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Comedians are just as capable of antisemitic incitement as political figures. So let’s take Dave Chappelle seriously.
(JTA) — Last week saw Dave Chappelle deliver a brilliant monologue on “Saturday Night Live” addressing the antisemitism controversies surrounding Kanye West and Kyrie Irving.
Unfortunately, “brilliant” doesn’t inherently mean “moral” or “good.” Chappelle’s monologue was a masterclass in how to normalize and embolden antisemitic discourse, delivered in plain sight and with just enough “wink wink, nudge nudge” plausible deniability — mixed in with a sprinkle of real commentary — that one would easily almost not realize that … wait, did Chappelle denounce anything exactly?
He opened the monologue by pretending to read from the kind of apology being demanded of Kanye West, the rapper who in recent weeks had exposed various antisemitic tropes. “I denounce antisemitism in all its forms, and I stand with my friends in the Jewish community,” Chappelle “read,” mocking the boilerplate apologies that often arise in these moments. At face value, it’s a great piece of satire. But then he follows up with the punchline: “And that, Kanye, is how you buy yourself some time.”
He isn’t holding West to account. He’s clearing the way and setting the stage for the finest bout of antisemitic dogwhistling probably ever featured on “SNL.”
There is legitimate commentary to be made about the often disproportionate and racialized vitriol directed at Black Americans who engage in antisemitism, coming from a society that revels in Black pain and punishment. Jews of color, and especially Black Jews like me, have been addressing this reality across social media for decades, noting the lack of intensity and accountability when the shoe is on the other foot — when Jewish figures espouse anti-blackness.
But this monologue by a Black comedian is making no such argument. And it comes as more bold and brazen bad-faith actors are acting out in more and more violent ways. Comedians are just as capable of incitement as political figures.
Chappelle is wildly adept at structuring complex jokes. For years he deftly delivered biting, raw and real socio-racial commentary, from his standup routines to “The Chappelle Show,” and since the 2000s has positioned himself as an astute teller of hard truths. If you doubt the man’s intelligence, watch what he does late in the “SNL” routine when he talks about Donald Trump.
With backhanded praise, Chappelle attributes Trump’s popularity and appeal to his skill at being an “honest liar.” Never before, said Chappelle, had voters seen a billionaire “come from inside the house and tell the commoners, ‘Inside that house we’re doing everything you think we’re doing.’ And then he went right back inside the house and started playing the game again.”
Chappelle took notes on Trump’s knack for saying exactly what he means and telling people exactly what he planned to do.
When Chappelle says there are two words you should never say together — “the” and “Jews” — he’s not speaking against antisemitic conspiracy theories that treat Jews as a scheming monolith. He’s insinuating instead that there is a “The Jews” that should never be challenged. (Chappelle goes on to repeatedly use the phrase “The Jews” in his monologue.) The one time he uses “the Jewish community” is to introduce the straw man argument that Black Americans should not be blamed for the terrible things that have happened to “the Jewish community” all over the world — a declaration so baffling that only one person in the audience responds. After all, no one was blaming West or Irving, the NBA star who shared on Twitter a link to a wildly antisemitic film, for the terrible things that happened to Jews. They were just being asked not to promote the ideas of people who had done those terrible things.
Also on full display is Chappelle’s deft, almost “1984”-esque doublespeak. Chappelle notes that when he first saw the controversy building around West’s antisemitism, he thought “Let me see what’s going to happen first” — a strange and telling equivocation. Chappelle diminishes the significance of the film shared by Irving, “Hebrews to Negroes: Wake Up Black America,” by describing it as “apparently having some antisemitic tropes or something,” but then jokes that Irving probably doesn’t think the Holocaust happened — a trope presented in said movie.
Chappelle is reluctant to call Kanye “crazy” but acknowledges he is “possibly not well,” but has no problem referring to Georgia Senate candidate Herschel Walker as “observably stupid.”
Ultimately and persistently, Chappelle suggests that Kanye erred not in being antisemitic, but in being antisemitic out loud.
Most insidious in this regard was his seeming rejection of the notion, promoted by West, that Jews control Hollywood. Said Chappelle: “It’s a lot of Jews [in Hollywood]. Like a lot. But that doesn’t mean anything, you know what I mean? There’s a lot of Black people in Ferguson, Missouri. It doesn’t mean we run the place.” He refers to the idea that Jews control Hollywood as a “delusion.”
And then, rather than let this necessary distinction set in, he undercuts it, saying, “It’s not a crazy thing to think. But it’s a crazy thing to say out loud in a climate like this.” The problem, Chappelle is suggesting, is not harboring dangerous delusions, but saying them in public and risking being called on it. The “climate” is not one of dangerous antisemitism, but the danger of speaking one’s mind.
