Uncategorized
Disney+ series ‘A Small Light’ tells the Anne Frank story from the perspective of the woman who hid her
(JTA) — The short life of Anne Frank has inspired generations of filmmakers and television producers. The list of past productions range from “The Diary of Anne Frank” (1959), whose director George Stevens witnessed Nazi occupation as a U.S. army officer, to the Academy Award-winning documentary “Anne Frank Remembered” — featuring the only known footage of Anne — to the Emmy Award-winning dramatized miniseries “Anne Frank: The Whole Story” (2001).
On Monday night, viewers will get another TV version. But “A Small Light,” an eight-episode series premiering on National Geographic and streaming Tuesday on Disney+, tells the story from a new perspective: through the eyes of the woman who hid the Frank family.
Miep Gies was an independent 24-year-old with a busy social calendar and a dance club membership when she began working for Anne Frank’s father Otto in 1933 at Opekta, his successful jam business in Amsterdam. As Jews were rounded up and deported from the Netherlands in 1942, her Jewish boss asked if she would be willing to hide his family in an annex above the office, and she did not hesitate.
“A Small Light” stars Bel Powley as Gies, Joe Cole as her husband Jan Gies and Liev Schreiber as Otto Frank. It’s named for a quote from the real Gies, who once said that she did not like to be called a hero because “even an ordinary secretary or a housewife or a teenager can turn on a small light in a dark room.”
That metaphor had literal meaning for the Frank family and four others in the secret annex, who spent two years in a dark 450-square-foot space behind a hinged bookcase. Gies, her husband and four other employees of Otto Frank secretly kept eight Jews alive while running his business downstairs. Gies brought them food and library books, using black market ration cards and visiting several different grocers to avoid suspicion. Anne Frank said in her diary, “Miep is just like a pack mule, she fetches and carries so much.”
In the series, the “dark room” is seen less than Gies’ frenzied bicycle trips across Amsterdam, as she tries to sustain the appearance of a normal life. Her secret pushes her away from friends and family, while her marriage strains under the weight of ever-looming disaster. The creators of “A Small Light” sought to recreate a hero as a modern, flawed, at times even annoying person.
“She’s not some kind of saint,” executive producer Joan Rater told the Jewish Telegraphic Agency. “She had moods, she had a new marriage, she wanted to hang out with friends. She wanted to take a day off and she couldn’t.”
“I think everyone can relate to Miep,” said Powley, an English-Jewish actress known for starring in several British shows and in American films such as “The King of Staten Island.” “She was just an ordinary person in extraordinary circumstances.”
Although “A Small Light” is rife with tense scenes and suspense, the producers fashioned it with young audiences in mind. The show conspicuously avoids the explicit violence and horror typically expected of its subject matter, leaving out concentration camps and murders. Rater and co-creator Tony Phelan wanted children like their own to watch the series. While they were writing it, their daughter was the same age as Anne was when she was writing her diary.
Some young viewers have seen Anne’s story being swept up in literary purges across U.S. school districts, as part of the debate over what should be taught in American classrooms. Earlier this month, a Florida high school removed an illustrated adaptation of her diary after determining that references to her sexuality were “not age appropriate.” The same edition was previously yanked from a Texas school district, although it was reinstituted after public outcry. Meanwhile, a Tennessee school board banned “Maus,” Art Spiegelman’s Pulitzer Prize-winning graphic novel about his father’s experience in the Holocaust, after objections over curse words and nudity last year.
The name “Anne Frank” has long been synonymous with Holocaust education as her diary remains one of the world’s most-read books, with translations in over 70 languages. But the “relatable” rescuer presents another appealing way to teach children about one of the most wretched chapters in human history, said Brad Prager, a professor of German and film studies at the University of Missouri.
“It is the message that people like to hear,” Prager told the JTA. “If you ask a fourth-grader why we watch TV and movies — well, this is so that you can learn to do the right things, or you can learn that in certain circumstances anyone can be a hero.”
