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South African Jewish journalist Jeremy Gordin murdered in home burglary at 70
(JTA) — Jeremy Gordin, one of South Africa’s most prominent journalists, wrote repeatedly in recent months about burglaries at his family’s Johannesburg home.
In a weekly column, he expressed dismay at the rampant levels of crime, growing urban decay and regular power outages endured by South Africans as a result of mismanagement and corruption. In one — titled “It is getting dark, too dark to see” after the Bob Dylan lyric — he addressed his two children, both in their twenties.
“I’m not suggesting that you’re going to find yourselves in desperate flight across your own border, that your graveyard may be ploughed up and strewn with garbage. But there comes a time when things are clearly falling apart,” he concluded.
He added, with the allusion to his Jewish identity clear to anyone familiar with Jewish history, “And you, who have your whole lives before you (as they say), need to consider seriously going to live elsewhere. We’ve been doing it for centuries, after all.”
On March 31, Gordin’s worst fears came to pass: He was murdered during a night robbery at his home. He was 70.
South African police described the incident as “a robbery gone wrong” but did not describe the exact cause of death. Seven people were arrested in Johannesburg two weeks later; one was driving a car that had been stolen from Gordin’s residence.
It was a tragic end for Gordin’s 70-year South African story, which, as with so many of his country’s Jews, intersected sharply with both the story of Israel and with the struggle of Black South Africans. As a lifelong journalist, he had at times headed both South Africa’s version of Playboy and its storied working-class Black tabloid, and also ran an initiative that used reporting to prove the innocence of people who were wrongfully imprisoned. He won the country’s annual top journalism prize multiple times.
Gordin was also a friend to many, frequently opening his home in Johannesburg’s Parkview neighborhood to guests. (This reporter was one of them during a stint in Johannesburg for Efe, the Spanish newspaper.)
Gordin was born in Pretoria in 1952, in a Jewish family with Lithuanian and Latvian origins. After a spell in South Vietnam, where his pharmacist father worked for the United States, the family returned to South Africa. Gordin went to high school in Brakpan, a town in the industrial east of the Great Johannesburg emblematic of the country’s white Afrikaner working class to which he often referred in his articles.
Gordin obtained a scholarship to study in Israel and completed a bachelor’s degree while playing rugby at the Hebrew University of Jerusalem. Back in his country, he did his military service volunteering for the South African Defence Force’s elite 1 Parachute Battalion, then started a prolific career in journalism.
In a breakout moment, he published a book in 1998 based on his conversations with the apartheid government’s death squad leader Eugen de Kock. Then incarcerated, de Kock candidly told Gordin about his deeds, but most importantly about those who had ordered his crimes, for which they were hardly questioned and never tried.
Gordin authored another canonical book of recent South Africa history, his biography of South Africa’s former president Jacob Zuma. Published in 2010, a year after Zuma took power, Gordin’s went beyond the usual assumptions about the Zulu former freedom fighter who learned how to read and write as an adult and was often underestimated by South Africa’s intellectual class.
Zuma left office in 2018 after a tenure marked by charges of corruption, cronyism and incompetence. Gordin’s biography has been criticized for being excessively indulgent with its subject, but it remains essential for understanding Zuma’s psychology and the motivations behind his actions.
In the early 1990s, after a period living in San Francisco, Gordin became the launch editor of Playboy South Africa. (He posed nude, with only a magazine as cover, to promote Playboy’s South Africa launch.) In a recent essay, Gordin recounted trying to land a then-unknown Charlize Theron for the magazine’s first cover. Invoking Yiddish terms, Gordin recalled journalists who had passed away, described the actress’s unembarrassed audition, and also managed to explore changing race and class dynamics in South Africa.
(Around this time, his friend Roy Isacowitz wrote in a remembrance published shortly after his death, the pair had successfully gotten a media executive censured for calling them “pushy little Jewboys” — though he said they accepted the description.)
Jeremy Gordin, at right, stands in front of covers of the Sun, the South African tabloid he oversaw for many years. (Courtesy Gordin family)
In 2012 he was named caretaker editor of the Daily Sun, a South African tabloid wildly popular among the Black working class. The paper lost much of its appeal after the death of its founder, larger-than-life Afrikaner media executive Deon du Plessis. Gordin brought back the pride, the punch and many of the readers to the paper. Or, as a headline made for him by his colleagues when he retired said, he “brought rock’n roll back to the Sun.”
