Viewed individually, the posts appeared six years apart. Viewed together, they form a stronger record. That is the reason to put them on one page.
2019
A huge hand. A Star of David. People being crushed. A quotation associated with a neo-Nazi. “Follow the money.”
The 2019 image was a single-frame allegory. Power was a body part. Jewish identity was a mark on that body. Money was the caption. The quotation — falsely given to Voltaire, actually derived from Kevin Alfred Strom — told the viewer that the rulers could not be named. The visual named them anyway, with a star.
2025
A network diagram. Jewish identities. Stars of David. Jeffrey Epstein. The Maxwell family. Mossad. Secret connections.
The 2025 image was not an allegory of a giant hand. It was a board. It asked the viewer to accept that family ties and professional associations, once marked with Jewish symbols and intelligence labels, revealed a hidden structure. Reporting cited in coverage of the post did not substantiate the Mossad claims. The visual argument did not wait for substantiation.
The Recurring Vocabulary
The visual details changed. The themes did not disappear. Both controversies involved combinations of:
- Jewish symbols
- Hidden power
- Secret relationships
- Money or elite influence
- Conspiracy
These themes have a long history in antisemitic propaganda. They do not become something else because they are posted by a well-known actor, or because they are attached to a statement about Palestine, or because the poster later says he is criticizing a nation-state.
Between the two graphics sits the 2024 StopAntisemitism campaign, which treated Cusack’s later posts on Hamas, October 7 and Zionism as a continuation of the 2019 record. That campaign is part of the public story even where Cusack rejected it as a “list of lies.”
Why Put the Two Together?
The 2019 image presented Jewish power through money and domination. The 2025 image presented Jewish power through secret relationships and intelligence networks.
“Six years apart. Different graphics. The same language of hidden Jewish power.”
John Cucksack places the two incidents side by side so readers can see the recurring imagery for themselves. The archive is not a verdict in place of the sources. It is the sources, the images’ described contents, the reactions, and the older tropes those images activated — in one place, on purpose.
For the vocabulary behind the pictures, see The Tropes Behind the Images. For the reporting, see the source library.