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With goblins, spellcasters and delis, board game makers are imagining new Jewish worlds
(JTA) — Running a not-so-Zagat-rated deli, dropping into a Chinese restaurant for Christmas Eve dinner and acting out a bat mitzvah that involves a vampire — for contemporary board game fans, those can be all in an evening’s play.
That’s because a crop of new games aims to merge Jewish ideas and experiences with the aesthetics and language of games such as Dungeons & Dragons. Dream Apart places players in a fantastical reimagining of a 19th-century shtetl, for example, while J.R. Goldberg’s God of Vengeance draws inspiration from the Yiddish play of the same name. In the games in Doikayt, a collection released in 2020, players can literally wrestle with God.
Known as tabletop role-playing games because they ask players to take on a character, these games and their creators imagine exciting new worlds, subvert classic tropes in fun and irreverent ways, and reinterpret Jewish history and identity.
Tabletop role-playing games like Dungeons & Dragons and Call of Cthulhu have exploded in popularity over the past several years, with many — including at least one group of rabbis — picking up the Zoom-friendly hobby during the height of the COVID-19 pandemic. But the new Jewish games aim to do more than just provide a diversion or even an escape.
“Depending on your family, depending on your synagogue, depending on your community, you may have gotten more or fewer options of what Jewishness could mean in your imagination,” said Lucian Kahn, who created a trilogy of humorous Jewish role-playing games.
“What some of these games are doing is opening that up and pointing to alternate possibilities of imagining Jewishness, not as a way of converting anyone to anything else, but just as a way of showing the tradition is enormous,” he added.
Kahn is the creator of If I Were a Lich, Man, a trilogy of humorous games whose name is a mashup between a “Fiddler on the Roof” song and an undead character, the lich, that frequently appears in fantasy fiction and games. In the title game, players are Jewish liches — spellcasters whose souls, in the lore of Dungeons & Dragons, are stored in phylacteries, the Greek word for tefillin used by Jews in prayer. Representing the four children of the Passover seder, they debate how their community should address the threat of encroaching holy knights.
In some cases, the association of Jews with monsters has given rise to charges of antisemitism — the goblins of “Harry Potter” offer a prime example. But Kahn said he sees Jewish-coded monsters, and queer-coded villains, as figures of resistance.
“There’s a long tradition of looking at the monster and seeing that the reason why these are monsters is because the people who have oppressive power have decided that these are going to be the enemies of the ‘good’ oppressive powers,” Kahn explained. “But if you don’t agree with their ideology, if you’re seeing yourself as being a member of a marginalized community and being in opposition to these oppressive powers, then you can look at the qualities assigned to these monsters and some of them are qualities that are good.”
For Kahn, Jewish-coded monster characters also provide more of an inspiration than the archetypes of more traditional games.
“Maybe somebody thinks they’re insulting me or insulting Jews,” he said. “My response is: I like vampires and liches and trolls and goblins and think they’re much more interesting than bland white muscular humans running through the fields with a cross on their chest hacking at the same things with a sword over and over again.”
Kahn’s outlook has resonated in the tabletop role-playing game community. In February, he and Hit Point Press launched a Kickstarter to fund production of If I Were a Lich, Man. The campaign smashed its $5,000 goal, raising $84,590, enough to hit one of the campaign’s stretch goals of funding a grant to support independent zines about tabletop role-playing games.
The successful campaign means that Kahn’s three games will go into production. In addition to the game about liches, the trilogy includes Same Bat Time, Same Bat Mitzvah, in which players act out a bat mitzvah where one guest has been turned into a vampire, and Grandma’s Drinking Song, inspired by how Kahn’s Jewish great-great grandmother and her children survived in 1920s New York City by working as bootleggers during Prohibition.
In Grandma’s Drinking Song, players write a drinking song together as they act out scenes. Kahn, the former singer/songwriter and guitarist for Brooklyn Jewish queercore folk-punk band Schmekel, wanted to carry over elements of music into this game.
A throughline in all three games is the power of creative resistance to authority — a narrative that Kahn said strikes him as particularly Jewish.