The tabloid’s news largely relied on cases of violence, gossip and sex often featuring “tokoloshes,” fantastic creatures of popular African mythology whose encounters with the Sun’s readers were reported nationwide in the first person to its many correspondents. The readership and the paper’s foot soldiers were 100% Black. They collected the stories and sent them to the Johannesburg newsroom, where a group of experienced white male journalists including Gordin translated their texts in the characteristic Daily Sun language.
Gordin’s world couldn’t be further away from the one his newspaper reflected. But as his colleague at the paper Vincent Pienaar wrote after his death, “Not only did he understand the ethos of the publication, he embraced it.”
The tabloid took on serious stories, too. During his tenure as the paper’s editor the Daily Sun broke the story of the death at the hands of police officers of Mozambican immigrant taxi driver Mido Macias. A reader had filmed his gratuitously brutal arrest and sent it to the newspaper. Eight police officers involved in the victim’s death in custody were ultimately sentenced to 15 years in prison.
After leaving the Daily Sun, Gordin took on a role coordinating the Wits Justice Project, a journalism program focused on the plight of innocent or unfairly treated prisoners. In 2011 he helped secure the release of Fusi Mofokeng and Tshokolo Joseph Mokoena, who had served 19 years in prison for a crime they didn’t commit.
Gordin’s many friends say that his sympathy for the underdog was inextricable from the Jewish traditions and attitudes he inherited.
Although not religiously observant, Gordin peppered his articles with Jewish stories and jokes and Yiddish words and expressions. His sense of humor was strongly influenced by his Jewishness, as it was the combination of principle and humorous compassion that defined his personality. He was extremely well-read and voraciously curious, loved to share what he discovered with friends and indulged in sassy but harmless gossip both in private and in his articles.
Sometimes, his Jewish identity and his journalism entwined as when, in 2016, he reported from Johannesburg about the extradition hearing of a Hasidic rabbi, Eliezer Berland, wanted in Israel on rape charges. His final column, published the day before his death, explained, and condemned, the proposed right-wing judicial reforms in Israel.
Rabbi Sa’ar Shaked of the Beit Emanuel Progressive Synagogue in Johannesburg said Gordin as a friend and “wild spirit” who didd’t regularly attend services but was a repeat guest speaker at the synagogue to discuss weekly Torah portions and a variety of aspects of Jewish history and law.
Despite not attending services regularly, Gordin’s role in the community is described as “very active” by Wendy Ovens, a South African health professional in the NGO sector who served with him on the management committee of Beit Emanuel in 2011.
“His knowledge on Judaism and Jewish history was incredible,” Ovens said. She said his Jewish identity fueled his core mission: “He was community-minded and believed in justice and in what was right.”
Gordin is survived by his wife, Deborah Blake, and his children, Jake and Nina.
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Trump administration says 2nd phase of Gaza ceasefire is underway, despite Israeli hostage remaining
(JTA) — Middle East envoy Steve Witkoff announced on Wednesday the beginning of the second phase of the U.S.-brokered ceasefire deal between Israel and Hamas, which includes a transitional Palestinian committee to oversee Gaza’s governance.
The announcement drew alarm from the family and advocates of Ran Gvili, a police officer murdered on Oct. 7, 2023, who is the final Israeli hostage remaining in Gaza.
“Moving to phase two at this moment, while the efforts to return Ran have yet to be exhausted, is a loss of the most significant leverage and may be a sentence of eternal disappearance for Ran,” Gvili’s mother, Talik, said in a statement. “Until Ran is returned, the State of Israel will not be able to close its most bloody wound and will not be able to begin the rehabilitation and healing that it so desperately needs. Phase two must not be implemented as long as Ran has not returned home.”
Israeli officials have reportedly assured the family that the advance in the U.S.-engineered plan for Gaza does not undercut pressure to return Gvili’s body. The second phase was supposed to start as soon as all living and dead hostages had been returned, which the original agreement struck in October said should happen immediately.
Witkoff’s announcement follows repeated signals from President Donald Trump that the second phase was imminent, despite allegations of truce violations from both Israel and Hamas.
“Today, on behalf of President Trump, we are announcing the launch of Phase Two of the President’s 20-Point Plan to End the Gaza Conflict, moving from ceasefire to demilitarization, technocratic governance, and reconstruction,” Witkoff wrote in a post on X.
Witkoff said the second phase established a “transitional technocratic Palestinian administration in Gaza,” and would begin the “full demilitarization and reconstruction of Gaza.” The leader of the administration is a former Palestinian Authority deputy minister named Ali Abdel Hamid Shaath.
In a joint statement, the other mediators of the ceasefire deal — Egypt, Turkey and Qatar — wrote that the second phase was an “important development … aimed at consolidating stability and improving the humanitarian situation in the Gaza Strip.”
