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Weinstein approached me ‘Jew to Jew’: Jodi Kantor opens up on the ‘She Said’ movie’s Jewish moments
(JTA) — When the New York Times journalist Jodi Kantor was reporting the 2017 Harvey Weinstein sexual assault story that earned her a Pulitzer prize, the powerful Hollywood producer and his team tried to influence her by using something they had in common: They are both Jewish.
“Weinstein put [Jewishness] on the table and seemed to expect that I was going to have some sort of tribal loyalty to him,” Kantor told the Jewish Telegraphic Agency on a video call from the New York Times newsroom. “And that was just not going to be the case.”
Now, that exchange has been immortalized in “She Said,” a new film adaptation of the nonfiction book of the same name by Kantor and her collaborator Megan Twohey that details their investigation into Weinstein’s conduct, which helped launch the #MeToo movement.
The film, directed by Maria Schrader with stars Zoe Kazan as Kantor and Carey Mulligan as Twohey, is an understated thriller that has drawn comparisons to “All the President’s Men” — and multiple subtle but powerful Jewish-themed subplots reveal the way Kantor’s Jewishness arose during and at times intersected with the investigation.
In one scene, the Kantor character notes that a Jewish member of Weinstein’s team tried to appeal to her “Jew to Jew.” In another, Kantor shares a moving moment with Weinstein’s longtime accountant, the child of Holocaust survivors, as they discuss the importance of speaking up about wrongdoing.
Kantor, 47, grew up between New York and New Jersey, the first grandchild of Holocaust survivors — born “almost 30 years to the day after my grandparents were liberated,” she notes. She calls her grandmother Hana Kantor, a 99-year-old Holocaust survivor, her “lodestar.” Kantor — who doesn’t often speak publicly about her personal life, including her Jewish background, which involved some education in Jewish schools — led a segment for CBS in May 2021 on her grandmother and their relationship. Before her journalism career, she spent a year in Israel on a Dorot Fellowship, working with Israeli and Palestinian organizations. She’s now a “proud member” of a Reform synagogue in Brooklyn.
Kantor spoke with JTA about the film’s Jewish threads, the portrayal of the New York Times newsroom and what Zoe Kazan’s performance captures about journalism.
This interview has been edited and condensed for clarity and length.
JTA: How did you feel having Zoe Kazan, who is not Jewish, play you? Kazan has played some notably Jewish characters before, for example in the HBO miniseries “The Plot Against America.”
JK: I feel Zoe’s performance is so sensitive and so layered. What I really appreciate about her performance is that she captures so many of the emotions I was feeling under the surface in the investigation. You know, when you’re a reporter and especially a reporter handling that sensitive a story, it’s your responsibility to present a really smooth professional exterior to the world. At the end of the investigation, I had the job of reading Harvey Weinstein some of the allegations and really confronting him. And in dealing with the victims, I wanted to be a rock for them and it was my job to get them to believe in the investigation. And so on the one hand, you have that smooth, professional exterior, but then below that, of course you’re feeling all the feelings. You’re feeling the power of the material, you’re feeling the urgency of getting the story, you’re feeling the fear that Weinstein could hurt somebody else. You’re feeling the loss that these women are expressing, including over their careers. And so I think Zoe’s performance just communicates that so beautifully.
What Zoe says about the character is that there are elements of me, there are elements of herself, and then there are elements of pure invention because she’s an artist, and that’s what she does.
I think the screenplay gets at a small but significant line of Jewish sub-drama that ran through the investigation. It went like this: Harvey Weinstein and his representatives were constantly trying to approach me as a Jew. And they’ve done this more recently, as well. There have been times when Harvey Weinstein was trying to approach me “Jew to Jew,” like almost in a tone of “you and I are the same, we understand each other.” We found dossiers later that they had compiled on me and it was clear that they knew that I was the grandchild of Holocaust survivors, and they tried to sort of deploy that. So speaking of keeping things under the surface, I privately thought that was offensive, that he was citing that. But your job as a reporter is to be completely professional. And I wasn’t looking to get into a fight with Weinstein. I just wanted to find out the truth and I actually wanted to be fair to the guy. Anyway, even as he was approaching me “Jew to Jew” in private, he was hiring Black Cube — sort of Israeli private intelligence agents — to try to dupe me. And they actually sent an agent to me, and she posed as a women’s rights advocate. And she was intimating that they were going to pay me a lot of money to appear at a conference in London. Luckily I shooed her away.
