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A Holocaust cattle car in Times Square makes a moving, if jarring, statement
(New York Jewish Week) — Times Square may be best known for its flashy billboards, roving bands of knock-off Elmos and hordes of gawking tourists. But on Tuesday, Holocaust Remembrance Day, visitors to the “crossroads of the world” could also see a replica of the kind of cattle car that transported millions of Jews to their deaths in Nazi-run concentration camps.
The cattle car was parked at the intersection of 46th and Broadway, across from a Forever 21 and the TKTS Ticket window, where curious visitors could step inside and see a film, projected on its four walls, detailing the horrors of the Holocaust.
The “Cattle Car: Stepping In and Out of Darkness” exhibit was developed in 2020 by ShadowLight, a Toronto-based Holocaust education nonprofit, and Southern NCSY, the Florida branch of the Orthodox Union youth group. NCSY’s “Hate Ends Now” tour is traveling the country with a mission to promote Holocaust education and combat antisemitism.
“This exhibit is one of the country’s most innovative Holocaust education tools, and today we’ve brought it to the crossroads of the world,” said Todd Cohn, executive director of Southern NCSY. “If you want to make the world aware of a cause, this is the place to do it.”
On Tuesday morning, while lots of people walked by without looking up, as many in New York are wont to do, several stopped in their tracks to take a look around, snap some pictures and scan the QR code to learn more about the cattle car and the Holocaust. Others took selfies and one asked if the exhibit was a celebration of Passover, which Cohn took as an opportunity to teach about Judaism and the memory of the Holocaust.
“This is amazing to see,” said Yael Shimoni-Degani, an Israeli tourist who was walking through Times Square while visiting her daughter who lives in New York City. The pair was waiting to go inside. “It’s very important to remind people what happened,” Shimoni-Degani said.
The cattle car will be parked in Times Square until 9:00 p.m. on Tuesday, or Yom Hashoah, which is marked as Holocaust Remembrance Day by Israel and Jews worldwide. Rotating groups from area Jewish high schools were invited to visit throughout the day. An event scheduled for 7:00 p.m., open to the public, was to feature Holocaust survivors, U.S. Army veterans who were involved in liberating the camps, Israeli emissaries and local politicians. The crowd will be invited to sing prayers and light yahrzeit candles in memory of victims of the Holocaust.
A group of students from The Ramaz School exits the “Cattle Car: Stepping In and Out of Darkness” exhibit in Times Square, April 18, 2023. (Julia Gergely)
Attendees are closed inside the cattle car — an effort to make tangible the experience of victims and survivors. The 20-minute video provides a timeline of the Holocaust and and includes testimonies from survivors Hedy Bohm and Nate Leipciger. The video concludes by urging viewers to take responsibility for their actions, asking questions like, “How did the world let this happen?” and “How can you raise your voice?” Statistics on rising antisemitism, racism and violence against LGBTQ communities are displayed.
“While inspiring the Jewish future is our core mission, the general public is just as much our intended audience today,” Cohn said, noting the “universal message” of the exhibit. One of the goals of “Hate Ends Now,” which has toured the Florida state capitol and will move onto college campuses in Boston next week, is to “make sure hate doesn’t go unchecked,” Cohn said, especially in a time of rising antisemitism.
There was a large security and police presence nearby, and an officer inside the exhibit.
Dini Hass, an educator at the Ramaz School who had brought a group of students to tour the exhibit, told the New York Jewish Week that visiting the cattle car was an incredible experience and an opportunity to share her family’s story as the granddaughter of four Holocaust survivors. “To have this in the middle of Times Square is one of the craziest things I’ve ever seen,” she said, admiringly.
Writer Dara Horn, however, was skeptical that exhibits like this — especially those mounted in such a public space like Times Square — actually have the power to turn the tide of antisemitism, despite their well-meaning intentions.
“I came to the disturbing conclusion that Holocaust education is incapable of addressing contemporary antisemitism,” said Horn, who recently toured the country taking stock of different Holocaust education initiatives. “There’s a bunch of reasons for that. One is that it’s been used as this case study outside of history and it’s used for public moral education. I can’t think of any other event in history where we isolate it from any kind of context and it’s become an atrocity that we are required to universalize.”
Horn noted that her comments were not specific to the “Hate Ends Now” exhibit, rather to the broader effort of Holocaust education and combating antisemitism among the general, non-Jewish public. She also conceded that, for Jewish communities, Yom Hashoah and Holocaust education exhibits are important in that they offer a moment to mourn and honor the dead.
And yet, she said, “This becomes the one thing people know about Jews — that they were murdered in the Holocaust — and now it is there to teach us something about humanity,” she added. “There’s a huge problem where the general public is taught about the Holocaust, and knows absolutely nothing about Jews who are alive today, or about the lives and contents of Jewish civilization in Europe that was lost.”
As someone who is well-informed about the Holocaust, educator Dini Hass said that she is often shocked by how little both Jews and non-Jews know about the Holocaust. “If something like this makes even one person stop for a second to think about the Holocaust and want to learn about it, then it’s doing its job,” she said.
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
The post ‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons appeared first on The Forward.
