The 2025 Eurovision Song Contest was billed as a celebration of music’s power to unite people across borders. Israel’s representative, Yuval Raphael, delivered a stirring performance of “New Day Will Rise,” a ballad that resonated deeply with many; particularly those who connected with Raphael’s personal struggle as a survivor of the October 7th massacre. Yet, despite Eurovision’s message of harmony, the event was overshadowed by a resurgence of antisemitism that played out both online and in the real world. This surge of hate wasn’t just confined to digital platforms — it mirrored the very violence Raphael had survived during the infamous Supernova Festival in Re’im, Israel.
Raphael, a Jewish-Israeli citizen, is no stranger to hatred. In the wake of the tragic massacre at the Nova Music Festival, she managed to live by following a chilling survival tactic suggested by her father in a now-public phone call: lying under the bodies of her friends and pretending to be dead for hours, until she was eventually rescued. This harrowing experience, rooted in violent antisemitism, was a stark reminder of the real-life dangers of hatred. Sadly, her participation in Eurovision, which was meant to be a moment of healing and artistic expression, was tainted by this same bigoted animosity towards Jews.
CyberWell’s analysis of online discourse surrounding the contest revealed a striking pattern of antisemitism, with a surge of posts that targeted not just the contest itself but also Raphael and Jews as a whole. Across social media platforms, particularly X, the same recycled antisemitic narratives resurfaced. “Jews control Eurovision,” “Jews rig the votes,” and “the media is run by Zionists” were among the most common claims. These conspiracies weren’t new—they were the same old tropes that have long been used to fuel hatred against Jews, suggesting that they control global events and manipulate world affairs.
The content didn’t stop at conspiracy theories. Offensive, dehumanizing language ran rampant, with posts comparing Jews to animals or using derogatory insults aimed at Raphael and other Jews. Some went even further, accusing Jews of sexual deviance, calling them “rapists” and “pedophiles.”
These hateful expressions weren’t isolated incidents—they formed a pervasive backdrop to an event that was meant to bring people together through music. This was a particularly painful contrast, considering that the last time Raphael attended a high-profile music event meant to bring people together, she was nearly murdered just for existing in Israel as a Jew.
The online Eurovision hate reflected real-world hostilities. Violent protests erupted, people burned Israeli flags, and one man made a chilling death threat against Raphael, filmed in a crowd as he gestured to her with his finger as if to slit her throat, turning a celebration of music into a battleground for the same hateful ideologies that had nearly cost her life months earlier.
Even in spaces like Eurovision, designed to unite people through shared artistic experiences, the digital world remains a breeding ground for toxicity and hate. The surge of antisemitic rhetoric surrounding this year’s contest highlights how pervasive and resilient these prejudices are, even in a space that aims to celebrate diversity, creativity, and global unity.
Eurovision’s lofty ideals of “United by Music” were marred by these hateful narratives, reminding us of the enduring challenge of combating antisemitism in both the physical and digital realms. The resurgence of these old tropes online is not just a warning—it’s a call to action. Social media platforms, tech companies, and global leaders must do more to address the harm caused by this rhetoric. As we continue to champion the power of music and the arts to unite us, we must also confront the realities of the hate that seeks to divide us, ensuring that platforms meant for connection don’t become tools for spreading destruction.
Despite the intense hate Raphael faced, her journey also highlighted a powerful message of hope. The 2025 Eurovision judges gave her low scores. However, the public vote saw her soar from below the middle of the leaderboard to nearly the top, receiving more votes than any contestant in Eurovision history. This remarkable victory – coming in 2nd place in a song competition in which the odds were seemingly stacked against her — shows that the loudest voices online do not always represent the majority. It’s a reminder that there are allies fighting alongside us, both in the real world and online. While antisemitism remains deeply entrenched, this support offers a glimmer of hope. The struggle to dismantle these harmful narratives is far from over, and platforms must do far more to tackle the online hate that fuels them… but Raphael’s journey proves that, even in the most painful and destructive moments, messages of love and resilience can rise — as her song suggests, like “a new day” — even under the most difficult of circumstances.
