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Condoms and tikkun olam: An Orthodox woman strives to aid sex workers in Prague
PRAGUE (JTA) — Not long after she puts away her silver Shabbat candlesticks and home-baked challah, Yael Schoultz walks through a cavernous hallway, and up a set of gray concrete stairs. Past a door, she finds a group of heavily made-up women in red and black G-strings and spike heels, listlessly beckoning men for sex in return for cash.
Schoultz, 43, spotted about 30 women at the Prague brothel floating from room to room in various states of undress — negligees, see-through bras — with accents as varied as their lipstick shades. Some are smiling, some appear bored as they play games on their phones, others are trying to woo potential clients with a simple, “Come have a good time, come to my room.”
It’s a typical Saturday night post-Shabbat routine for Schoultz, an Orthodox Jewish South African who recently launched L’Chaim, an organization dedicated to helping sex workers in the Czech Republic.
Schoultz and her colleagues engage the women with friendly banter about health and the weather, careful not to interrupt those with customers. The L’Chaim volunteers collectively carry a few hundred free condoms along with high-end soaps and hand-crafted bracelets.
“The girls always ask for extras for their friends,” Schoultz said.
Schoultz, who has been visiting Czech brothels since she moved to Prague in 2011, is not a mere purveyor of gifts. Her goal is to establish a rapport with the women she meets so that they can leave the business of sex work if they so wish. And her Jewish faith is a core driver of Schoultz’s quest to provide a better life for the sex workers.
“Some of the women have been trafficked,” she explained, referring to the term governments and human rights advocates use to describe a contemporary form of slavery. “There are girls who were tied up for days and raped, even by the police. Some might seem to be in the brothel voluntarily, but not really, because they owe a lot of money on a debt and feel sex work is only way they can pay it back.”
Dressed in black from head to toe, in what a fashion magazine might describe as modest goth, Schoultz is a veteran of global anti-trafficking efforts. A few decades ago, while teaching English in South Korea, Schoultz volunteered for an organization that was trying to stop the trafficking of North Korean women to China. At the same time, she was getting a master’s in theology and wanted to move to Europe to get her doctorate, which was possible at Prague’s Charles University.
“When I got to the Czech Republic, I started looking for people who were working on the trafficking issue and found three women: a Catholic nun and two Protestant missionaries. All of them were in their 60s,” Schoultz said.
Schoultz asked if she could join them in their visits to brothels.
“I just went in and started talking to women, about really anything. Language wasn’t a barrier because most sex workers speak English,” she recalled. “But it was a bit weird walking into these places with a nun in full habit.”
After a few months Schoultz began to feel uncomfortable — not with the sex workers, but with her philanthropic colleagues’ proselytizing and “religious agenda.”
“I wasn’t interested in giving out Virgin Mary medallions,” she said.
Schoultz, who teaches English at an international school in Prague, started her own informal volunteer group to help sex workers in 2012, while also embarking on a deeply personal Jewish journey.
Although she believes her father has “Jewish ancestry,” Schoultz was brought up in a Protestant home. Still, she long maintained a deep interest and connection to Judaism which intensified when she pursued her studies in theology. For several years, she regularly attended Orthodox services at 13th-century Old New Synagogue and volunteered for the Prague Jewish Community’s social services department before completing an Orthodox conversion in 2020 with Israeli rabbi David Bohbot. She has now begun her master’s degree in Jewish Studies at the Ashkenazium in Budapest, a division of the secular Milton Friedman University operated by the Hasidic Chabad-Lubavitch movement.
“From the beginning when I knew I wanted to make the conversion, Orthodox Judaism was something I agreed with theologically, it is where I felt most comfortable,” said Shoultz, who describes herself as Modern Orthodox.
Rabbi Dohbot praised Schoultz’s dedication. “This work she does is noble, and isn’t that what most big religions are based on? Showing love and respect for others?” he said.
Schoultz completed an Orthodox conversion to Judaism in 2020. (Courtesy of Schoultz)
Last year, Schoultz achieved another transitional milestone: obtaining Czech government recognition of L’Chaim as a registered nonprofit.