To some degree I can’t explain why private Israeli intelligence agents were hired to try to dupe the Hebrew speaking, yeshiva-educated, granddaughter of Holocaust survivors. But it’s not my job to explain that! It’s their job to explain why they did that.
Then the theme reappeared with Irwin Reiter, Weinstein’s accountant of 30 years, who kind of became the Deep Throat of the investigation. I quickly figured out that Irwin and I were from the same small world. He was the child of survivors, and had also spent his summers at bungalow colonies in the Catskills just down the road from mine. I don’t bring up the Holocaust a lot. It’s a sacred matter for me, and I didn’t do it lightly. But once I discovered that we did in fact have this really powerful connection in our backgrounds, I did gently sound it with him – I felt that was sincere and real. Because he was making such a critical decision: Weinstein’s accountant of 30 years is still working for the guy by day and he’s meeting with me at night. And I felt like I did need to go to that place with him, saying, “Okay, Irwin, we both know that there are people who talk and there are people who don’t. And we both grew up around that mix of people and what do we think is the difference? And also if you know if you have the chance to act and intervene in a bad situation, are you going to take it?”
We didn’t talk a lot about it, because I raised it and he didn’t want to fully engage. But I always felt like that was under the surface of our conversations, and he made a very brave decision to help us.
That was a very powerful scene in the film, and it felt like a turning point in the movie that kind of got at the ethical core of what was motivating your character. Was that a scene that was important to you personally to include in the film?
What Megan and I want people to know overall is that a small number of brave sources can make an extraordinary difference. When you really look at the number of people who gave us the essential information about Weinstein, it’s a small conference room’s worth of people. Most of them are incredibly brave women, some of whom are depicted, I think, quite beautifully in the film. But there was also Irwin, Weinstein’s accountant of all these years, among them. It’s Megan and my job to build people’s confidence in telling the truth. And as we become custodians of this story for the long term, one of the things we really want people to know is that a tiny group of brave sources, sometimes one source, can make a massive difference. Look at the impact that these people had all around the world.
Did you feel the film captured the New York Times newsroom? There’s a kind of great reverence to the toughness and professionalism in the newspaper business that really came through.
Megan and I are so grateful for the sincerity and professionalism with which the journalism is displayed. There are a lot of on screen depictions of journalists in which we’re depicted as manipulative or doing things for the wrong reasons or sleeping with our sources!
We [as journalists] feel incredible drama in what we do every day. And we’re so grateful to the filmmakers for finding it and sharing it with people. And I know the New York Times can look intimidating or remote as an institution. I hope people really consider this an invitation into the building and into our meetings, and into our way of working and our value system.
And we’re also proud that it’s a vision of a really female New York Times, which was not traditionally the case at this institution for a long time. This is a book and a movie about women as narrators.
“Harvey Weinstein and his representatives were constantly trying to approach me as a Jew,” Kantor said. (The New York Times)
There have been comparisons made between this movie and “All the President’s Men.” One of the striking differences is that those journalists are two male bachelors running around D.C. And this film has scenes of motherhood, of the Shabbat table, of making lunches. What was it like seeing your personal lives reflected on screen?
It’s really true that the Weinstein investigation was kind of born in the crucible of motherhood and Megan and my attempt to combine work with parenting. On the one hand, it’s the most everyday thing in the world, but on the other hand, you don’t see it actually portrayed on screen that much. We’re really honored by the way that throughout the film you see motherhood and work mixing, I think in a way that is so natural despite our obviously pretty stressful circumstances.
