Features
New book chronicles what were arguably the most important – and controversial Olympic Games in history
Review by BERNIE BELLAN With the 33rd Summer Olympics set to take place in Paris from July 26 to August 11, I thought it an opportune time to tell readers about a book that was released earlier this year and which provides a sweeping view of what were arguably the most controversial Olympic Games ever held – the 1936 Summer Olympics in Berlin, Germany.
Written by two writers, Glenn Allen and Richard Kaufman, who have spent most of their careers writing and producing films, PLAYED: The Games of the 1936 Berlin Olympics combines fiction and non-fiction in a thrilling, yet somewhat confusing manner.
Although Jewish readers are likely to find themselves focused on the rampant antisemitism that pervaded the games – given the determination of Hitler to use the Olympic Games as a masterful propaganda tool, this book is sure to appeal both to fans of the Olympic Games and students of history.
There are many heroes mentioned throughout “PLAYED,” including such well known names as Jesse Owens, who embarrassed Hitler to no end by winning what was then a record four Gold medals in various track events. But there were many other heroes as well, especially Alan Gould, who was the Associated Press Sports Editor, and who wrote many columns calling for a boycott of the games; and William Dodd, the US Ambassador to Germany from 1932-1937, who was warning of the dangers posed by the Nazi threat long before it became all too apparent to politicians, including President Franklin Roosevelt – who adopts quite a sanguine attitude toward the Nazi threat in this book.
And then there are the villains, chief among whom was the despicable Avery Brundage, President of the American Olympic Committee, who was determined to be appointed to the International Olympic Committee (of which he was later to become its president, from 1952-72). It is no coincidence that it was Brundage who was not only the key figure in overcoming resistance to the notion of the US boycotting the 1936 games, it was Brundage who was also central to the 1972 Munich Olympics carrying on even after the massacre of 11 Israeli athletes.
I admit that I knew quite a bit about Brundage’s unsavoury reputation even before reading this book, but the degree to which he connived to make sure America would be represented at the games when there was fierce opposition to exactly that position from many of the leading figures in the sports world in the US at the time is truly shocking.
But, while the historical record provides ample evidence of the extent to which Hitler and his henchmen were determined to use the Olympics as a showcase for Nazi superiority, while reading this book I couldn’t help but wonder just how much fiction was mixed with fact.
In the press release I was sent about the book, it was noted that “Based on real stories and real people involved in the 1936 Berlin Olympics, PLAYED plunges readers into a compelling, fictionalized account of the insanity and hysteria that unfolded across Germany, the United States and in much of the world from 1931 through 1936.”
I couldn’t help myself from questioning: Just how much is fact and how much is fiction in this book? Of course, given that the authors use their imaginations to conjure up the dialogue in the book, I kept thinking to myself – especially as I was reading about how sexually aggressive many of the female characters in this book were: Is this a case of two screenwriters using their past experiences writing movie scripts as an excuse to infuse something that might be passed off as a largely historical account with a great big dollop of licentiousness in order to attract readers?
Two of the major female characters: Martha Dodd, daughter of US Ambassador Dodd, and Eleanor Holm, a champion US swimmer, certainly led carefree sex lives – at least if you were to believe the accounts given in this book. Dodd, in particular, is such a fascinating character, because not only was she quite willing to go to bed with many Nazis (and it seemed – anyone who asked her), including Ernst “Putzi” Hanfstatengel, described as Hitler’s henchman – who would eagerly dispatch anyone Hitler wanted rid of, in time Martha Dodd ended up in the arms of a Russian spy – who himself was ordered executed by Stalin.
As for Holm, even though she was a champion in the swimming pool (in backstroke events), she hardly led a disciplined life as an athlete. In PLAYED, at least, she is one hell of a “player” – and this was well after she was married!
Unfortunately for Holm, however, one man who lusted after her – and whom she detested, was Avery Brundage. Now, I did try to find out whether the account given by Kaufman and Allen of what happened between Holm and Brundage when they were both on the same ship headed to the Berlin Olympics with the entire American team of athletes and officials, was in any way true. (In the book, Brundage attempts to rape Holm, but given her athleticism, she manages to deliver a solid kick to his nether regions – leaving him writhing in pain. The next day, he decides to kick her off the US Olympic team.) According to Holm’s own account, however, the reasons for her being booted off the team had to do with her not wanting to go to bed when she was told to do so. (I much prefer the PLAYED version – and if they ever make a movie from the book, I’m sure audiences would be much more interested in watching Holm do to Avery Brundage what a lot of women would probably fantasize about doing to men.)
Of course, the parts of the book describing some of the leading Nazis, including Hitler himself, along with Joseph Goebbels and Herman Goering, are luridly detailed – as one would expect any description of them to be, but one character who comes off quite favourably – much to my shock, is Leni Riefenstahl, the famed German filmmaker, who had already established a notorious reputation as a propagandist in her famous documentary about the 1934 Nuremburg Rally, “Triump of the Will.”
Rather than painting her as a tool of the Nazis though, the authors offer quite a sympathetic – even admiring portrait of someone who was wedded to her craft. According to this book, Riefenstahl actually fell in love with a member of the US Olympic team by the name of Glenn Morris, who goes on to win Gold in the decathlon competition. (Again, however, there is one unforgettable scene where Morris, after winning his medal, runs over to Riefenstahl, rips off her blouse, and kisses her breast. Is this a Hollywood screenwriter’s fantasy? Who knows?)
There are also many stories of Jewish athletes in this book – some of which are tragic. The female high jump champion in Germany at the time was someone by the name of Gretel Bergmann. Bergmann had gone to England prior to the Olympics knowing full well that she would not be allowed to compete for Nazi Germany. In the book, Putzi goes over to England and threatens Bergmann that she will have to return to compete for Germany, otherwise her family – who had still remained in Germany, will face severe consequences. When Bergmann reluctantly returns to Germany, Brundage points to her becoming part of the German Olympic team as a sign that the Nazis have softened their stance toward Jews, but once the American do agree to participate and cross the ocean to Germany, Bergmann develops a mysterious “injury” that prevents her from actually being part of the German team.
The book is full of such stories – so many, in fact, that your head will be spinning trying to keep track of all the characters mentioned in the book.
Still, if you want to enjoy a rollicking read that may or may not have many parts that are wholly concocted from the writers’ imaginations even though they’re writing about actual events, then you might want to give PLAYED a shot.
As for this year’s version of the Olympics, while there isn’t nearly the same dramatic tension surrounding them as there was prior to and during the 1936 Berlin Olympics, the cheating, skullduggery, and propaganda that permeated the 1936 games has forever tarnished the reputation of the Olympic Games and, while it’s a different type of antisemitism that we’re seeing on the world stage these days, we’re all holding our collective breaths wondering how Israeli athletes are going to be treated in Paris – the same way Jews were wondering how Jewish athletes were going to be treated in Nazi Germany in 1936.
PLAYED: The Games of the 1936 Berlin Olympics
Published 2024 by WordServe Publishing
419 pages
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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- Actor-Director Rob Reiner dies at 78
- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.