“There are all these stories in Jewish folklore that are really overtly about finding trickster-y or creative ways of fighting back against oppressive and unjust governmental regimes, evil kings, bad advisors,” Kahn said. “One of the first stories I ever heard in my life was the Purim story, so it’s very embedded in my mind as a part of Jewish consciousness, when evil rulers come to power and try to kill us all, we’re supposed to find these outside-the-box ways of preventing that from happening.”
For some Jewish creators, Jewish holidays are an explicit inspiration. Like many Jewish kids of the ‘80s and ‘90s, Max Fefer, a civil engineer by day and game designer by night, grew up loving the picture book “Herschel and the Hanukkah Goblins,” which remains a popular festive text. But as Fefer notes, goblins are often associated with antisemitic stereotypes. Fefer’s first Jewish game, Hanukkah Goblins, turns the story on its head — players interact as the jovial goblins, who are here not to destroy but to spread the spirit of Hanukkah to their goblin neighbors.
Last year, Fefer launched a successful Kickstarter for another Jewish holiday-inspired tabletop role-playing game, Esther and the Queens, where players assume the roles of Esther and her handmaidens from the Purim story, who join together to defeat Haman by infiltrating a masquerade party as queens from a far-off land.
Esther and the Queens channels Fefer’s Purim memories and includes carnival activities, including Skee-Ball; a calm, relaxing Mishloach Manot basket-making; and a fast-paced racing game.
“All of our holidays, they’re opportunities for us to gather as a community in different ways,” Fefer said. “Watching this satirical, comedic retelling of the story of Purim and the Esther Megillah and coming together into a theater, in a synagogue, to watch these spiels and laugh together and spin the graggers when we hear Haman’s name — all of those things help us build identity and community, and I think games in particular surrounding identity, that’s a great way for a Jewish person themselves to feel seen in a game and reinforce their identity, and share their background with friends.”
Another pair of Jewish game creators, Gabrielle Rabinowitz and her cousin, Ben Bisogno, were inspired by Passover.
“The seder is kind of like an RPG in that it’s a structured storytelling experience where everyone takes turns reading and telling, and there’s rituals and things you do at a certain time,” Rabinowitz said. “It’s halfway to an RPG.”
The game became a pandemic project for the two of them, and alongside artist Katrin Dirim and a host of other collaborators, they created Ma Nishtana: Why Is This Night Different? — a story game modeled on their family’s seder. The game follows the main beats of the Exodus story, and in every game, there will be a call to action from God, a moment of resistance, a departure and a final barrier — but different characters and moments resonate depending on the players’ choices.
As an educator at the Museum of Natural History, Rabinowitz said she is often thinking about how to foster participation and confidence, and she wanted to create a game-play mechanic to encourage players to be “as brazen as her family is.” The result was an in-game action called “Wait! Wait! Wait!” — if players wish to ask a question, make a suggestion, disagree with a course of action or share a new perspective, they can call out “Wait! Wait! Wait!” to do so.
The game also includes a series of scenes that are actively roleplayed or narrated, and each includes a ritual — one that can be done in-person or an alternate remote-friendly version. For example, at one point each player must come up with a plague inspired by the new story they’re telling together, and in the remote version, players go camera-off after reciting theirs.
“The fact that it was created during the pandemic and a way for us to connect and other people to connect with each other is really the soul of the game,” Rabinowitz said. “After each person tells a plague, by the end, all the cameras are off and everyone stays silent for another minute. It’s a hugely impactful moment when you’re playing remotely. The design is interwoven in the game itself.”
Rabinowitz said by playing a story of a family undergoing these trials, the themes of family and identity deepen every time she plays the game.
“A lot of people say, ‘Wow, I’ve never felt more connected to this story,’” she said. “Embodying these characters gave me a feeling of relevance and that makes it feel important as a Jewish precept.”
For other creators, that deep connection comes in more lighthearted scenarios. Nora Katz, a theatremaker, game designer and public historian working at the Goldring/Woldenberg Institute of Southern Jewish Life (ISJL) by day, created the Jewish deli-centered game Lunch Rush, which was included in the Doikayt anthology.
“There’s also types of institutions that come up a lot in [tabletop role-playing games], especially sort of high fantasy,” she said. “Everyone meets in a tavern, there’s an inn, things like that. So the idea of a deli as a central gathering place in a world like that felt fun to me.”
