The New Normal for Antisemitism
Ayear before October 7, 2023, reshaped the political landscape, we founded a nonprofit organization called Antisemitism Watch. The decision followed decades of reporting on the Holocaust and its aftermath, and years of chronicling daily antisemitic incidents. What became unmistakable over time was not simply persistence, but normalization—antisemitism embedding itself across wide swaths of society with diminishing resistance.Prince Harry issues stark warning over Britain’s antisemitism crisis
In a Newsweek op-ed in which we announced the launch, we wrote that “few contest that antisemitism—history’s oldest hatred of a religious and ethnic group—has had an unmatched post-Holocaust resurgence.”1 The data confirmed record numbers of anti-Jewish attacks across the United States, Canada, and Europe, while social media accelerated newer conspiracies blaming Jews for everything from the slave trade to COVID-19.2, 3
Even then, our concern was not only the scale of antisemitism, but the way it was being confronted. The most prominent institutions tasked with addressing it were doing so selectively, not consistently. The Anti-Defamation League had diluted its core mission by repositioning itself as a more generic anti-hate organization and, in practice, mostly focused on right-wing antisemitism while giving a free pass to anti-Jewish hostility from the political left.
In the months following the October 7 attack, antisemitism shed its inhibitions.
What distinguishes this moment is the collapse of stigma. Expressions that would have ended careers a decade ago now generate applause, clicks, and campaign donations. Language that would trigger immediate condemnation if directed at other minorities is routinely excused, contextualized, or ignored when directed at Jews. Hostility that once hid at the margins has migrated inward—into campuses, political platforms, cultural institutions, and digital ecosystems. The result is an old hatred on steroids—newly unmoored from consequence.
This normalization is not diffuse, but has taken shape through two distinct but mutually reinforcing channels. The progressive left frames Israel as fundamentally illegitimate, a country of inherent injustice. That creates an atmosphere in which hostility toward Israel is cast as an ethical obligation. And for many on the left—and their Muslim activist allies—the distinction between Jews and Israelis frequently collapses.
On parts of the populist right, antisemitism has reemerged through the architecture of conspiracy theory. Jews are cast not as oppressors, but as puppet masters—orchestrators of migration, finance, media narratives, and foreign entanglements. The vocabulary differs from that on the left, but the structural function is identical: Jews are assigned exceptional and malign agency.
Prince Harry has weighed into Britain’s antisemitism crisis for the first time, warning that Jews are being made to feel “unsafe” in their own homes as hatred spreads across the country.Giant to be shown in cinemas this autumn
Writing in the New Statesman, the Duke of Sussex said Britain was facing a “deeply troubling rise in antisemitism” and warned that “silence is not neutrality” when extremism is allowed to flourish.
In one of the strongest interventions yet by a senior royal on the issue, Harry wrote: “Jewish communities – families, children, ordinary people – are being made to feel unsafe in the very places they call home.”
He added: “Because hatred directed at people for who they are, or what they believe, is not protest. It is prejudice.”
The prince said recent “lethal violence” in London and Manchester had brought the crisis “into sharp and deeply troubling focus”, as he urged Britons not to confuse legitimate criticism of events in the Middle East with hostility towards Jews.
Kenton United Synagogue in Harrow, north-west London, where an attempted arson attack caused minor smoke damage to an internal room but no injuries or significant structural damage.
Harry warned that anger over Gaza risked spilling into anti-Jewish hatred on British streets, saying: “Nothing, whether criticism of a government or the reality of violence and destruction, can ever justify hostility toward an entire people or faith.”
The Duke also appeared to reference his own past controversies, including wearing a Nazi uniform to a fancy dress party in 2005, admitting he was “acutely aware” of his “past mistakes”.
He writes: “I am acutely aware of my own past mistakes – thoughtless actions for which I have apologised, taken responsibility and learned from.”
The prince insisted antisemitism and other racisms all “draw from the same well of division” and must be confronted with “the same resolve”.
John Lithgow has said he is “thrilled” that the Olivier Award-winning play Giant, in which he portrays British author Roald Dahl, will screen in cinemas around the world.
The Mark Rosenblatt debut play premiered in London’s West End in 2024 and went on to collect three Olivier Awards – including best new play and best actor for Lithgow’s portrayal of the children’s author as he grapples with whether to make a public apology.
The play will screen in more than 900 cinemas across 18 countries, including the UK, US, Canada and Australia, from November 2026.
Lithgow said: “In my 53-year, 25-show career on Broadway, I’ve rarely experienced the kind of audience response that we feel night after night with Giant.
“Mark Rosenblatt has written a play of extraordinary intelligence and humanity, and with every performance I can sense the audience wrestling with its questions in real time.
“This is the unique power of theatre at its best. I’m thrilled that our production will now reach movie theatres around the world, allowing even more people to experience the urgency, impact and emotional force of this story.”
Filmed live at the Harold Pinter Theatre in London, the cinema release features the original West End cast comprised of Lithgow as Dahl and Elliot Levey as British publisher Tom Maschler – a role which won him the best supporting actor Olivier Award.
Aya Cash also stars as publisher Jessie Stone alongside Rachael Stirling who plays Dahl’s wife, Felicity Dahl, Tessa Bonham Jones as housekeeper Hallie and Richard Hope as handyman Wally.
The play was transferred to New York City’s Broadway for a 16-week run from March through to the end of June.