Although L’Chaim is a secular organization, Schoultz sees her work through the lens of tikkun olam, the rabbinical command to repair the world.
“I feel like as a Jewish person, you’re supposed to bring light to the world,” said Schoultz. “And the sex industry is very dark, because even if you choose to be a sex worker, it’s not a job that anybody really enjoys as the customers are often drunk or abusive.”
“It might sound strange, but I feel very connected to Hashem when I am in the brothel, because he is there for me, and for these women too,” she added, using the preferred Orthodox Hebrew term for god.
Schoultz’s co-volunteers, who are mostly not Jewish, are aware of her commitment to the faith.
“After Yael started getting serious about Judaism, she found her path, she was more complete and found her purpose,” said Natalia Synelnykova, who worked with Schoultz to launch L’Chaim. “Everyone would say that their friends are unique, but I have rarely met someone who is so human-centered as Yael, and that is definitely linked to how she sees Judaism.”
Schoultz named her new organization L’Chaim — to life, in Hebrew — as a message to those she seeks to help.
“We want the women in the brothels to have a life because a lot of them feel like they don’t have any life, like they’re barely making it,” she said.
There are about 100 brothels in Prague, according to media reports, and roughly 13,0000 sex workers in the Czech Republic, of which about half are thought to be single mothers. Although sex work is legal, pimping is not, so the brothels operate in a murky legal area that legislators have been trying to address for decades.
Once a hotspot for human trafficking, today the Czech Republic has a relatively low rate of human sex slavery according to government statistics. But Schoultz said the numbers are misleading.
“No one really knows how many trafficked women there are in the country,” she said.
A U.S. State Department report praised the Czech Republic’s efforts to limit trafficking but also noted that the country is more focused on prosecutions of criminals rather than on helping victims. Their stories stay with Schoultz.
“I meet many Nigerian women who may not be locked up in a room, but they are locked up by Juju,” she said, referring to a form of “black magic” that some Nigerian traffickers reportedly use to scare women into prostitution.
She also counsels “Romanian girls who are initially romanced by men that turn out to be traffickers.” A man will have many women he calls “wives,” and each one has a baby with him, “The women give him all their money to support the baby who he keeps as a form of collateral in Romania,” Schoultz said.
(Shoultz turned down JTA’s request for contacts of sex workers she has helped, noting that this would violate L’Chaim’s promise of confidentiality).
The Czech Republic’s leading anti-trafficking organization, La Strada, takes a different orientation towards sex work than L’Chaim, focusing on it more as a legitimate profession that should be organized and regulated.
“We believe women are fully able to decide for themselves if they want to be sex workers and our goal is to provide safety for those who do so, to help them organize, fight stigma and have the rights of all other workers,” said Marketa Hronkova, La Strada’s director. La Strada defines trafficking strictly as those who are physically coerced or blackmailed into providing labor.
Hronkova said there are many sex workers who choose their profession willingly and that it is patronizing and often damaging when those who say they want to help focus exclusively on “pushing women to exit a path they have chosen, as if they have no minds of their own.”
The alternative to sex work, for a single mother, can often put her in an even worse financial situation, she noted. “Our goal is to make sex work safe, not to get women to stop doing it,” said Hromkova.
Concerning L’Chaim, she said as long as its aim was listening to women, and not making them feel ashamed, it could be helpful. La Strada already cooperates with another Czech organization, Pleasure Without Risk, which maintains a neutral stance towards sex work and provides women with access to testing for sexually transmitted diseases as well as counseling.
L’Chaim’s goal, Schoultz explained, is to identify who might be trafficked and provide them with the confidence and practical resources to rebuild their lives. But since getting access to the women requires earning the trust of brothel owners and managers, L’Chaim doesn’t advertise itself as an anti-trafficking group.
“We show up as providing support to women in prostitution, that gets us in the door,” she reflected. L’Chaim has about a dozen volunteers.
It can take Schoultz six months of relationship building before she finds out what brought the client into sex work.
“We start by talking about her kids, talking about her dogs,” said Schoultz “and eventually their stories come out, many involving abuse, trauma and mental health problems.”