An important element of Lunch Rush is that players must be eating while playing, so for Katz’s first round with friends, they got together with chocolate chip ice cream and dill pickle potato chips. She said the deli is a shared language, and her fellow players were all bringing in their own favorite things about delis they loved into the fictional place they were building together.
Tabletop role-playing games “at their core are about collaboration and relationships and storytelling and community, and for me, all of those things are also what Jewishness is about, to me they totally go hand in hand,” Katz said.
The games are not meant to be for Jewish players only. Rabinowitz said the guidebook for Ma Nishtana includes essays to encourage people to further engage with the narrative.
“Jewish players, non-Jewish players, priests, non-religious people, all different people have played it and almost all of them have told us it’s given them a new way of thinking of how they relate to religious tradition, and I didn’t really set out to do that,” Rabinowitz said. “I feel really privileged to have helped create that space.”
Rabinowitz and Bisogno also commissioned other creators to build alternate backdrops for their game, so it can be repurposed to telling the story of another oppressed people’s fight for freedom. Players can interact as embattled yaoguai, spirits from Chinese mythology; explore a Janelle Monáe-inspired Afrofuturist world; play as Indigenous land defenders; or unionize as exploited workers at “E-Shypt.”
Fefer, who has been amplifying the work of other Jewish creators in the tabletop role-playing game space, said the harm of stereotyping and reinforcing negative tropes is still present in the industry, and not just for Jewish people. For example, fans recently criticized Dungeons & Dragons publishers Wizards of the Coast for reinforcing anti-Black stereotypes in the descriptions of a fantasy race, the Hadozee.
“I think it’s a process of talking to people who are from these groups and bringing them onto your teams and making sure you’re incorporating their perspectives into, in the example of Dungeons & Dragons, a hundred-million-dollar industry, being intentional about that design and looking at things from lots of different angles,” Fefer said. “How could our branding, our games be reinforcing something we’re not even aware of?”
Fefer hopes people who play Hanukkah Goblins and Esther and the Queens feel seen and have moments of shared joy, and also that they learn something from these games — about the antisemitic tropes in fantasy, or about underrepresented groups within the Jewish community. With Esther and the Queens, Fefer collaborated with a writer and artist, Noraa Kaplan, to retell the Purim story from a queer and feminist lens, drawing on Jewish texts that the pair said shows the long presence of queer and trans people in Jewish tradition.
“We have a lot of richness within Judaism to share our culture and share our upbringing but also just be representation,” Fefer added. “We’re living in a time of heightened antisemitism and the world being a gross place to be at times, and we can really bring the beauty of Judaism into game design and create experiences for people that are both representative of Judaism and also just very Jewish experiences.”
But for all the important conversations and learning experiences that can come from Jewish tabletop role-playing games, Katz said the goofiness and joy is important, too.
“We live in such a horrendous society that is of our own making,” she said. “If you can, for a little while, enjoy an anticapitalist fictional deli that you and your friends live in, I think that’s great.”
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The post With goblins, spellcasters and delis, board game makers are imagining new Jewish worlds appeared first on Jewish Telegraphic Agency.
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Hamas Tightens Grip on Gaza, New Analysis Shows, as Iran War Delays Second Phase of Ceasefire
Hamas fighters on Feb. 22, 2025. Photo: Majdi Fathi via Reuters Connect
As the international community struggles to advance the second phase of an already fragile ceasefire between Israel and Hamas, the Palestinian terrorist group is exploiting the war in Iran to tighten its civilian and security grip on the Gaza Strip and rebuild its military capabilities, according to a new report.
The Meir Amit Intelligence and Terrorism Information Center (ITIC) — an Israel-based research institute — released a new report this week warning that the US-Israel conflict with Iran and disputes over management of Gaza are delaying the implementation of the second phase of the US-backed ceasefire agreement, under which Hamas was expected to disarm as Israeli forces were set to withdraw from parts of the enclave.
The report also warned that such delays are giving Hamas a window of opportunity to rearm and further tighten its control over Gaza, complicating fragile efforts to move forward with the next stage of the truce.