Chappelle telegraphed this sentiment with an earlier quip: West, he said “had broken the show business rules. You know, the rules of perception. If they’re Black, then it’s a gang. If they’re Italian, it’s a mob, but if they’re Jewish, it’s a coincidence and you should never speak about it.”
The “perception” is that only Jews can’t be spoken of in derogatory terms. Kanye wasn’t wrong for thinking antisemitic thoughts, Chappelle suggests, but, again, speaking about them.
There are lots of jokes made in Hollywood at the expense of Jews. This, however, was not a case of Jews being unable to laugh at ourselves. There’s a difference between laughing at ourselves and having someone who isn’t Jewish use “wink wink” antisemitic tropes. It’s not that Chappelle’s monologue wasn’t funny on its face, it’s that it was harmful. This isn’t happening in a vacuum: It’s happening in a specific context, particularly one in which antisemitism has already been riled up and emboldened by Kanye and Irving. (“Hebrews to Negroes” became a bestseller on Amazon after Irving tweeted about it.)
It just takes the wrong kind of person to hear this monologue for us to experience, God forbid, another Tree of Life shooting. I didn’t particularly relish the wake of the first shooting when, as the rabbi of a congregation in Rockland County, New York, I met with county officials and negotiated police presences, and discussed mass-shooter evasion tactics to ensure the safety of my congregants.
For anyone who thinks Chappelle’s monologue was “just jokes” or that I am reading too much into it, consider his last line — a bravura complaint about cancel culture and the unspoken forces behind it: “I’ll be honest with you. I’m getting sick of talking to a crowd like this. I love you to death and I thank you for your support. And I hope they don’t take anything away from me. [ominous voice] Whoever ‘they’ are.”
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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Jewish hockey star Jack Hughes’ overtime goal propels US to historic gold medal in Olympic hockey
(JTA) — Jewish hockey star Jack Hughes scored the game-winning goal Sunday to clinch a gold medal for the U.S. men’s hockey team, its first since 1980.
The New Jersey Devils star center, who had scored twice in Team USA’s semifinal win, sent the puck between the legs of Canadian goaltender Jordan Binnington 1:41 into overtime to give the American team a 2-1 win.
“This is all about our country right now. I love the USA,” Hughes told NBC. “I love my teammates.”
The win broke a 46-year Olympic drought for Team USA, which had not taken gold since the famous “Miracle on Ice” team that upset the Soviet Union on its way to gold in 1980. The United States also won in 1960.
“He’s a freaking gamer,” Quinn Hughes, Jack’s older brother and U.S. teammate said, according to The Athletic. “He’s always been a gamer. Just mentally tough, been through a lot, loves the game. American hero.”
Quinn Hughes is a defender for the Minnesota Wild and a former captain of the Vancouver Canucks who won the NHL’s top defenseman award in 2024. He was also named the best defender in the Olympic tournament by the International Ice Hockey Federation after scoring an overtime goal to send the U.S. team to the semifinals.
The third Jewish member of the U.S. team, Boston Bruins goaltender Jeremy Swayman, won the one game he played, a Feb. 14 preliminary-round victory over Denmark.
The Hughes family — rounded out by youngest brother Luke, who also plays for the Devils — has long been lauded as a Jewish hockey dynasty. They are the first American family to have three siblings picked in the first round of the NHL draft, and Jack was the first Jewish player to go No. 1 overall. They are also the first trio of Jewish brothers to play in the same NHL game and the first brothers to earn cover honors for EA Sports’ popular hockey video game.
Jack, who had a bar mitzvah, has said his family celebrated Passover when he was growing up. Their mother, Ellen Weinberg-Hughes, who is Jewish, represented the U.S. women’s hockey team at the 1992 Women’s World Championships and was on the coaching staff of the gold-medal-winning women’s team in Milan. Weinberg-Hughes is also a member of the International Jewish Sports Hall of Fame.
Hughes’ golden goal ushered in a burst of Jewish pride on social media, with one user calling it “the greatest Jewish sports moment of all time.” The Hockey News tweeted that Hughes was “the first player in hockey history to have a Bar Mitzvah and a Golden Goal! Pretty cool!”
Jewish groups and leaders also jumped on the praise train. “Special shout out to @jhugh86 on scoring the game-winning goal!” tweeted Jonathan Greenblatt, CEO of the Anti-Defamation League. “Beyond his incredible skill on the ice, Jack makes history as a proud representative of the American Jewish community, reminding us that the Jewish people are interwoven into America in her 250th year! Mazel Tov, Jack!”
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