Liev Schreiber plays Otto Frank and Amira Casar plays Edith Frank in “A Small Light.” (National Geographic for Disney/Dusan Martincek)
A broader lens on the Netherlands during World War II is less palatable. The Germans and their Dutch collaborators implemented a highly effective system of persecution: Between 1942 and 1944, about 107,000 Dutch Jews were deported primarily to Auschwitz and Sobibor, then murdered. Only 5,200 of them survived.
Although Gies did everything she could to save the Jews in her care, the unwritten ending to Anne’s diary is well-known. Three days after her last entry in August 1944, Dutch police officers led by SS officer Karl Josef Silberbauer raided the annex. Gies escaped arrest by observing that she and Silberbauer shared a hometown.
“My luck was that the police officer in charge came from Vienna, the same town where I was born,” she said in a 1997 interview with Scholastic. “I noticed this from his accent. So, when he came to interrogate me, I jumped up and said, as cheerfully as I could, ‘You are from Vienna? I am from Vienna too.’ And, although he got very angry initially, it made him obviously decide not to arrest me.”
In a valiant last-ditch effort, Gies walked into the German police office the next day and attempted to buy her friends’ freedom. She was unsuccessful.
Gies found Anne’s notebooks and papers strewn on the annex floor. Without reading them, she gathered and tucked the writings into a drawer, hoping to return them to their owner. Germany had all but lost the war already, with Allied troops less than 250 miles from Amsterdam.
The Franks were packed on the last train ever to leave the Westerbork transit camp for the Auschwitz extermination camp. Otto was separated from his wife Edith and daughters Anne and Margot on the Auschwitz platform. In October, the girls were transported to Bergen-Belsen, and Edith succumbed to starvation in January 1945. Her daughters died of typhus a month later, when Anne was 15 years old.
Some studies have suggested that knowledge about the Holocaust is diminishing. In 2020, the Claims Conference found that 63% of Millenial and Gen Z Americans (ages 18-39) did not know that six million Jews were murdered in the Holocaust. More than 10% did not recall ever hearing about the Holocaust, while 11% believed that Jews caused it. Another Claims Conference survey reported that despite living in the country where Anne hid from the Nazis, a majority of Dutch people did not know the Holocaust took place there.
“In a time that antisemitism is on the rise and there are more displaced people in the world than there ever have been before, it couldn’t be a better time to re-explore this part of history, but through the lens of this ordinary young woman,” said Powley.
While “A Small Light” celebrates the power of the individual, the fate of Anne Frank also represents the failure of the whole world, said Prager. By centering Gies’ perspective, he said, the series risks making Anne a peripheral character in her own brutally aborted story.
“When you decenter Anne Frank, one thing is that you lose the Jewish perspective on the persecution,” he said.
Otto Frank, the sole survivor from the annex, appeared at Jan and Miep Gies’ doorstep after the war and ended up living with them for over seven years. In July 1945, Gies watched as he received the notice that his children were dead.
“He took it in his hands and suddenly he became eerily quiet,” Gies said in an interview for the Anne Frank House. “You cannot explain it, it was a silence that speaks. I looked up. He was white as a sheet. And he handed me the letter.”
Gies read the piece of paper, stood up and opened her desk drawer. “I took all the diaries, with all the separate sheets and everything and handed them over to Mr. Frank,” she said.
She told him, “This is your daughter Anne’s legacy.”
In 2010, Gies died at 100 years old. Every year on Aug. 4 — the day the Franks were arrested — she stayed at home, drew her curtains and did not answer the phone or doorbell.
Powley believes the show’s angle gives a fresh perspective on “your mom’s dusty copy of Anne Frank’s diary.” She approached the role of Gies with a heavy sense of responsibility.
“I feel a deeper connection to this story than I have with other projects,” she said. “This offer came to me on Holocaust Memorial Day and it immediately had that special feeling to it. My grandma, the Jewish matriarch of my family, died during COVID. I feel that she would be proud.”
—
The post Disney+ series ‘A Small Light’ tells the Anne Frank story from the perspective of the woman who hid her appeared first on Jewish Telegraphic Agency.