The details of how Hamas will be disarmed — a requirement for a permanent peace — remain unclear. Hamas has not agreed to lay down its arms, and fighting in Gaza has continued in fits and starts, including in areas controlled by Israel.
Last month, Israeli Prime Minister Benjamin Netanyahu met with Trump at his Mar-a-Lago estate where the president said that Hamas would be given “a very short period of time to disarm.”
Witkoff indicated in his post that the move to phase two did not preclude consequences for Hamas. He did not specify any, but Israeli officials are reportedly preparing for a potential major Gaza City operation this spring.
“The US expects Hamas to comply fully with its obligations, including the immediate return of the final deceased hostage,” Witkoff wrote. “Failure to do so will bring serious consequences.”
Israeli officials offered a muted response to Witkoff’s announcement, which comes as Israel is preparing for a possible new confrontation with Iran. Netanyahu reportedly sought to cast the announcement as symbolic only.
Some liberal pro-Israel groups offered cautious praise while emphasizing that more needed to be done for a lasting peace.
Brian Romick, the president and CEO of the Democratic Majority for Israel, called the second phase a “welcome step,” but called for the return of Gvili’s remains and increased aid in Gaza. He also called for Hamas to be “fully disarmed” and have no role in Gaza’s governance.
“The Trump administration and the international community must remain focused on enforcing demilitarization, supporting responsible governance, and ensuring that this effort delivers lasting security for Israel and the region,” Romick said.
The president of the liberal Zionist advocacy and lobby group J Street, Jeremy Ben-Ami, also welcomed the announcement in a statement, but called for “prioritizing civilian protection, ensuring the steady flow of humanitarian aid and establishing accountable governance and security arrangements.”
“We support the plan’s focus on Hamas’ demilitarization, Palestinian technocratic governance and reconstruction, and believe that serious diplomacy and international cooperation are essential to saving lives and keeping open a path toward a better future for Israelis and Palestinians rather than endless war,” said Ben-Ami.
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A Yale student returns to class, with a Jewish question (and answer) about why she’s there
“We’re back with the books, in silent rooms, where the world is made of words, like so many before us — and I can’t stop wondering why,” writes Mia Rose Kohn, a cartoonist, journalist and junior studying at Yale University.
In this first installment of a graphic column for the Forward, she draws from the great works of the Jewish Enlightenment to theorists of the modern era, as she asks herself — and us — “If education is a Jewish value, what does Jewish thought have to say about why we’re here?”
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He works at a Holocaust museum by day. How’d he end up in ‘Marty Supreme’?
Heading into his audition for Marty Supreme, Isaac Simon was nervous. But not for the reasons you’d expect.
“I was taking a long lunch break from the museum,” he said, “and at the time I was three or four months into my job.”
Appearing in a Josh Safdie movie was something Simon, who runs internship programs at the Museum of Jewish Heritage, had genuinely never dreamed of. He wasn’t an actor, or an aspiring one. He’d never taken an acting class or been in front of a camera.
But two years after he was scouted at a baseball card convention, Simon was invited to try out for the role of Roger, a cocksure amateur who gets hustled on the ping-pong table by Timothée Chalamet’s Marty Mauser. Standing 6-foot-9 with ice-blue eyes, low eyebrows and flowing brown hair, Simon had the look, the paddle skills and, clearly, the temperament to land a pivotal part in an Oscar-bound — and richly Jewish — cinematic hit.
“I don’t get starstruck,” Simon, 31, said. “I get excited.”
The slew of non-actors who feature in Marty Supreme alongside A-listers like Chalamet, Gwyneth Paltrow and Tyler, The Creator has already become part of the film’s lore. Safdie and veteran casting director Jennifer Venditti have a penchant for casting street regulars; among the first-timers in the movie are basketball legend George Gervin, viral TikTok and YouTube personas and the guy from Shark Tank.
But perhaps none had as personal a connection to the film’s story of post-war Jewish striving as Simon, a native New Yorker whose graduate study at Queens College focused on the development of Holocaust studies in the U.S. In Marty Supreme, which is loosely based on the story of real-life midcentury table tennis star Marty Reisman, one of the protagonist’s best friends is a Holocaust survivor; one of the film’s most arresting scenes is an Auschwitz flashback.
Simon’s day job is, of course, at the largest Holocaust museum in New York. The fateful coincidence of his casting, Simon said, was “like a bizarre lottery ticket I was able to cash in.”
