Features
The World in 2025 May Become an Even Darker Place
By HENRY SREBRNIK On November 12, the former New York Times journalist Bari Weiss, did a brave thing. Speaking to the annual conference of the General Assembly of the Jewish Federations of North America, in Washington, DC, she didn’t provide uplifting words or an assurance that things will somehow get better.
She is the founder of the Free Press newspaper – “for free people,” as its masthead states – and has been courageously fighting against the antisemitic tide that has enveloped the Western world since October 7, 2023. I can do no better than to quote her opening statement:
“When did you know?
“Looking back, now that we are on the far side, I wonder: When did you realize that things had changed?
“When did you know that the things we had taken for granted were suddenly out of our reach? That the norms that felt as certain as gravity had disappeared? That the institutions that had launched our grandparents had turned hostile to our children?
“When did you notice that what had once been steady was now shaky ground? Did you look down to see if your own knees were trembling?
“When did you realize that we were not immune from history, but living inside of it?
“When did you see that our world was actually the world of yesterday — and a new one, one with far fewer certainties, one where everything seems up for grabs, was coming into being?”
How well we now realize that it applies even more so, in Canada, where a veritable chasm has opened up, as in a horror movie, and it is filled with antisemites as vicious as rarely before seen in this country.
Since October 7, 2023, all levels of government in Canada have failed, either by design or due to incompetence, to understand and act on the gravity of the moment.
Those on the front lines already feel it. Jewish students at the University of British Columbia this past summer hung posters throughout campus that read: “I am a Jew. I hide my identity because I feel threatened and unsafe,” and “Stop terrorizing Jews.” No police chief instructed them to hide; Jewish students could detect the tenor and a mounting risk of violence on campus.
And it keeps getting worse. Dawson College in Montreal shut down classes for almost 10,000 students on November 21 after students voted 447-247 in favour of a strike to demonstrate solidarity with Gaza. The closure of the public college was prompted by numerous emails and calls from members of the community expressing concerns about the safety of students and employees on the day of the boycott.
Demonstrators gathered outside Dawson’s campus and left after an hour, marching east to Concordia University, where they met up with more strikers. Concordia had a phalanx of security guards manning the doors, police officers inside the lobby and large panels of plywood on the inside of their windows. Dozens of other student associations voted to strike. At McGill, activists planted a tree in solidarity with Palestinians.
There were several protests a day later, including one at Université du Québec à Montréal. An effigy of Israeli Prime Minister Benjamin Netanyahu was set on fire and smoke bombs were lit as demonstrators chanted “Free Palestine” and “Israel is terrorist, Canada is complicit.” Rioters that evening clashed with police officers, smashed windows of businesses, and even set vehicles ablaze in the downtown area.
How has all this come about? We must face facts: Canada in recent decades adopted a policy of unfettered and incautious immigration, and with it have come some immigrants who are steeped in antisemitic values. We now realize that, in our big cities, they have changed the very nature of Canadian society. They have not adapted to liberal western values. Rather the reverse: they are bending this country towards theirs – to the detriment of Canada’s Jewish population. The examples are many, and they would have been beyond belief a mere decade ago.
A vigil that was scheduled to be held in Mississauga, Ont., November 26 in memory of “the great Martyr” Yahya Sinwar –the Hamas leader responsible for the Oct. 7 attack on Israel — did not, after numerous complains, occur on the originally scheduled date. A flyer for the event, which was shared on social media, used the slogan, “Lest we forget our heroes,” and red poppies on top of a black and white photo of the architect of October 7.
However, the city’s mayor, a onetime Liberal MP, had no problems with it, even comparing Sinwar to Nelson Mandela. “I just want to point out, and I’m not being facetious, Nelson Mandela was declared a terrorist by the United States of America until the year 2008,” Carolyn Parrish stated. “Your terrorist and somebody else’s terrorist may be two different things.” Not surprisingly, anti-Israel rallies are almost a weekly occurrence in her city.