Uncategorized
Fetterman Hosts AIPAC, Bondi Survivor in DC Office, Voices Support for ‘Jewish Community and Our Special Ally’
US Sen. John Fetterman (D-PA) gives an interview in his office in the Russell Senate Office Building in Washington, DC, Jan. 18, 2024. Photo: Rod Lamkey / CNP/Sipa USA for NY Post via Reuters Connect
US Sen. John Fetterman (D-PA) welcomed representatives from the American Israel Public Affairs Committee (AIPAC) and a survivor of the Bondi Beach massacre to his Washington, DC office on Tuesday, expressing support for the “global Jewish community” and the longstanding strategic partnership between the US and Israel.
“Proudly welcomed AIPAC and a survivor of the Bondi Beach massacre — a living reminder of the global scourge of antisemitism. My voice and vote will always stand with and support the global Jewish community and our special ally,” Fetterman posted on the social media platform X.
Proudly welcomed @AIPAC and a survivor of the Bondi Beach massacre—a living reminder of the global scourge of antisemitism.
My voice and vote will always stand with and support the global Jewish community and our special ally. pic.twitter.com/mz5damSvV9
— U.S. Senator John Fetterman (@SenFettermanPA) February 24, 2026
Fetterman, who has emerged as a prominent pro-Israel voice among Democrats on Capitol Hill, has signaled unwavering support for the Jewish state as its standing among liberal voters and progressive lawmakers has cratered.
The Pennsylvania lawmaker has repeatedly affirmed Israel’s right to defend itself from the Hamas terrorist group in Gaza and has defended the Jewish state from unsubstantiated claims of “genocide.” He also displayed the photos of the hostages captured by Hamas-led terrorists during their Oct. 7, 2023, massacre across southern Israel in his office, drawing praise from pro-Israel Americans.
Despite his party’s increasing opposition to US military support for Israel, Fetterman has repeatedly vowed to vote in favor of such support for the Jewish state, rankling the progressive wing of the Democratic Party.
“I’m a really strong, unapologetic supporter of Israel and it’s really not going to change for me when [Donald] Trump becomes [president]. My vote and voice is going to follow Israel,” Fetterman said during an interview in December 2024.
One year later, Fetterman lamented the deadly attack on a Hanukkah celebration at Sydney’s Bondi Beach in December that killed 15 people who attended the Jewish gathering and wounded at least 40 others, expressing alarm about the global rise in antisemitism.
“After years of anti-Israel protests in Australia, at least 11 Jews were just gunned down at a Hanukkah event. Tree of Life to 10/07 to Bondi Beach: antisemitism is a rising and deadly global scourge. I stand and grieve with Israel and the Jewish global community,” he posted shortly after the shooting, using a figure based on an early death toll.
Though American lawmakers from both major political parties roundly condemned the Bondi Beach massacre, Fetterman’s decision this week to publicly meet with AIPAC, the premier pro-Israel lobbying group in the US, will likely raise eyebrows among his liberal supporters.
In the two years following the breakout of the Israel-Hamas war, AIPAC’s standing among the Democratic party has plummeted dramatically. In primary races across the country, Democratic hopefuls are being pressed on their connections to AIPAC and facing demands to pledge not to accept funding from the group, which seeks to foster bipartisan support for the US-Israel relationship. The emergence of AIPAC support as a kind of litmus test has raised concerns among Jewish Democrats that the party is becoming increasingly inhospitable to Jews and Zionists.
According to polls, Fetterman is unpopular among Democratic primary voters, making him vulnerable in a primary competition. Numerous progressives in the Keystone State have signaled they are gearing up to challenge Fetterman for the party nomination in 2028.
However, Fetterman maintains shockingly high approval ratings among Republicans and strong approval ratings among independents, potentially injecting a significant degree of uncertainty into the Pennsylvania Senate race if he were to run as an independent in the general election.