A fateful encounter
The story of Simon’s star turn begins in the summer of 2022, when Venditti spotted him at a baseball card show in Long Island. Venditti was there with Safdie; Simon — then still in grad school — was there with his dad.
Venditti said they was there to cast extras and non-actors for a baseball-related movie, and asked if she could take a two-minute video of him talking about himself. He obliged, and in the recording told her where he was from (New York City) and what he was doing at the show (chasing the famously rare T206 tobacco card series).
“I thought to myself, ‘Wow, could I really have been at the right place and the right time for something I wasn’t even expecting?’” Simon recalled. Then two years passed, and the run-in faded from memory.
It was not until the summer of 2024 that he received an email from Venditti: “Isaac Simon audition opportunity – scouted at card show.” No script was provided and nothing about the project was disclosed — just a date and a location.
On his elevator up to the audition, he heard the hollow bouncing of a ping-pong ball. Having seen a headline about Chalamet being attached to a Reisman biopic a few days earlier, he realized what the next few minutes might entail.
“The first audition was a total blur,” Simon recalled. “I remember playing ping pong with the assistant casting director and he was like, ‘Oh you’re good!’” At a subsequent callback, he played out a few improv scenarios — some light trash talking, or being cheated in a game. A few weeks later, he got called in for costume fittings.
He hadn’t solicited any acting tips, or studied film prior to his audition. But his work at the museum, where he trains educators on how to teach the Holocaust in 90 minutes, had prepared him.
“Because teaching is a performance, there is sort of an inherent performative quality to the work I do,” Simon said. “And so I think that that lent itself well — or at the very least, it didn’t hurt — to the work I was being asked to do for Josh.”
‘Cast for a reason’
Having run through his lines with his dad and his girlfriend, Simon headed upstate that fall to play Roger — and play opposite Chalamet. (This time, he took two days off of work.)
Roger, the reigning hotshot at a humdrum bowling alley, features in two scenes. In the first, he’s goaded into wagering $40 against Marty, who’s feigning amateurism, and loses. He reappears a few minutes as Marty fills up at a nearby gas station, realizing he was hustled by the reigning American champion; he and his pals want their money back.
Walking into the converted Bowlero where they shot the first scene, Simon was floored by the set. “Each individual looked like they were from the 1950s, and yet their outfit was distinctly their own,” he recalled. Miyako Bellizzi, the costume designer, had fitted him in a striped button-up and faded blue work pants; Simon’s hair was slicked back and to the side.
He hadn’t met Safdie before he got to set, and his cues from the Uncut Gems co-director were limited.
Over the course of his scenes, there were times when he wasn’t sure he was doing what Safdie wanted. Here, it was his inexperience that Simon drew on. “I kept reminding myself that I was cast for a reason, and I was cast as a non-actor for a reason,” he said, “and what I’m bringing to this experience is inherently different than what a trained actor would be. Therefore, if I were a trained actor, I would not be what Josh was looking for in the scenario.”
He didn’t have too much time to banter with the film’s stars during the shoot; most of his time on set was spent with other bit-players. But when the camera was shooting other actors, Safdie wanted to keep the sound of live table tennis in the background, so he had Chalamet and Simon play each other off-camera.
As to who had the upper hand? “We’re probably about even,” Simon said.
Jewish mythmaking
Even after the shoot, Simon couldn’t quite believe it was real. He told almost no one outside his family, superstitious that the scene would get cut. But then the premiere arrived. “It was surreal,” he said.
He’s now seen the film nine times — yes, all the way through — indulging friends who want to see it with him. And his acting has won some praise, with one X post calling it an “incredible underrated performance” liked more than 2,000 times.
Simon likes the movie, if you couldn’t tell, echoing its director and star in calling it a love letter to New York. The film, Simon said, touches on Jewish identity in a way that reminds him of his own family and their experience in this country.
“The way in which it captured intergenerational relationships in Jewish homes in post-war America, in New York specifically, felt very autobiographical for the way that my relatives talked amongst each other,” he said. “There’s a love there that transcends.”
As a Holocaust educator, Simon felt the movie handled that theme appropriately. He found the honey scene — an Auschwitz flashback too intense to explain here — moving, and the Holocaust humor tactfully dispatched. He loved the yiddish.
Yet Simon still couldn’t wrap his head around his own involvement in such a fitting project. His work passing on the history and memory of the Holocaust to future generations was already meaningful before he got an IMDB page.
“So to be cast in a film and have a speaking line,” he said, “and it just so happens that that film is also this incredibly Jewish film — which has direct references in the scene at Auschwitz — is equally bizarre, but also really beautiful, and oddly perfect.”
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