She estimated that at the 13 or so brothels she regularly visits in Prague and Brno, at least half the sex workers were not there on a fully voluntary basis.
In the future, Schoultz hopes to create trafficking awareness campaigns and help the customers of sex workers recognize the signs that a woman is working against her will.
The brothel owners are not always pleasant to deal with, Scholtz acknowledged.
“At one place an owner came behind me and kissed my neck on the back of my neck. It was really creepy,” she said.
And despite her modest dress, or tznius, in keeping with her Orthodox values, she said she was pursued by a brothel customer to participate in “group sex.” She fended him off calmly by explaining that she “offered services, but not those kinds of services.”
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Israel’s culture minister called this documentary about IDF tactics ‘vile.’ It deserves to be seen.
VENICE — At its premiere here last week, towards the end of the 83th Venice International Film Festival, Naza, Yuval Abraham and Rachel Szor’s documentary about Israel’s killing of Palestinian civilians in Gaza, received a 25-minute-long standing ovation, a record at the festival. Two nights later, the film won the festival’s Special Jury Prize. By Sunday, Israel’s culture minister, Miki Zohar, was calling the film “vile,” describing it as treason and threatening to revoke its directors’ citizenship. Zohar invoked his reform of cinema funding, saying Israelis should no longer have to pay for work that harms the army and the state.
I left the press screening of Naza angry, depressed and utterly convinced of its importance. Its account of the procedures that govern the deaths of civilians is devastating precisely because so much of the testimony sounds like people describing an ordinary working day. The film will have its North American premiere at the New York Film Festival on Sept. 26. It deserves to be seen, and debated with considerably more patience than some of its detractors have displayed.
Venice has traditionally worn its politics more lightly than Berlin, where a filmmaker’s acceptance speech can cause an international incident. This year, however, festival director Alberto Barbera programmed a competition that invited controversy. Alongside Naza was Ilya Khrzhanovsky’s DAU, which drew Ukrainian objections over the production’s Russian connections (including to Sergei Adoniev, a businessman who has been sanctioned by Ukraine and the U.S.) In the run-up to the festival, Barbera defended DAU as a denunciation of totalitarianism. Both films are international productions by directors whose countries have become objects of international opprobrium. Both venture into their societies’ heart of darkness. Barbera deserves enormous credit for programming them both in the main section of the world’s oldest film festival despite the objections of many.
Berlin supplies a cautionary precedent. No Other Land, the Oscar-winning documentary Abraham and Szor made with Palestinians Basel Adra and Hamdan Ballal, premiered there in 2024, where it won the festival’s documentary prize. After Abraham and Adra gave speeches condemning Israel’s policy of apartheid in the West Bank, the German culture minister Claudia Roth, caught on camera applauding at the ceremony, clarified that her applause had been intended for the Israeli director. I shudder to imagine the official response Naza might have elicited there. Venice at least offered an opportunity to discuss what was on screen.
The film, which presents testimonies from 24 serving and former military personnel, grew out of years of investigative reporting. Produced by the British newspaper the Guardian and JW Films, in collaboration with the Israeli-Palestinian magazine +972 and its news website Local Call, it builds on Abraham’s investigations into Israeli intelligence and his work with Guardian journalist Harry Davies. Revelations about targeting systems had appeared in print while filming was underway and were subsequently reported on by both The New York Times and Washington Post. All this means that the disclosures made in Naza are not brand new. However, the stark, focused and lean approach that Abraham and Szor take in the documentary ensure that the information hits home with chilling force.
The film’s unusual title is the Hebrew term for collateral damage — specifically, the anticipated civilian toll of a military strike in Gaza. Speaking to Abraham from a series of Tel Aviv rooftops at night, the interviewees, whose appearances and voices are digitally disguised, explain with patient detachment how targets in Gaza are identified and eliminated. One of the tools used to identify suspected militants is an AI system called Lavender. The frightening efficiency of such technology is discussed alongside the human decisions that determine what constitutes an acceptable loss.