Uncategorized
Protesters at ‘Scream 7’ Premiere Call for Film’s Boycott After Former Lead Star Fired for Antisemitic Posts
(L-R) Actress Neve Campbell and director Kevin Williamson at the Paramount Pictures’ SCREAM 7 Los Angeles Premiere held at the Paramount Studios in Los Angeles, CA on Wednesday, Feb. 26, 2026. Photo: Sthanlee B. Mirador/Sipa USA via Reuters Connect
Protesters demonstrated outside the “Scream 7” premiere at Paramount Pictures Studios in Los Angeles on Wednesday night to call for the film’s boycott after its former lead star, Melissa Barrera, was fired in 2023 for posting antisemitic and anti-Israel messages on social media.
The protesters, who were supporters of groups including Entertainment Labor for Palestine and Musicians for Palestine, waved Palestinian flags and held signs that criticized Paramount as well as Israel.
“Paramount Whitewashes Genocide,” read one sign held by a demonstrator. Another sign read “Boycott Scream 7 Stand For Free Speech” while a separate one said “LAPD, KKK, IDF It’s All the Same,” referring to the Los Angeles Police Department, the Ku Klux Klan, and the Israel Defense Forces.
“Paramount has a BLACKLIST of actors who criticize Israel,” claimed another sign.
Barrera was set to star in “Scream 7” after leading the fifth and sixth installments of the franchise. In November 2023, however, Spyglass Media Group, which produces the “Scream” film franchise, fired Barrera from reprising her role in the seventh “Scream” movie after the Mexican actress posted on Instagram messages that described Israel as a “colonized” land, suggested the Jewish state controls the media, accused Israel of genocide and ethnic cleansing of Palestinians during the war with Hamas in Gaza, and criticized the United States for sending “billions of dollars to fund a genocide.” She also shared a post about distorting “the Holocaust to boost the Israeli arms industry.”
Spyglass Media Group said in a statement at the time that it had “zero tolerance for antisemitism or the incitement of hate in any form, including false references to genocide, ethnic cleansing, Holocaust distortion, or anything that flagrantly crosses the line into hate speech.”
Shortly after Barrera’s firing, Jenna Ortega dropped out of “Scream 7,” but her decision was due to a scheduling conflict, and director Christopher Landon also left the project. He made the announcement on X, writing in part, “It was a dream job that turned into a nightmare. And my heart did break for everyone involved. Everyone. But it’s time to move on.”
Kevin Williamson, who wrote the original 1996 “Scream” film directed by Wes Craven, returned to direct “Scream 7” with a script from Guy Busick. The film is set to open on Friday, and the cast includes Neve Campbell, Courteney Cox, Mason Gooding, Isabel May, Celeste O’Connor, Asa Germann, McKenna Grace, Sam Rechner, and Anna Camp.
Uncategorized
It’s time to talk about Purim’s unsettling message about conversion
Purim is meant to be loud: a holiday for drinking, dressing up, yelling and retelling a story of miraculous survival.
Which means it’s easy to miss a brief but significant verse near the end of the Book of Esther — one that deserves to be lingered over:
“And many of the people of the land professed to be Jews, for the fear of the Jews had fallen upon them.”
That line doesn’t lend itself to celebration. It does not describe people drawn to Judaism by teaching or conviction. Instead, it chronicles a far more troubling choice: people becoming Jews because they are afraid of Jews.
Whether the Book of Esther records events that literally occurred is beside the point. What matters is that Jews read this line aloud every year, carrying its language forward across generations. For a tradition that often insists Judaism does not seek converts and rejects religious coercion, this verse preserves an unsettling possibility: that joining the Jewish people can be driven by fear as much as conviction.
By the end of the narrative, Jews wield power, and the dread that once haunted them shifts outward.
Yes, some read the verse as referring to political alignment rather than religious change. Others treat Esther as satire, its excesses not meant for emulation. Still others point to the absence of God in the book, and dismiss the line as non-theological.
Even with those readings, the line still does something difficult. It places an unresolved moral question inside a festival we otherwise frame as joyful: How does holding power change the face of Judaism?