I started out alone on the Weinstein investigation, and I called Megan because movie stars were telling me their secrets but they were very reluctant to go on the record. So I had gone some way in persuading and engaging them, but I was looking to make the absolute strongest case for them. So I called Megan. We had both done years of reporting on women and children. Mine involved the workplace more and hers involved sex crimes more, which is part of why everything melded together so well eventually. I wanted to talk to her about what she had said to female victims in the past. But when I reached her, I could hear that something was wrong. And she had just had a baby, and I had had postpartum depression myself. So we talked about it and I gave her the name of my doctor, who I had seen. Then she got treatment. And she not only gave very good advice on that [initial] phone call, but she joined me in the investigation.
I think the theme is responsibility. Our relationship was forged in a sense of shared responsibility, primarily for the work – once we began to understand the truths about Weinstein, we couldn’t allow ourselves to fail. But also Megan was learning to shoulder the responsibility of being a parent, and I had two kids. And so we started this joint dialogue that was mostly about work, but also about motherhood. And I think throughout the film and throughout the real investigation, we felt those themes melding. It’s totally true that my daughter Tali was asking me about what I was doing. It’s very hard to keep secrets from your kid in a New York City apartment, even though I didn’t tell her everything. And Megan and I would go from discussing really critical matters with the investigation to talking about her daughter’s evolving nap schedule. It really felt like we had to get the story and get home to the kids.
And also, we were reporting on our own cohort. A lot of Weinstein victims were and are women in their 40s. And so even though we were very professional with this and we tried to be very professional with the sources, there was an aspect of looking in the mirror. For example, with Laura Madden, who was so brave about going on the record, it was conversations with her own teenage daughters that helped her make her decision.
We didn’t write about this in our book because it was hard to mix the motherhood stuff with this sort of serious reporter-detective story and all the important facts. And we didn’t want to talk about ourselves too much in the book. But the filmmakers captured something that I think is very true. It feels particular to us but also universal. When Zoe [Kazan] is pushing a stroller and taking a phone call at the same time, I suspect lots of people will identify with that. And what I also really like is the grace and dignity with which that’s portrayed.
It must have been surreal, seeing a Hollywood movie about your investigation of Hollywood.
I think part of the power of the film is that it returns the Weinstein investigation to the producer’s medium, but on vastly different terms, with the women in charge. Megan and I are particularly moved by the portrayals of Zelda Perkins, Laura Madden and Rowena Chiu — these former Weinstein assistants are in many ways at the core of the story. They’re everyday people who made the incredibly brave decision to help us, in spite of everything from breast cancer to legal barriers.
Working with the filmmakers was really interesting. They were really committed to the integrity of the story, and they asked a ton of questions, both large and small. Ranging from the really big things about the investigation to these tiny details. Like in the scene where we go to Gwyneth Paltrow’s house and Megan and I discover we’re practically wearing the same dress — those were the actual white dresses that we wore that day. We had to send them in an envelope to the costume department, and they copied the dresses in Zoe and Carey’s sizes and that’s what they’re wearing. There was a strand of extreme fidelity, but they needed some artistic license because it’s a movie. And the movie plays out in the key of emotion.
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Israeli restaurants are hiding their identity. New York magazine won’t say why
I walked into Jerusalem Chicken restaurant because someone told me it served the best maqluba this side of Jerusalem — all within a few minutes of LAX.
Outside, the well-lit sign said, “Palestinian Chicken Eatery,” which, because I’d seen the Curb Your Enthusiasm “Palestinian Chicken” episode about a dozen times, already had me smiling. Then I stepped inside.
Across from a deli counter filled with platters of rice and roasted vegetables was a cardboard sign: “End US Funding of Israel. Defend Palestine. End the Cycle of Genocide.”
This was 2022. Genocide seemed like an especially scurrilous charge, but it was their restaurant. I could yell, scream, protest, vandalize the place or call for a boycott. The young man behind the counter served me a leg and a thigh roasted dark, fragrant with sumac, clove and cinnamon. I ate.
Call me crazy but that’s what I demand of restaurants: Good food, clean kitchens and kind service. But, it seems, when it comes to Israeli restaurants, a different standard applies.
Somewhere toward the end of her long New York magazine feature on Middle Eastern food in New York City, Madeleine Leung Coleman points out that Israeli restaurants are increasingly labeling themselves as Middle Eastern or Levantine rather than Israeli.