ITIC’s new assessment shows Hamas has moved to reassert control over parts of the war-torn enclave and consolidate its weakened position by targeting Palestinians it labeled as “lawbreakers and collaborators with Israel.”
With its security control tightening, Hamas’s brutal crackdown has escalated, sparking widespread clashes and violence as the group seeks to seize weapons and eliminate any opposition.
The report further notes that Hamas’s confidence is on the rise across Gaza, visible in the increasingly public presence of armed operatives from both its military wing and security forces, underscoring the group’s tightening hold on the roughly 47 percent of the enclave it controls without an Israeli military presence.
Social media videos widely circulated online show Hamas members brutally beating Palestinians and carrying out public executions of alleged collaborators and rival militia members.
According to ITIC’s newly released report, Hamas is also rebuilding its military capabilities by smuggling arms from Egypt and producing weapons independently, while simultaneously consolidating civilian control through expanded police presence, regulation of markets, and the distribution of financial aid to residents in areas it governs.
Earlier this year, the US-backed plan to end the war in Gaza hit major roadblocks after proposals surfaced that would allow Hamas to retain some small arms — an idea strongly denounced by Israeli officials who insist the Islamist group must fully disarm.
Officials involved in the US-led Board of Peace drafted a plan that would allow Hamas to retain small arms while surrendering longer-range weapons as part of a “phased disarmament” process over several months, with heavy weapons to be “decommissioned immediately.”
However, key details about where the surrendered arms would go and how the process would be enforced remain unclear.
The initial framework also required “personal arms” to be “registered and decommissioned” as a new Palestinian administration takes charge of security in the enclave.
Israel has previously warned that Hamas must fully disarm for the second phase of the ceasefire to move forward, pointing to tens of thousands of rifles and an active network of underground tunnels still under the terrorist group’s control.
If the Palestinian Islamist group does not give up its weapons, Israel has vowed not to withdraw troops from Gaza further or approve any rebuilding efforts, effectively stalling the ceasefire agreement.
The Israel Defense Forces (IDF) currently occupies about 53 percent of the Strip, with most of the Palestinian population living in the remaining portion of the enclave under Hamas control.
Israeli Prime Minister Benjamin Netanyahu has insisted the country will not accept anything less than the full demilitarization of Gaza, warning that any reconstruction or political transition in the enclave depends on Hamas relinquishing its weapons.
Under US President Donald Trump’s 20-point Gaza peace plan, phase two would involve deploying an international stabilization force (ISF), beginning large-scale reconstruction, and establishing a Palestinian technocratic committee to oversee the territory’s administration.
According to media reports, the ISF could total around 20,000 troops, though it remains uncertain whether the multinational peacekeeping force will actually help disarm Hamas.
Over the past few weeks, Israel has resumed military operations in the Gaza Strip aimed at forcibly disarming Hamas. The IDF’s previous operations during the last two years of war had been partly limited by efforts to protect Israeli hostages kidnapped by Hamas, the last of whom were released last year as part of the ceasefire.
On Tuesday, Israeli forces announced that several Hamas Nukhba terrorists were eliminated during a strike in central Gaza after troops intercepted the operatives while they were conducting a military training exercise in the area.
IDF forces in the Southern Command remain deployed at key locations in the Gaza Strip, with the army warning it will employ all necessary force to neutralize threats and maintain control across the territory.
This week, the United Nations Security Council met to review progress on the Gaza peace plan and the implementation of phase two, originally adopted in November under the fragile truce between Israel and Hamas.
According to Nickolay Mladenov, the high representative for Gaza on Trump’s Board of Peace, a transitional Palestinian governing body has already been established in the enclave, and a framework agreed upon by the guarantor countries — the US, Egypt, Turkey, and Qatar — has been presented to armed groups, which he said establishes “the principle of one authority, one law, and one weapon.”
“The National Committee exercises authority solely on an interim basis,” Mladenov said during a speech, referring to the transitional Palestinian government that has been established.
“The end state is a reformed Palestinian Authority capable of governing Gaza and the West Bank, and ultimately a pathway to Palestinian self-determination and statehood,” he continued.
The proposed plan would require all armed groups in Gaza to transfer their arms to a transitional Palestinian governing authority, starting with their larger-scale weapons and monitoring compliance before reconstruction begins, while allowing fighters to gradually return to civilian life.
