

That is why this moment matters. Jewish Australians are asking to be heard through the very process Australia has created. They are asking to be protected, and to see existing laws, standards and institutional policies enforced. They are asking for proof that the country understands what is being exposed, including when antisemitism makes Jewish life smaller, more guarded, and less secure. 

But the Royal Commission is revealing something deeply uncomfortable. Even as Jewish Australians give evidence, much of the broader community is not paying attention. Worse, the process itself has drawn more antisemitism online and in person. When Jews speak about hatred and the response is more hatred, the problem is being demonstrated in real time.

This should alarm every Australian. When Jews describe antisemitism, they are accused of inventing it. When they report intimidation, they are told they are exaggerating. When they ask for protection, they are accused of seeking special treatment. When they call out hatred disguised as politics, they are told they are trying to silence debate.

Australia now faces a clear choice. It can keep speaking about antisemitism as a regrettable social issue, or treat it as the serious threat to public safety, social cohesion, and democratic values that it has become. 

Universities remain one of the clearest examples of institutional failure. Too many Jewish students have had to walk past slogans that glorify violence, sit in classes where Israel is demonized beyond any reasonable academic standard, and navigate complaint systems designed to exhaust them rather than protect them.

The same applies beyond campus. Councils, schools, workplaces, sporting bodies, cultural institutions, and public venues all have a responsibility to ensure antisemitism is not normalized under the banner of politics.

Anti-Zionism, when it denies Jewish people the same right to self-determination afforded to others, or holds Jews collectively responsible for Israel, is not legitimate criticism. Israel can be criticized. But when that criticism becomes a demand that the Jewish state alone should not exist, uses Nazi comparisons, justifies terrorism, or treats every Jew as a proxy for Israel, it crosses a line too often ignored. 

The test is whether Australia can stop enabling antisemitism. That means policing hate speech and intimidation, online accountability, proper security support for vulnerable Jewish institutions, and consequences for institutions that fail to protect Jewish Australians.

For too long, Jewish communities across the diaspora have been asked to explain the problem while others debate whether it is real. It is real. It is not only a Jewish problem. It is a warning sign for every democratic society.

Because in Australia, as across the diaspora, the question is no longer whether antisemitism exists. Jewish communities know it does. A Royal Commission now exists because the problem has become impossible to ignore. The question is whether our leaders, institutions and society have the courage to act before even more damage is done.

Michael Gencher is Executive Director of StandWithUs Australia, an international nonpartisan education organization that supports Israel and fights antisemitism.

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