“There could be many reasons why,” she writes. “Perhaps there’s a fear of being targeted. Or they’re second-guessing if they should call their food ‘Israeli’ at all.”
I’m going to offer a third choice: Perhaps it’s because of articles like hers.
The disappearing ‘Israeli’ restaurant
Coleman understates the actual violence against Israeli and Jewish-owned restaurants (and, oddly, against Palestinian restaurants). She implies that Israeli restaurants serve food that is somehow stolen from Arab cultures. She blurs the distinction between Israeli restaurateurs and the actions of a government 7,000 miles away. In short, she reinforces the stigma she purports to describe. It’s a case study in journalism-as-activism, for which innocent restaurateurs and diners will pay the bill.

Her piece, “When Eating Out Is Political,” charts the evolution of Middle Eastern food in the city from turn-of-the-century market stalls, falafel stands and halal carts to its current incarnation in high-end, often Michelin-starred chef-driven restaurants.
The core argument is that Israeli restaurants became trendy by appropriating Palestinian, Mizrachi and North African dishes while Arab, Iranian and North African restaurants languished as cheap, “outer-borough” places, and especially post-9/11 hid their identities behind a vague “Mediterranean” label.
Since Oct. 7, 2023, and growing protest against Israel, the stigma has reversed. Palestinian, Syrian and Iranian restaurants have flourished with cheffy food, and owning their particularist labels, while Israeli restaurants have had to hide their identity.
It’s true that Middle Eastern cuisines are having their moment in New York, and Coleman’s descriptions of the “delicate, hand-shaped beef dumplings” at the Syrian restaurant Huda or the wild mallow “topped with twists of fried onion and salty black olives” at the Palestinian restaurant Tanoreen in Brooklyn make it clear that these chefs, whether Palestinian, Syrian or Iranian, should be celebrated.
But the celebration is tainted with bias and ignorance when it comes to all things Israeli.
From Moshe’s Falafel to Solomonov
First, the history. By Coleman’s recounting, Israeli restaurants swooped in to success and instant “It” status sometime in the early aughts.
“We were told this was the flavor profile of this young country,” she writes, “which was so richly funded and supported by our own.”
I’m not sure what American aid to Israel has to do with the efforts of early chefs like Einat Admony and Michael Solomonov, but that sentence shows how Coleman condemns talented individual chefs for somehow being complicit in … foreign aid decisions?
She’s also wrong on the timeline. Israeli food came to America the same way Arab food did, with immigrant sweat and no guarantees of success. Moshe Mizrachi, an Israeli of Syrian origin, opened his falafel restaurant in Manhattan in 1981. It failed. He reincarnated it as a cart, and four decades later it’s an institution.
The food these Israelis brought with them wasn’t, as Coleman writes, Arab dishes or food their grandmothers made — her attempt to dismiss Israeli food as either stolen or copied.
She might have mentioned that over half of Israel’s population has origins in the greater Middle East and North Africa. Falafel, hummus, stuffed vegetables, shakshouka and all the glorious ingredients that go into them were part of their traditions too. What was a Jewish chef from Iraq supposed to cook, lox and cream cheese?
From shattah to schnitzel
Israelis also ate what Palestinians ate, and learned to cook it. This is how every culture’s foodways evolve — including that of Palestinians.
In the 15th century, Christopher Columbus brought chile peppers back from the Americas, after wreaking havoc on the native populations. Those chiles give Palestinian shattah sauce its heart and heat. The “most traditional Palestinian dish,” according to cookbook author Reem Kassis, is maftool, a pebbly couscous that likely arrived via the Berbers, whose own history of subjugation, rebellion and assimilation with the Muslim invaders is, to say the least, fraught. Schnitzel is now a popular Palestinian dish, likely adopted from Ashkenazi immigrants.
Cultures exchange food, like they do music, fashion and language. None of this is to say Israelis haven’t ignored or downplayed the Palestinian contribution to their cuisine, or used food as a political or economic weapon — most unconscionably in Gaza itself. But the Israeli chefs most associated with the New Israel Cuisine are usually the first to point all that out.