Mladenov also confirmed that Indonesia, Morocco, Kazakhstan, Kosovo, and Albania have committed troops to the ISF.
“The people of Gaza want reconstruction, and reconstruction requires the decommissioning of weapons,” he said, describing this link as the framework’s “driving force.”
So far, there is no timeline or clarity on discussions with relevant groups, nor on any potential Israeli military withdrawal.
As of February, Israel was planning to resume military operations in the Gaza Strip to forcibly disarm Hamas, with the IDF is drawing up plans for a renewed major offensive.
Israeli Defense Minister Israel Katz warned that Hamas will be disarmed by force if it continues to violate the ceasefire and pose a threat to Israel’s security.
“If Hamas does not disarm in accordance with the agreed framework, we will dismantle it and all of its capabilities,” the Israeli defense chief said this month.
However, with Israel focused on fighting Iran as well as its chief proxy Hezbollah in Lebanon, it appears a new offensive is unlikely to take place in Gaza in the immediate future.
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Sam Altman Shuts Down OpenAI’s Sora, Video Sharing App Notorious for Antisemitic Content
Three videos featured on Sora on March 24, 2026, promoted antisemitic stereotypes and violence against Jews. Photo: Screenshots
In a surprise move that has stunned industry watchers and killed a $1 billion licensing deal with Disney, OpenAI announced it would shutter Sora, the controversial video-generating app which drew condemnation last year for its unwillingness to stop the production and sharing of antisemitic content.
“We’re saying goodbye to the Sora app,” Sora’s X account posted on Tuesday. “To everyone who created with Sora, shared it, and built community around it: thank you. What you made with Sora mattered, and we know this news is disappointing. We’ll share more soon, including timelines for the app and API and details on preserving your work.”
Reflecting the seeming abrupt nature of the decision, OpenAI had published on Monday a “Creating with Sora safely” guide. The company claimed that its product “uses layered defenses to keep the feed safe while leaving room for creativity. At creation, guardrails seek to block unsafe content before it’s made — including sexual material, terrorist propaganda, and self-harm promotion — by checking both prompts and outputs across multiple video frames and audio transcripts.”
The guide stated, “We’ve red teamed to explore novel risks, and we’ve tightened policies relative to image generation given Sora’s greater realism and the addition of motion and audio.”
With the release of the standalone Sora 2 app in September 2025, The Algemeiner and other news organizations documented the antisemitic tropes emerging on the platform with one recurring visual depicting Jews chasing after coins.
Following the announcement of Sora’s shutdown on Tuesday, The Algemeiner reviewed the app’s feed and discovered multiple antisemitic videos within minutes.
The first from user @frankel944 depicts an elaborate 30-second narrative of an older Hassidic Jew with a long beard and traditional religious garb who demands a poor man’s $10,000 savings in exchange for moldy bread and soup. He complies, inspiring the Jewish man to then take the money, fly to Mexico, dance in a sombrero with a mariachi band, and then return to the US to say his prayers at the synagogue.
A second from @davidkline16 features a young man — apparently one of the user’s friends — walking in a synagogue proclaiming that he has been appointed the rabbi and inviting people to come and celebrate. A surreal, fleshy orb with a face floats in the background and starts to interrupt the warm greeting, menacingly yelling “Rapist! Rapist!” One of the recurring jokes that young people had used Sora to do was to transform their friends into Jewish converts.
The third is one of the most chilling as it depicts violence against Jews. User @orituviaabaselo felt compelled to create and share a video featuring a group of eight Hassidic Jewish men sitting at a table, speaking Hebrew, and eating challah in the middle of a dark road at night. Moments later a blue car comes barreling into the group sending them every which way. The clip ends with one of the Jews not concerned for his friends’ injuries, but asking where he can find his hat.
In October, the Anti-Defamation League (ADL) published research from its Center on Technology and Society which revealed that among the multiple AI-video generating apps tested, the programs would respond to antisemitic, racist, or other bigoted prompts at least 40 percent of the time. The ADL’s analysts found that, compared to its competitors, Sora “performed the best in terms of content moderation, refusing to generate 60% of the prompts.”