One of the most disturbing claims has prompted a specific military rebuttal. An interviewee says a strike was once approved with 500 civilian deaths anticipated; he does not know how many were actually killed. The IDF claims it has never planned, approved or conducted a strike expecting anything near that toll, and challenges the filmmakers’ ability to verify the account. It also maintains that humans authorize strikes and questions the witnesses’ competence to discuss broader strategy.
The film’s restraint gives incendiary testimony such as this time to register. For the majority of the film, we only glimpse the interviewees’ faces in silhouette and watch as they crudely draw diagrams to explain the logistics of a military strike, say, on a crowded building. Every so often the camera wanders off the roof, peering into the illuminated homes and high-rise office buildings of Tel Aviv at night. The point is precisely to convey an unsettling sense of normalcy.
I was particularly struck by the absence of the racist invective I had half expected. Some interviewees describe themselves as educated, liberal people. Their accounts nevertheless reveal a callous disregard for civilian causalities. One recalls the pleasure of a job well done. “It’s so much fun,” he says of reaching his targets and we hear in his voice how the remote killings he takes part in gives him an indescribable rush. After a pause, he tells Abraham that as someone raised in the Israeli context, someone who had got to visit the death camps in Poland, he always considered and asked himself how they could do what they did. “For me the Nazis are evil,” he says. “So what does that make me?” It is perhaps the film’s most damning exchange.
One of Naza’s strength as a documentary is that it does not demand agreement that Israel is committing war crimes, including genocide, before its investigation begins. That gives it a chance to reach people who have defended Israel and remain capable of reconsidering their position.
Some of the most vociferous criticism of Naza has not come from IDF spokesmen or other Israeli officials. Almost immediately after the premiere, footage from the film’s lengthy ovation (where Abraham and Szor stand looking intensely uncomfortable and withdrawn) went viral, with numerous commentators on X and other platforms making ugly accusations against the filmmakers, including for granting anonymity to the whistleblowers who feature in the film.
“A viscerally nauseating spectacle. Imagine SS officers, shielded and protected by anonymity, getting a 25-minute standing ovation for recounting their tortures and murders. Criminal perpetrators should only be heard at their trials not at gala celebrations,” read one tweet that has been viewed close to 150,000 times. Though the language of that post is particularly incendiary, the sentiment it expresses is surprisingly widespread on social media.
Confidentiality was a condition of obtaining these accounts, a standard journalistic arrangement that confers no clemency. At the press conference, Abraham described that his sources were motivated variously by remorse and professional pride. He affirmed that his goal was to keep the victims of Gaza at the film’s center — and not to congratulate its witnesses.
The tenor of this debate recalls Nadav Lapid’s withdrawal from the Marseille film festival in June after boycott calls. His Yes, an infernal satire of post-Oct. 7 society, is a ferocious attack on Israeli complacency. It would take considerable ingenuity or imagination to claim that either it or Naza is an apology for Israel.
Accepting his award in Venice, Abraham said that he made Naza because “the denial of a crime is what helps it persist.” He later pledged to distribute the film as widely as possible in Israel. The interviewees, he explained, “spoke in Hebrew because they wanted to reach out to the Israeli public.” Not surprisingly, the film, sight unseen, has already been widely condemned within Israel. Former defense minister and opposition politician Avigdor Lieberman called the directors “haters of Israel” and accused them of turning Oct. 7 into a blood libel. Such accusations should make the necessity to reach Israeli viewers even more urgent.
Days after the film’s victory in Venice, Haaretz ran an editorial with the blunt headline, “Israelis Must Finally Confront What Israel Has Done in Gaza.” After years of trying to “air dirty laundry at home” with limited success, Abraham and Szor now had found in the Venice Film Festival a major platform where the conclusions of their investigations were impossible to ignore. The editorial’s key sentence is also its shortest: “Israel’s problem is not public relations, but reality.”
Naza only leaves the rooftops of Tel Aviv for two brief occasions. In the first of these, we see archival footage of a young Benjamin Netanyahu promoting his 1995 book Fighting Terrorism: How Democracies Can Defeat Domestic and International Terrorism, In the clip, a much-younger Netanyahu defines terrorism as a policy of deliberately killing and maiming civilians to advance political goals. Bibi’s words hang uncomfortably over the rest of the film, inviting and daring viewers to draw their own conclusions.