“I don’t think there’s enough understanding how deeply rooted Israeli food, as it’s cooked at the moment and seen all over the world, is actually based on Palestinian cooking,” the chef and author Yotam Ottolenghi told me in a 2022 interview.
Credit where credit is due. But the only reason to question an Israeli cook’s right to do what cooks throughout history have done is if you question Israel’s existence itself.
‘The land mass currently called Israel’
And Coleman clues us in that she leans that way.
She repeatedly refers to Israel’s attack on Gaza as a genocide. Many genocide experts and international bodies have concluded it is. Many others, including the International Court of Justice, have not, something a fair journalist would point out.
And then there is the strange way she describes an image on the menu of the Palestinian restaurant Ayat as “a cheerful tourist-style map in which the land mass currently called Israel is titled ‘Discover Palestine.’”
Even the progressive watchdog site Mediaite called that “bizarre.” Just as bizarre is her explanation for why chefs are less likely to publicize their connection to Israel.
“In the last few years,” she writes, “some Israeli restaurants have been vandalized, spray-painted with notices that accuse them of co-signing the Israeli government’s project. This may be one reason why some are staying silent.”
Here’s a better reason:
- In February 2022, vandals sprayed “F– Jews” on the wall of Miriam’s restaurant in Brooklyn.
- In December 2023 anti-Israel protesters surrounded Goldie’s, Michael Solomonov’s falafel restaurant in Philadelphia, vandalizing it and chanting, “Long live the intifada!”
- In February 2024 a masked man took a baseball bat to the windows of Rothschild TLV on Manhattan’s Upper East Side.
- In July 2025, intruders broke into a Melbourne, Australia Israeli restaurant, threw chairs and shattered windows while people were eating.
- In August 2025, intruders ransacked Manny’s restaurant in San Francisco and spray-painted “F- Manny’s” and “Die Zionist” on the walls.
There’s more, but you get the idea. It isn’t a few kids with spray cans: it’s open season on Israeli and Jewish-owned restaurants. At least three Palestinian restaurants have been vandalized as well, as well as Kanaan in Berlin, which is owned by an Israeli Jew and a Palestinian. If every Israeli restaurant is complicit in the worst behaviors of the Israeli government, is Jerusalem Chicken collaborating with Hamas?
Israeli restaurants aren’t Med-washing their names because they’re reckoning or apologetic. They’re hiding because the violence against them is getting worse, for patently absurd reasons. Coleman could have written that story, not one where victims did something to deserve it.
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Trump just used journalists as human shields — Jewish ethics has thoughts about that
Everyone has been talking about The Odyssey this summer. So much so that, apparently, the president of the United States felt the need to act out a famous piece of Greek mythology, namely the story of the Trojan horse. When an Iranian assassination threat in July seemed credible enough, the Secret Service spirited Trump off of Air Force One in a catering truck after a NATO summit in Ankara, Turkey.
The plane then took off as usual, loaded with top government officials including Secretary of State Marco Rubio and Treasury Secretary Scott Bessent, as well as the usual cast of aides and journalists who often accompany the president. Most believed they were on the plane with Trump, and weren’t aware of any threat. And had Iran actually attacked, and Air Force One been shot out of the sky, they would have gone down in the president’s place.
It is not unheard of for presidents to change plans suddenly for safety reasons, or otherwise use some amount of subterfuge to obscure their location; when Bill Clinton flew to Pakistan, for example, there were several decoy planes. But it is highly unusual for the plan to involve risking numerous other people, including civilians. Several journalists have accused Trump, who has long picked fights with the press, of using the media as an expendable human shield.
Much has been made, particularly in the Jewish world, of the idea of human shields, particularly because Hamas is often accused of the practice. Human shields can refer to putting civilians in harm’s way as part of a military strategy, or using them as decoys or to protect soldiers. (Hamas purportedly has used civilian sites such as hospitals or schools to protect their weapons stores and headquarters.)
There are numerous stories in Jewish texts in which innocent lives are sacrificed for ulterior motives, and the perpetrators are roundly condemned. King David sends his general Uriah to the frontlines so he will die and never realize that David had slept with his wife; God sends the prophet Nathan to rebuke David for his selfishness and Batsheva loses the pregnancy as punishment. When Simon and Levi destroy Shechem in retribution for the rape of their sister Dina, the patriarch Jacob censures their actions.