An Ottawa school played an Arabic-language Palestinian protest song associated with fighting in Gaza as the soundtrack to its Remembrance Day presentation, causing outrage and distress for some students and parents. Principal Aaron Hobbs of Sir Robert Borden School defended the selection, saying it was chosen to bring diversity and inclusion to Remembrance Day.
Speaking of Remembrance Day, the New Democratic Party, which was once led by David Lewis, a Jew, and supported by many in the Jewish community, is now completely supportive of the Palestinian cause. Edmonton NDP MP Heather McPherson, one of the most vocally anti-Israel members of the House of Commons, had just delivered a statement accusing Israel of genocide, compared her wearing of a watermelon pin to the wearing of a Remembrance Day poppy. The watermelon slice has been adopted by the anti-Israel movement as representative of the Palestinian flag because it has the same colour scheme, of black, red and green. “I stand here proudly wearing a pin that shows that I stand in solidarity with the Palestinian people,” she stated.
The University of Victoria in British Columbia cancelled a scheduled November 24 on-campus talk by an extremist preacher who is on record calling for the annihilation of Jews. Invited by the Muslim Students Association, one of the central organizers of anti-Israel rallies outside the B.C. Parliament Buildings, the event was widely criticized on local forums, forcing the university to decline the booking request for the event.
Sheikh Younus Kathrada himself blamed the cancellation “on a Zionist run organization which is clearly pro-ethnic cleansing, pro-genocide, pro-apartheid and pro-murder.”
Meanwhile, Canada finally listed the pro-Palestinian group Samidoun, based in Vancouver, as a terrorist entity October 15, after endless hesitation. Known as the Palestinian Prisoner Solidarity Network, it has close links with and advances the interests of another group that Canada already lists as a terrorist entity, the Popular Front for the Liberation of Palestine.
Vancouver police launched a criminal investigation into a rally Samidoun organized on the one-year anniversary of the Hamas attack on Israel, which included a masked speaker who told the crowd that “we are Hezbollah and we are Hamas.” She also led cries of “death to Canada, death to the United States and death to Israel.” More recently, the home of Charlotte Kates, a director of Samidoun, was searched by the police.
Behind much of this we find a web of more than 100 anti-Israel organizations operating in Canada, according to a recent study by NGO Monitor, and nearly all of them overlap in activity and funding.
“The NGO Network Driving Antisemitism in Canada” was released on November 4. It highlights the structure and dynamics of the NGO network. The “dangerous spike” in Jew-hatred is concurrent with “an increase in activity by an interconnected and coordinated network of NGOs, whose campaigns of anti-Israel demonization, antisemitism and intimidation create a hostile environment throughout Canada,” the report declared. “A number of the leading groups are linked to Palestinian terror organizations and hide their sources of funding.”
Despite their small numbers, campus-operating organizations play a prominent role in the network, collaborating with many nonprofits, including those receiving funding from the Canadian government. These groups were “leading the campaigns, the attacks, the antisemitism on university campuses within Canada, and are closely interrelated,” according to Gerald Steinberg, president of NGO Monitor.
To top all this off, Prime Minister Justin Trudeau defended his assertion that he would support the arrest of Israeli Prime Minister Netanyahu and ex-Israeli defence minister Yaov Gallant on an International Criminal Court warrant issued on November 23 should they come to Canada. The court stated that there were “reasonable grounds” to believe that the two intentionally targeted civilians in Gaza during Israel’s ongoing retaliatory war against Hamas. This is the first time that a democratic country, with a robust and independent judiciary, has had arrest warrants issued for its leadership. It is international lawfare in its most extreme form, and a reward for terrorism.
I could go on ad infinitum with other examples, but the bottom line is this: Everything I just described would have seemed unimaginable. Had you predicted it, you would have been laughed at or seen as a doomsayer.
But, as Bari Weiss knows, and so should the rest of us, we are in the midst of a worldwide eruption of antisemitism not seen since the Holocaust. And there’s no sign it’s going to get better.
Henry Srebrnik is a professor of political science at the University of Prince Edward Island.
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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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.