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Macklemore dropped from Ed Sheeran tour after ‘Free Palestine’ backlash
Macklemore has been dropped from the remainder of Ed Sheeran’s stadium tour following backlash to pro-Palestinian comments the social justice rapper made onstage.
The promoter of Sheeran’s U.S. tour said several stadiums refused to allow Macklemore to perform after his headline-grabbing “Free Palestine” plea during a Sept. 4 show at MetLife Stadium in New Jersey. Ensuing backlash to the comments included a petition by the Israeli-American Council to get him canceled from the tour.
Macklemore was set to open for Sheeran at eight of the remaining 10 tour dates. Seven of the eight host venues said the concerts could not go on with Macklemore, according to Rolling Stone: Lincoln Financial Field in Philadelphia; Gillette Stadium in Foxborough, Massachusetts; Mercedes-Benz Stadium in Atlanta; Lucas Oil Stadium in Indianapolis; Bank of America Stadium in Charlotte, North Carolina; AT&T Stadium in Arlington, Texas; and Raymond James Stadium in Tampa, Florida.
Macklemore’s long record of pro-Palestinian remarks predates the tour, including a song, “Hind’s Hall,” about the 2024 takeover of a Columbia University building by student protesters. During his controversial Sept.4 speech, he said his ambition on the Sheeran tour was to promote the Palestinian cause.
In a statement on Instagram, Macklemore claimed Robert Kraft — the Jewish owner of the New England Patriots and Gillette Stadium, and arguably the NFL’s most powerful figure — pressured Sheeran to drop him.
“Ed told me that Kraft said I would not be allowed to perform in his stadium,” Macklemore wrote. “Ed also told me that Kraft had rallied some of the other stadium owners and collectively they gave him an ultimatum: if Macklemore stays on the tour, you will not be allowed to play in our venues.”
The post had received 1.6 million likes on the platform within four hours of its posting.
The controversy over Macklemore’s comments also embroiled the Jewish pop star Pink, who faced backlash for sharing a post by the pro-Israel organization StopAntisemitism. Pink later said she did not agree with all of the post’s contents, but felt alarmed as a Jewish person who had grieved both sides of the conflict and didn’t like being told she supported genocide.
She also brought up a 2014 incident in which Macklemore wore a fake nose, beard and black hair onstage in a costume some criticized as playing on antisemitic stereotypes. (He later apologized, saying that he had no antisemitic intent and linking to the Anti-Defamation League website.)
“Every Jew I know knew exactly what it was,” Pink wrote on Instagram. “But he apologized, and I let it go, because that’s what we do. We let it go. Then last weekend he stood in front of a stadium full of music-loving families, with violent images from a war on the screens, dedicated a song to the movement of his choice, and then took the mic to tell all of the Jews in the stadium that it wasn’t about them. You don’t get to decide that for us.”
The ADL was part of the 2026 anti-Macklemore movement, calling his speech “performative, biased and hateful anti-Israel ‘activism.’”
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Jewish sleepaway camp made them comedians, so they made a movie about it
Jewish sleepaway camp is where parents send their children to forge a lasting connection with their ancient peoplehood. Perhaps regrettably, many also leave having developed something else: shtick.
“It’s a breeding ground for comedy bits,” said filmmaker Michael Lewen, 36, a proud alumnus of Camp Modin in Belgrade, Maine. “Everyone learned how to be a comedian at summer camp. This is where you first try out your stuff.”
Years after retiring his color-war uniform, Lewen, a regular collaborator of Judd Apatow, is returning to the cradle of his comedy career. His sophomore feature Tiny Fugitives, hitting theaters Sept. 18, takes us to Camp Fineman, where 12-year-old Jacob Udell (Benjamin Pajek) commands a cool-kid cachet apart from his public-school tormentors.
Jacob’s goals for the summer start off simple — a bunk-wide record for “ask outs” to the social and telling his longtime crush how he feels. But when his parents show up on visiting day to announce their divorce, and that they may not have the money to send him for another season, Jacob and his best friend Charnis (Aaron Harris) hatch a plan: When the buses leave camp, they won’t be on them. They will live at camp year-round.