In January, the ADL analyzed multiple large language models and found that OpenAI’s ChatGPT lagged behind Anthropic’s Claude in its ability to detect antisemitism.
Some analysts suspect that this intra-industry rivalry may have played a role in OpenAI’s decision to shut down Sora as part of an effort to focus the company’s resources on core business capabilities. Anthropic was founded in 2021 by former OpenAI staffers dissatisfied with OpenAI CEO Sam Altman’s attitudes toward the dangers of AI. In recent years its Claude large language model has developed hegemony among computer programmers and other technical workers.
The Wall Street Journal reported on Tuesday that OpenAI sought to pivot to focus more on “so-called productivity tools,” a category currently dominated by Anthropic, rather than continuing with the cost-intensive videos.
Farida Khalaf, a business analyst and data engineer who focuses on cybersecurity, wrote Monday on Substack Notes predicting what would happen the next day. “Meta shutdown Metaverse, NEXT will be SORA from open AI,” she wrote.
On March 17, Meta announced its CEO Mark Zuckerberg had chosen to shut down Horizon World, the virtual reality platform which he had previously backed so heavily he chose to change the company’s name in October 2021 from Facebook to Meta.
Khalaf drew the comparison, asking, “Remember the hype surrounding the SORA app release? It seems to be following a similar trajectory, and with costs running higher than its revenue, the sustainability of this model is questionable.”
Forbes estimated in November that Sora was costing OpenAI $15 million a day. “We have been quite amazed by how much our power users want to use sora, and the economics are currently completely unsustainable. we thought 30 free gens/day would be more than enough, but clearly we were wrong!” Sora’s head Bill Peebles wrote on X on Oct. 30, 2025.
In December, Disney had signed a $1 billion agreement with OpenAI to license 200 characters for inclusion in Sora. “As the nascent AI field advances rapidly, we respect OpenAI’s decision to exit the video generation business and to shift its priorities elsewhere,” said a spokesperson for the film company.
On Tuesday, Altman announced his refocused priorities on X.
“AI will help discover new science, such as cures for diseases, which is perhaps the most important way to increase quality of life long-term,” Altman wrote. “AI will also present new threats to society that we have to address. No company can sufficiently mitigate these on their own; we will need a society-wide response to things like novel bio threats, a massive and fast change to the economy, extremely capable models causing complex emergent effects across society, and more.”
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Who is Hasan Piker, the left-wing streamer accused of being an antisemite?
(JTA) — Rep. Brad Schneider, an Illinois Democrat, delivered a forceful condemnation of the popular streamer Hasan Piker on Tuesday, warning his fellow Democrats against embracing figures he says traffic in hate.
“Hasan Piker is an unapologetic antisemite,” Schneider, who chairs the New Democratic Coalition, wrote in a post on X. “Democrats risk losing our credibility to condemn those on the right who traffic in bigotry, antisemitism, & hate when our own Members of Congress & candidates are celebrating or, worse yet, platforming those who espouse hate of any kind.”
While Schneider added in a separate post that he was “proud” that the party welcomes “a broad diversity of opinions and priorities,” he stipulated that the Democratic tent must “reject those who champion ideologies of exclusion and demonization.”
Schneider’s remarks come as the Republican coalition has faced deepening rifts over the vociferously anti-Israel, and increasingly antisemitic, rhetoric emanating from prominent online figures in its movement, including Tucker Carlson and Nick Fuentes.
But as top conservatives wrestle with the growing prominence of far-right voices within the party, an adjacent battle is emerging on the Democratic side, as support for Israel among its base has reached a record-low and political candidates increasingly engage with far-left, anti-Israel voices, including Piker.
Since starting his daily online broadcasts in 2018, Piker, 34, has amassed a devoted online fanbase, including three million followers on the streaming platform Twitch and 1.85 million on YouTube.
As one of the most prominent leftist commentators in the United States, Piker’s streams in recent years have often featured sharp critiques of the Democratic party, Israel and U.S. foreign policy in the Middle East, positions that have increasingly drawn scrutiny.
Piker has previously referred to Orthodox Jews as “inbred,” compared Israelis to the Ku Klux Klan and defended Hamas, writing in a post on X in January that the terror group is “a thousand times better than the fascist settler colonial apartheid state.”