When conversion was possible — or required
The common claim that Judaism has always discouraged conversion is historically inaccurate. Jewish attitudes toward converts have shifted with political conditions, not because theology changed, but because power dynamics did.
The truth is that for much of Jewish history, conversion was dangerous. After the destruction of the Temple in 70 C.E. and the failure of later revolts against Rome, much of Jewish life developed under sustained imperial pressure. Welcoming people raised outside the community became, practically, risky.
This is why the familiar line “Judaism doesn’t seek converts” is more of a survival posture than an eternal principle. After all, the Hebrew Bible repeatedly reminds readers that Israel’s calling was never meant to be entirely inward. A “mixed multitude” leaves Egypt. Gerim, resident outsiders, are repeatedly considered in biblical law. Isaiah imagines God’s house as a house of prayer for all peoples.
In the late Hellenistic and early Roman periods, Jewish communities were widely visible across the diaspora. An inscription from Aphrodisias in Asia Minor in modern-day Turkey lists not only Jews but also “proselytes” and “God-fearers” among synagogue donors, suggesting gentiles were sometimes attached to synagogue life. Similar “God-fearer” inscriptions survive from other cities in Roman Asia Minor, where gentiles were known to attend synagogues, admire Jewish ethics, and sometimes decide to join the Jewish people.
Even polemical texts preserve traces of this world. Matthew 23:15 mocks those who “travel across sea and land” to make a proselyte — meaning to convert to Judaism. Whatever one makes of the polemic, the line treats the basic fact as unremarkable: that conversion to Judaism was a regular part of the religious landscape in the first-century Mediterranean.
Other ancient sources, including the first-century historian Josephus, describe moments when Jewish rulers used conversion as a tool of rule. One of the starkest examples comes from the Hasmoneans, the priestly family behind the Maccabean revolt who ruled Judea from roughly 140 to 37 B.C.E. Under John Hyrcanus, who reigned from 134 to 104 B.C.E., the kingdom of Judea expanded through conquest. Hyrcanus governed as many ancient rulers did, through coercion.
Among the territories absorbed was Idumea, homeland of the Edomites. According to Josephus, Hyrcanus offered the Idumeans a choice: adopt Jewish law or leave the land. They chose conversion.
This is not an obscure episode. It sits in the shadow of Hanukkah, one of Judaism’s most widely celebrated holidays.
Centuries later, Jewish sovereignty appeared again in the Himyarite kingdom of southern Arabia, where a ruling elite adopted Judaism in the fourth century CE. Eventually, persecution of non-Jews followed. The kingdom’s final ruler, Dhu Nuwas, who reigned from 522 to 530 C.E., oppressed local Christian populations, provoking retaliation from the neighboring Kingdom of Aksum. After more than a century, the Jewish kingdom fell.
Not a powerless minority faith
The reigns of Hyrcanus and Nuwas complicate the familiar story of Judaism as only a powerless minority faith, always deterring conversion. They suggest that Jewish sovereignty could carry the same temptations that haunt sovereignty everywhere, including the temptation to force compliance on those of different beliefs.
The Book of Esther verse about conversion offers a warning about that dynamic, and an imperative to learn from it. The lesson is not to condemn Judaism. It is to refuse a simplified story in which Judaism’s posture toward conversion has been static and untouched by the realities of power.
Across many faiths, when political power disappears, priorities often shift. Teachings turn inward. When power reappears, however briefly, older questions have a habit of returning. Who belongs? Who chooses? And under what conditions are those choices made?
Purim does not allow us to keep those questions at a safe distance. We are meant to hear this troubling verse amid the laughter and noise of our celebrations, not as an endorsement of coercion, but as a warning.
Esther’s story insists that two things can be true: Jews can be vulnerable, and Jews can hold power. And if we can be afraid, it warns, we can also inspire fear, with consequences not only for the societies in which we live, but also for the kind of Jewish life we make possible.
The post It’s time to talk about Purim’s unsettling message about conversion appeared first on The Forward.