It’s a notion not completely foreign to Lewen’s co-writer, Jacob Kaplan, 28.
While Kaplan spent less time than Lewen at his own camp (Young Judea in Amherst, New Hampshire), he keeps finding fresh material in the experience. He toured a standup show, Kings of Camp, about those halcyon days of canteen privileges and Capture the Flag. Lewen connected with Kaplan after reading a cartoon pilot he wrote about an alien child who sends dispatches back to his home planet from a Jewish summer camp, mistakenly believing his idiosyncratic environs to be representative of human civilization.
Kaplan remembers camp as his first brush with independence. The divorce plot is drawn from his life and he remembers it as a merciful break from parental logistics.
The jokes are an amalgam of his and Lewen’s field notes from back in the day and ideas from their capable cast of 12-year-olds, one of whom does a credible impression of Barack Obama saying kiddush. The foil to Jacob and Charnis’ great escape is a “lifer” named Bob, played by Johnny Knoxville, who gives chase and is often grievously injured in the pursuit. Thank Hashem for the infirmary.
“There was definitely some push and pull with the stunt coordinator,” Lewen said of Knoxville’s presence on set. Coming off of the later Jackass films, he wanted to drive his ATV without his glasses and urged people to hit him harder.
But for all the slapstick, Bob, based on a familiar archetype of a fanatical counselor is, along with Charnis and Jacob’s friendship, the heart of the film. His message, and one I’ve heard from many a counselor of my own: camp is special because it ends.
If it didn’t quite end for Lewen and Kaplan, who got to relive those days on the set of a couple different Toronto camps, and recreate some of the magic for their actors, they insist they’ve now had enough.
Tiny Fugitives Lewen said, is indebted to Stand By Me, includes visual nods to Francis Ford Coppola films like Apocalypse Now and The Conversation and seems to have no anxiety about the influence of another raunchy two-hander like Superbad (Seth Rogen and Evan Goldberg produced). It owes a less obvious debt to Michael Mann’s Heat, Lewen said, only “instead of De Niro and Pacino, it’s Johnny Knoxville and a 12-year-old who both want the same exact thing out of life, and only one of them is going to get it.”
Among the comedy’s most understated features is its ambient Jewishness, in no way essential to the plot, as it is in another recent camp film The Floaters, but key to its sensibility.
The kids find ancient Manischewitz in a dining hall. Jacob pads his elbow with a loose kippah to break the frame to a map of the old camp grounds. In a fanciful moment, he suggests laundering petty cash in $18 sums to skirt suspicion. A line, delivered out of context and without elaboration: “Charnis, what do you mean a three-state solution?”
Asked if the film might have been more marketable with a generic sleepaway camp, Kaplan and Lewen seemed to have heard that note a lot.
“For the comedy you want to go from what felt the most true to your life and the situations and what actually happened and painting as vivid a picture as possible,” Kaplan said, invoking Wet Hot American Summer, which presented a Jewish summer camp without ever quite announcing that it was one.
Lewen said they focused on the bigger idea when they went out to pitch: “When you’re young, there are places where you feel like you make sense. For some people, it’s the baseball team. For some people, it’s debate camp. For some people, it’s your cousin’s house. And for us, it was Jewish summer camp.”
The producers are betting big on Tiny Fugitives’ cross-quadrant appeal, making it a rare R-rated comedy to play theatrically. Among the hoped-for viewers are some actual 12-year-olds, who will need a parent or guardian owing to the film’s coarse language, which is likely not very scandalous to the tween set it’s depicting.
“I actually think it’s a totally good movie for young people to see,” Lewen said. “I just remember being that age and watching stuff that felt a little bit real, and like I actually saw myself in it, and it’s so satisfying and cathartic.”
To that end, he said, Knoxville is chartering a bus to take camper-aged kids to the theater.
“I think it’s cool for there to be a cool movie that’s also Jewish,” Lewen said. “It’s the same reason I like Jewish summer camp and want my kid to go there.”
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