On one of his shows aired days after Oct. 7, Piker told off a listener who condemned the massacre, saying “Bloodthirsty violent pig dog, suck my d–-k.” In a May 2024 stream, Piker also minimized reports of the prevalence of sexual assault during the Oct. 7 attacks, saying “It doesn’t matter if rape happened on October 7th. It doesn’t change the dynamic for me.”
While speaking at a conference in Qatar last month, Piker said that he had lost viewers in the wake of Oct. 7 for his commentary, explaining, “People were not ready, especially in Western audiences, for someone to say that Israel played a significant role in how Oct. 7 took place.”
In response to a CNN article last month that noted the joint U.S.-Israeli strikes on Iran coincided with Purim, Piker wrote, “This is jewish supremacy. it’s what netenyahu said after oct7” [sic].
Piker’s incendiary commentary has earned him a nomination for “Antisemite of the Year” in 2024 from a watchdog group and drawn the condemnation of Jonathan Greenblatt, the CEO of the Anti-Defamation League. Greenblatt charged the streamer with using his platform to “spread anti-Jewish tropes, amplify propaganda from a designated terrorist group, and promote toxic anti-Zionism.”
In October 2024, Rep. Ritchie Torres of New York, a pro-Israel stalwart in the Democratic party, wrote a letter to Twitch executives in which he called on the platform to “stop popularizing” Piker, who he called the “antisemitic poster child for a systematically antisemitic social media platform.”
Despite the volley of criticism, Piker has dismissed allegations that he is antisemitic.
“These last two years, I’ve been called antisemitic. I abhor antisemitism, and I’ve spent my entire professional media career combating it. I just happen to be anti-Israel, and that makes me a far greater threat than the likes of Nick Fuentes because they know he’s a Nazi,” Piker told Variety last November. “I don’t find kinship with the right because I think there are some on the right that just use Israel as a new opportunity to cut through the noise.”
Piker has also increasingly hosted left-wing politicians on his platform in recent years, drawing derision from critics, including Schneider, who argue that officials risk legitimizing his commentary by appearing alongside him.
Piker has previously interviewed Vermont Independent Sen. Bernie Sanders and New York Democratic Rep. Alexandria Ocasio-Cortez, California gubernatorial candidate Tom Steyer and New York City Mayor Zohran Mamdani. Next month, Piker is slated to appear on campuses alongside Michigan Senate candidate Abdul el-Sayed.
For many politicians, Piker is a conduit to the much-coveted younger voter. Twitch, originally designed for video games, is now widely used for music, creative content and political commentary from hosts like Piker.
The streamer also confirmed earlier this month that California Gov. Gavin Newsom, who is seen as a likely 2028 Democratic presidential candidate, had agreed to sit for an interview with him.
“Gavin newsom is a shrewd operator. while i do not trust him on israel, it is clear that this issue has shifted so much towards the side of truth and justice that even people w 2028 ambitions are leaning into anti israel sentiment,” Piker wrote in a post on X after Newsom appeared to agree with claims that Israel is an “apartheid state” earlier this month. (This week Newsom said he regrets those comments.)
Schnieder is not alone in his calls for fellow Democrats to distance themselves from Piker. Earlier this month, Jonathan Cowan, the president of the centrist Democratic think tank Third Way, wrote an op-ed in the Wall Street Journal calling on Democrats to “draw a line in the sand.”
“Mr. Piker is anti-American, antiwomen, anti-Western and antisemitic. No Democrat should engage with him. All should seek to push him to the fringe, where he belongs,” Cowan wrote.
Many in the party’s progressive wing have taken a sharply different view.
Cameron Kasky, a Jewish Gen-Z progressive who recently dropped his bid in New York’s 12th District race, pushed back on the calls to sideline Piker in post on X, arguing instead that more Democrats should sit down with him.
“Yeah, no sh–t big politicians are talking to Hasan Piker. More of them should be,” Kasky wrote. “God forbid a candidate actually work with new media, which the Right has used to dominate us.”
This article originally appeared on JTA.org.
The post Who is Hasan Piker, the left-wing streamer accused of being an antisemite? appeared first on The Forward.