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Iran’s regime is obsessed with Jeffrey Epstein
In the hours leading up to the recent ceasefire between the U.S. and Iran, pro-regime AI-generated videos flooded social media. In one widely circulated clip, a Lego version of Donald Trump is shown desperately pleading with Iran for a ceasefire. The response comes in the form of a ballistic missile with the words “in memory of the victims of Epstein’s Island” written on it, hurling toward U.S. allies in the region.
Another video shows a terrified Trump in bed with young girls, having a nightmare of an Iranian missile barrage before waking and agreeing to ceasefire terms while eating a taco — a reference to the acronym “TACO” (“Trump Always Chickens Out”).
These videos are just some of the dozens released by media organizations affiliated with the Iranian regime that invoke pedophile sex abuser Jeffrey Epstein in its anti-Western propaganda.
“The IRGC is very happy to use him in every venue they have—in media, newspapers, speeches,” said Saeid Golkar, an Iranian-born expert on the Iran regime’s propaganda, using the acronym for the Islamic Revolutionary Guard Corps. “Everything they are talking about, especially right now, goes back to the corruption of the West and Epstein.”
Golkar, who grew up exposed to regime messaging, said the fixation on Epstein reflects a broader ideological goal: convincing Iranians that the West is a place of moral decay.
“From the beginning, one of the pillars of the Islamic Republic’s ideology was anti-Westernism and portraying the West as a corrupt place,” he said. “There is no respect for families or values … no limitation for sexual interaction. I remember the phrase ‘living like pigs’ — that they are living together like animals. That was a big concept.”
Golkar says the Epstein files released by the U.S. Department of Justice earlier this year have been a “gift” to the regime, offering a concrete example of the Western immorality it hopes to present to its people. When Iranians express a desire for a “normal life” without Sharia law or morality police, the regime invokes Epstein.
“They say, ‘You don’t want a normal life — you want a corrupted life…. These people don’t care about your freedom. They are a group of pedophiles.’” This, despite the fact that girls can be legally married in Iran at the age of 13, and even younger with the approval of a male guardian and judge.
The Baal game
One of the most prominent features of pro-regime rallies in Iran is the burning of Baal statues. The figure of Baal — meaning “lord” in ancient Semitic languages — is referenced in the Old Testament as a rival to the God of the Israelites. Historically, Baal was a fertility deity associated with rain and agricultural prosperity. Later interpretations and conspiracy theorists came to portray the worship of Baal as tied to sexual deviance and child sacrifice.
A popular online conspiracy theory ties Jeffrey Epstein and his co-conspirators to Baal, pointing to a viral document from the Epstein files that appears to show bank transfer details with the name “Baal.name” listed where a financial institution would typically appear. They interpret this as evidence that Epstein maintained an account connected to the deity, suggesting he may have worshiped Baal or been involved in ritual abuse. Popular right-wing influencer Candace Owens weighed in with a video titled, “BAAL SO HARD: The Epstein Files,” where she referred to Jews as “pagan gypsies.” It has almost 3 million views.
Fact-checkers have disputed the interpretation of the bank document, noting that “Baal.name” is likely a misreading or formatting artifact of “Bank Name,” and that the actual account name — Clearlake Centre, LLC — is clearly identified elsewhere in the record.
On numerous occasions, the Iranian regime has staged the burning of Baal statues in major cities during pro-regime rallies, sometimes even coordinating multiple burnings across the country. Mehr News Agency, a state-owned Iranian news network, reported on one such rally in early February, writing: “Participants set fire to the symbolic Baal idol, describing the act as a representation of condemnation over crimes linked to Jeffrey Epstein’s island, where children were abused.”
These events are often accompanied by chants of “Death to America,” “Death to Israel,” or “God is Great.” In some cases, the statues have been marked with a painted Star of David.
The Baal figure has also appeared in many of the AI-generated videos circulating online amidst the war. In one, created by pro-regime media organization Explosive Media, Lego versions of a drunken Pete Hegseth and Trump are paired with a rap track: “We hitting the Baal-worshipping Epstein Island crew, the ones who hurt the kids. Revenge for every American soul you and Trump’s dirty crew oppressed and did. We taking payback for the girls you broke.”
Though Explosive Media claims it is not directly affiliated with the Iranian government, Golkar said he has seen evidence suggesting it operates as part of the IRGC’s media apparatus. The regime has also acknowledged granting tiered internet access to select individuals tasked with amplifying official messaging. In early March, government spokesperson Fatemeh Mohajerani said full internet access had been given to those “who can carry the voice of the government further.” Explosive Media, which says it has 2.5 million followers across Iranian messaging platforms, has cited its status as a media organization to explain its continued access. This has prompted experts like Moustafa Ayad, a researcher with the Institute of Strategic Dialogue, to raise questions about how closely it is connected with the state.
Another video, played on Iranian state TV, depicts figures the regime frames as victims of the West — a Native American man, a Gazan child, an Epstein victim, and former Iranian general Qassem Soleimani, who was killed in a US strike in 2019 — gazing skyward as an Iranian missile strikes the Statue of Liberty. In this version, the statue is reimagined as Baal holding a Talmud. Upon impact, both sink into the Hudson River.
The Epstein fixation extends beyond rallies and social media. Golkar said Epstein is frequently referenced in official Basij (a plainclothes paramilitary volunteer militia in Iran) and IRGC materials, as well as in speeches by Iranian officials. Just two days before his assassination, Ali Larijani, Iran’s top security official, posted on X, “It has been reported that what remains of Epstein’s network is working to prepare a conspiracy aimed at fabricating an incident similar to the September 11 attacks, in preparation for accusing Iran of being behind it.”
In another post in response to U.S. Defense Secretary Pete Hegseth, Laranjani posted on X, “Mr. Hegseth! Our leaders have been, and still are, among the people. But your leaders? On Epstein’s island!”
The Epstein War?
These propaganda videos are largely made in English. With Iran still in a media blackout, the Iranian people may not be their intended audience.
Shaping global perception through media is a key part of the Iranian war strategy. In a meeting with a group of Iranian poets in 2024, Ayatollah Khamenei, who was assassinated on the first day of the war, stated, “All war is a media war. Whichever actor has greater media influence will achieve their goals.”
The IRGC has spent years building a media apparatus designed to do just that. IRGC-affiliated production studios, media-focused university programs, and cultural centers are dedicated to training and refining propaganda content. Iran also outsources some of its media production to countries more attuned to Western cultural cues, particularly Pakistan.
A key element of the regime’s narrative is the claim that the Trump administration initiated the war to distract from the Epstein files. This theory has also circulated on both the left and the right in the United States.
In Washington D.C., posters cover the streets referring to the War in Iran, formally titled Operation Epic Fury, as Operation Epstein Fury.
U.S. Republican Rep. Thomas Massie of Kentucky posted on X shortly after the war began, garnering over 250 thousand likes, “Bombing a country on the other side of the globe won’t make the Epstein files go away, any more than the Dow going above 50,000 will.”
The popular podcaster Joe Rogan espoused the theory on a recent episode, stating, “Look, the Epstein files comes out — we go to war with Iran. It’s a good way to get people to stop talking about certain things.”
The post Iran’s regime is obsessed with Jeffrey Epstein appeared first on The Forward.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”