Though there is plenty of warfare in the Bible, and God at times orders the destruction of entire cities or groups, most Jewish sages interpret this to only apply to combatants because other commandments, such as to leave the gates of a besieged city open to allow people to flee, instruct that innocent civilians must be protected.
Beyond general ethics, the laws of war laid out in the Geneva Convention protect civilians and forbid the destruction of pivotal resources such as hospitals. But the strategy is, in many ways, a successful one precisely because it is so contemptible; everyone agrees that killing civilians not involved in war is morally wrong, which means that there is an international uproar if combatants do kill civilians to get to an enemy stronghold.
The U.S. and Israel both hold themselves apart operating uniquely moral armies — ones that follow the laws of war and protect civilians. Both nations publicly boast of fighting only necessary, noble wars. Reality, however, often differs. During the Iraq and Afghanistan wars, tens of thousands of American soldiers were discharged for misconduct. And after Oct. 7, Israel also began using human shields, forcing Palestinian civilians to go ahead of Israeli soldiers to check for traps or mines.
When Trump landed, the White House press pool asked him, on the tarmac, what the threat was, and whether the journalists and aides on board the original plane were in danger. Trump responded that he simply did what the Secret Service told him to; “I get a lot of threats,” he said, and said he believed that the plane he actually flew on — a plane no one knew he was on — was in more danger than Air Force One.
But it’s clear to everyone else — including many members of the media who were on the plane — that the civilians left on the plane targeted by the Iranian threat were human shields. Trump may have long defamed the media, but putting them knowingly in harm’s way is still a bad look. Such a bad look that, after The New York Times reported on Trump’s planes, FBI agents went to the journalists’ homes to subpoena them for their reporting.
Thankfully, neither plane was shot down. But that doesn’t make Trump’s decision to protect himself any more moral.
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Apple pays $150k to settle federal antisemitism lawsuit
(JTA) — Apple has agreed to pay $150,000 to settle a federal lawsuit alleging that the company failed to accommodate a Jewish employee’s observance of Shabbat, and later fired him after he complained of religious discrimination.
The lawsuit, which was filed by the U.S. Equal Employment Opportunity Commission in September 2025, accused Apple of discriminating against Tyler Steele, a longtime employee of one of its stores in Reston, Virginia.
Steele converted to Judaism in the spring of 2023, and while his manager initially approved his request not to be scheduled on Fridays and Saturdays due to his observance of Shabbat, another manager that replaced the previous one later rescinded the accommodation.
According to the complaint, Steele’s new manager, Anthony Dosch, denied his requests to have the days off in September 2023, allegedly telling him that month that he “could become a rules Nazi with regards to our policies.”
Days after Hamas’ Oct. 7, 2023, attacks on Israel, Dosch also warned Steele not to get into politics or debates about the conflict at work, and a month later issued him a misconduct warning claiming that Steele had body odor that violated the store’s policies.
The EEOC alleged that Steele later complained to Apple officials in November 2023 about antisemitic behavior and the denial of his religious accommodation. Steele was fired from the store in January 2024, after reminding Dosch that he could not work on a Friday the following month for religious reasons.
“Employees should not have to violate their religious beliefs to keep their jobs or live in fear of retribution because they requested an accommodation,” EEOC Philadelphia Regional Attorney Debra Lawrence said in a statement at the time the lawsuit was filed.
In its lawsuit, the EEOC accused Apple of religious discrimination and retaliation in violation of Title VII of the Civil Rights Act of 1964.
Apple and the EEOC unveiled the settlement in an Aug. 7 filing in federal court in Virginia, nearly a year after the initial complaint.
Apple denied the allegations and did not admit wrongdoing as part of the settlement, which required the company to award Steele $80,000 in back pay and $70,000 in compensatory damages and interest.
Under the settlement, the company will also be required to update its religious accommodation policies and conduct trainings with some employees in its Virginia operations within 90 days.
This article originally appeared on JTA.org.
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